[Music] foreign [Music] in today's episode this is not a review this is a look at a light by the company prolight that makes the Orion 675 FS now most of us can't afford this like I can't afford this light probably most of the people watching this video cannot so everyone take a deep breath this is not me trying to convince you to buy this light this is me out of curiosity looking at what a professional level like like the Orion 675 FS has to offer and hopefully what we start to see in more lights in the future as well so let's have a look at this who is this light for and what makes it unique first of all you're going to see these in rental houses you will see them in studios and you will see them owned by production companies most YouTubers are not going to own this it doesn't make sense it's a 3 500 light it's massive its amount of output is massive as well in fact it is equivalent it's actually brighter than a 1.2 K HMI and brighter than a 2K tungsten so puts out a lot of light now there are three reasons to use a light like this and the thing that's really I think that sets it apart as a start from a lot of the other lights that you're seeing right now is that it's an RGB ACL light that means that it actually has red green blue Amber cyan and lime LEDs and so it can produce more colors than an RGB ww light and that's what you see from a lot of other manufacturers so you might ask yourself okay so it can produce yellows better than an rgbw light so what why does that matter

I think what it really comes down to is where it matters is that you can reproduce accurate skin tones at any color temperature it's much better at managing the nuances like that so that you can get really good skin tones at different color temperatures and at different dimmer levels and we'll come back to that to give you a practical example also it has a bespoke fresnel lens so this fresnel lens is really low profile it ranges from 15 to 50 degrees to modify your beam angle and really really concentrate the light it also comes with barn doors big barn doors that allow you to cut the light and do all sorts of fun stuff like that so lots of cool things you can do there and then I want to wrap everything else up into the feature set which is really well thought out specifically for professional workflows and that includes things like the prolog mount so this is a bones mount light but what's different about this bones Mount is that it's far more robust than you see on any of the other bones Mount lights that I've used on on the others you put the Bowens mount light modifier on the mount and it kind of wobbles around and it's a frankly it's difficult to get it on in many circumstances in this case it works very much like a PL mount on a cinema camera if you're not familiar with that the way that works is you you hold the bones Mount from the light modifier in place then there's this lever that just clamps right down on it and holds it really really tightly in place really really nice design that we haven't seen on other bones Mount lights at least that I've looked at the thermal design is really good as well so there is a mode where you can turn the fan off entirely and you can go up to 30 percent on the dimmer and that works really well and then a variety of other settings as well depending on the temperatures in which you're filming and how much output you generally need but what this does is it makes it so it's practical to use as a key light on a simple talking headshot like this where you're very pretty close you're like my

I'm using a 4x4 here we're shooting the light through a 4x4 at me so that 4x4 is about just over a meter away from me and the light is just on the other side of that so we could turn it on we're using the dimmer at 11 right now to light me for this and the light is again it's about two meters away and the 4x4 is just over a meter away so just to give you a sense for kind of the practical ways that this can be used fan is entirely off so we're not getting any uh noise pollution from that fan we actually do have an aperture light over there putting the light on the back wall that's probably what you're hearing if you're hearing a fan at all there are a whole host of remote control options for this light and that includes its own bespoke app but it also includes wired DMX it also includes

Wireless DMX options including crmx and

Lumen radio so you can build this into pretty much any sort of existing infrastructure you have for remote controlling lights so again that's going to be really useful for Studios where they're adding these lights over time and they already have a remote control system all set up and ready to go so even if it's going back to wired DMX you can do that or if you're using the newer things like crmx Lumen radio you can do that as well okay some practical examples here so one of the things that we're doing here and we will leave the video footage as so we're shooting with a Canon C70

I'm using the 675 FS as my key light here and we have it set to tungsten 3200

Kelvin and we are using the Cosmetic

Peach Lee gel so that's the Lee gel 184 that's the preset that we're using here so it's essentially recreating a Tungsten light with a Lee cosmetic Peach gel in front of it which can help with skin tones especially for people with really really light skin tones like my own and that's one example of the kind of thing that you can do again without having to have a bunch of gels on hand you can dial that in very easily and get some great results second practical example with the fresnel lens this lens is pretty impressive it can produce between 15 and 50 degree beam angles and it's very very low profile it's made for this particular light and the size of the emitter so it's just a perfect fit for that also the barn doors that come with it make it easy to cut the light and what we found is one of the tricks with multi-color or full spectrum lights that are point source lights as well is that you have to mix those colors so each individual emitter emits a different color lighted red green blue

Amber cyan lime but you have to mix those together to get the final output and that process of mixing is a pretty complex process you want to get it right because you need to mix the lights but you also have don't want to reduce the output too much when you're doing that and when you're using it as a hard light source it's also important to mix it in a way such that when you cut the light with for example the barn doors you don't get weird fringing at the edges like you do on some of the other lights that we've tested in the past so here on the pro light it does an amazing job it is very clean cuts and mixes the colors beautifully and then I guess the final thing I take a look at here are these features that again big deal maybe maybe not but I really love the prolock bones

Mount that they put on this they have evidently filed for a patent on it it's basically a PL mount for your Bowens light modifiers and it works really really well this is one of the biggest frustrations I've experienced with other bones Mount lights especially when you're using big soft boxes or other big modifiers it's a it can be a pain to get those on this makes it so much easier and it's much more secure and it doesn't wobble around once it is attached so they've done a really nice job on that and it also has this quick release yoke a quick release I'd say with a little bit of a tongue-in-cheek it it can be released it's not exactly quick but it is incredibly secure which I think is the more important thing but you can take it off the Yoke and this is a similar type thing that we see on the Airy Orbiter so again the this light is very similar to the area Orbiter in terms of competition and I would say also the aperture 600c

Pro so a couple of lights that are very similar to it all right there's a lot of technical details here as well I think one of the features that

I really love on this with the RGB ACL lights is you know especially this one here is that when you change the dimmer level the color temperature doesn't drift a whole bunch doesn't move all over the place and you see that on some of the other RGB lights out there this one seems far more stable and you can see here we measured at 100 50 and 25 percent and it remained within 100

Kelvin across all of those so it does a really nice job there as well of course another Pro feature that I love is the green magenta balance that you can dial in exactly as you need and there's just so many things we go on and on forever if you're interested in a very technical review I would recommend going over to new shooter Matt Allard reviewed this light and has a lot more details if you're interested in digging into those but I am hopeful that we'll start to see more and more of the features that we're seeing on this light coming in smaller lights in the future now of course prolight does have a smaller version the 300 Orion 300 and we reviewed that a little over a year ago and I think these are just getting better and better as time goes on so thank you so much prolight for allowing us to have a play around with this hope that was helpful for you if you have any questions go ahead and leave those down below and if you've not already subscribed make sure you do that and we'll be sure to get you more great videos on how to improve your Lighting and Sound for video talk to you soon [Music]