Color spectrometers are a valuable tool to confirm the quality of the lights you use on your video and film sets. In this continuation of our Color Spectrometer series, we review the Asensetek Lighting Passport spectrometers, looking at its functionality, features, and how well it takes various measurements of light.
Tag Archive for: CRI
Color spectrometers are important for testing the color quality of lights used in your video and film projects. Many common color indices — such as CRI and TLCI — only tell a small fraction of a very large picture. Without fully looking at the color quality of your lights you may find out in post that you used a low quality light for your scenes, which ended up destroying the color in your image.
This article discusses how to use the average color spectrometer, what color characteristics to look out for, how to understand all the data and graphs, and how to take the spectrometer to the next level such as comparing light from a fixture before and after adding gels like CTO, minus green, and others.
In future articles we will look at specific spectrometers — such as Sekonic C700, UPRTek CV600, Asensetek Lighting Passport Essence Pro, and Asensetek Lighting Passport Standard Pro — along with their specific features and some of their limitations.
To get the most of our LED database of 165 LED lights, we explain how to read the color spectra and understand CRI (Ra), CRI (Re), TLCI, CQS, and TM-30-15.
Aputure has done it again with two amazing lights: the tungsten balanced 1.5kW point source Light Storm COB 120t and the daylight balanced “camera mounted LED” Amaran M9. Both have VERY high CRI (Ra)/ CRI (Re) / TLCI / CQS / TM30-15 results, with some of the best R9 (saturated red) values of 160 different LEDs that we’ve tested.
Did you know that your old color meter no longer works with today’s LED lights? In this video, Ryan shows you why and what to do about it.