ARRI Orbiter | New Light

Eric Coughlin said:
The Dedo LED Fresnels have great cuts.
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From the original DLH4 tungsten product description: "The optical system of the Dedolight surpasses the traditional concept of studio lights with Fresnel lenses. The Dedolight optical system employs two lenses, neither of which is a Fresnel. The second lens pre-collects the light, directing it to the front lens, minimizing light loss. This produces focusing range and light efficiency, especially in the spot position."

I'm pretty sure the LED series e.g. DLED 9 etc. are no different:
"The exceptional dedolight DLED9.1 combines the unique dedolight double aspheric optical system with state - of - the - art dedocolor ® LED light sources."

So while they may get used in the same way, the Dedos technically aren't Fresnels.
 
I haven't wrapped my head around the multi-function utility of the unit yet, although in theory having a small army of them with a cart of accessories does mean you are covered for a number of scenarios that would require different units...but I'm not sure that it ends up be a savings. I can't quite see using a head this large for a GEM/china ball application as those are generally overhead and traditionally much lighter (and without the housing), so this would only make sense hanging from a studio grid, not for location. I'm all for an improved Jo-Leko style unit that can punch at 5600K (I'm currently using the Source 4 Lustres which are functionally very nice, but not a ton of output) but again, it's a lot of head.

On the subject of fresnels vs pars, in the tungsten domain I use them about the same amount for different purposes. I almost always use pars for HMI (more specifically the M series Arris) because they are more efficient and we are almost always pushing them through diffusion or into a bounce. Fresnels remain great for recreating direct sun or traditional hard light applications like film noir.
 
rob norton said:
From the original DLH4 tungsten product description: "The optical system of the Dedolight surpasses the traditional concept of studio lights with Fresnel lenses. The Dedolight optical system employs two lenses, neither of which is a Fresnel. The second lens pre-collects the light, directing it to the front lens, minimizing light loss. This produces focusing range and light efficiency, especially in the spot position."

I'm pretty sure the LED series e.g. DLED 9 etc. are no different:
"The exceptional dedolight DLED9.1 combines the unique dedolight double aspheric optical system with state - of - the - art dedocolor ® LED light sources."

So while they may get used in the same way, the Dedos technically aren't Fresnels.
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Yeah, yeah, yeah, I almost corrected my post when I remembered that, but James had already quoted me, so too late. But the moral of the story is, they're LEDs with great cuts.
 
CharlesPapert said:
I haven't wrapped my head around the multi-function utility of the unit yet, although in theory having a small army of them with a cart of accessories does mean you are covered for a number of scenarios that would require different units...but I'm not sure that it ends up be a savings. I can't quite see using a head this large for a GEM/china ball application as those are generally overhead and traditionally much lighter (and without the housing), so this would only make sense hanging from a studio grid, not for location. I'm all for an improved Jo-Leko style unit that can punch at 5600K (I'm currently using the Source 4 Lustres which are functionally very nice, but not a ton of output) but again, it's a lot of head.

On the subject of fresnels vs pars, in the tungsten domain I use them about the same amount for different purposes. I almost always use pars for HMI (more specifically the M series Arris) because they are more efficient and we are almost always pushing them through diffusion or into a bounce. Fresnels remain great for recreating direct sun or traditional hard light applications like film noir.
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A lighting truck has all special application tools on hand, which may perform a dedicated task better than the orbiter. E.g. less lenses than a traditional PAR set, less barrels than lekos, heavier than china balls, more depth needed for softboxes compared to panels. But maybe the appeal and strength of the light comes from ease of use once set up, as well as the speed of swapping out various modifiers?
 
Was just thinking today- when are cameras going to get color sensors, on camera and also able to use wireless color sensors. The tech is cheap- using cards, AWB, or guessing are dated methods. Using a color meter and entering K in cameras doesn't always work well either. The color sensors ideally would work directly with the camera: taking into account the entire color science of the system.

This new ARRI light has a color sensor- that's a start.
 
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Seems like the trade off, at the moment, is that you have a heavy unit but it doesn't generate as much heat as say some HMIs and you can change the colour temperature in an instant. I'm sure large scale productions won't mind switching over to it slowly, and using it as a hard source, though I expect Skypanels to start more popular over-all. Can't wait for this tech to trickle down the smaller shows over the next few years, we're getting closer and closer to an LED solution that's actually good.
 
I wonder if there will be any degradation to the integrity of the colored LED's over the course of a year.
Seems like a lot of power, which can mean a lot of heat. A unit that large will have a big fan, but still...
 
33 pound head in a china ball overhead? I know a gaffer man back home. He gonna have a heart attack when he see what I brung him.
 
Liam Hall said:
Did he say how much $$$?
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He didn’t.

Doubt he had to put money down as he’s literally bought truckloads of gear from his Broker.

One benefit of newly released lamps for Gaffers is they can charge a full rental rate while the product is still relatively rare. Once the market is saturated with the same product the Producers have more leverage when requesting discounts.
 
This light looks like a great swiss army knife type light to cover so many uses. Its a little too rich as more than a rental for our small studio but the uses of this light are very similar to how I am using the Aputure 300DII with all of its attachements. I'm glad to see more manufaturers going in this direction that the same lamp head can be a leko, softbox, par, fresnel, space light, china ball etc.
 
I got to see it today. It is big, but not as big as it looks in the demo video.
 
Run&Gun said:
I think the ability to effortlessly match ambient light is kind of being glossed over. This is huge.
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Indeed.

First heard of the concept awhile ago from a LED manufacturer whose products are popular with DVXusers. They asked if I’d be interested in Beta Testing their version but my schedule had me out-of-town for a extended period so I declined. Ultimately it looks like they took a slightly different root to accomplish the same task, & I was impressed they specifically stated they trusted I wouldn’t leak the information so didn’t request a NDA.
 
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