 Welcome to the Crimson Engine. My name is Rubidium. If I'm looking extra luminous today, it's because I have a new lighting setup thanks to the Digital Sputnik DS1. This is one of the most impressive, not just lights but pieces of film equipment that I've ever got my hands on. The DS system from Digital Sputnik is highly compact, incredibly powerful, able to be powered by V-mount batteries, transportable, full-color RGB LED light. This is the DS1. It's a single unit. You can also get a DS3, which is three units, or the DS6, which is six units, which has the distinction of being the most expensive LED light kit on B&H. They're not just full-color, meaning you can dial in different colors. The unit itself broadcasts its own Wi-Fi network that you can connect to with your cell phone or laptop, and you can dial in a specific color or color effect, specific brightness. These are flicker-free at every intensity, regardless of frame rate. They have advanced DMX features. You can set up a DMX network within the light or slave it to an existing network. These things have been adopted by some of the biggest names in cinematography. Fellow Australia and Greg Frasier used these as the main light on Star Wars Rogue One. They were also a primary fixture on Ghost in the Shell. They do it by being designed not necessarily for a high CRI rating but being designed for the camera sensors, being designed for the particular way that camera sensors perceive and record light. A lot of people talk about CRI as a way to measure color fidelity in lights. It is a old standard from 1939 that measures between zero and a hundred. How well a light reproduces only eight colors compared to either tungsten blackbody radiation or daylight. LED technology has certain color spikes throughout the spectrum, and what lighting manufacturers have learned to do is skew their color spectrum towards these eight particular colors which don't include red so that a light may have a really high CRI but give really poor color reproduction. There are lots of new standards emerging to replace CRI. There's a new CRI CRI plus. There's also a broadcast industry standard out of the European Union and a few other different ways but none of them are standards yet and none of them are perfect. The only way to get perfect color and to test a light is to see what it looks like on skin, see what it looks like in the environment that you're going to be shooting in, and these DS lights have been tested and found to be as good as they get. I connect the white find at work and I can turn this light to all kinds of crazy shades of red and blue but it's not just the fact that the this light will emit those colors it's that I can control very specifically which colors are being emitted and how and at what brightness. This means that I can control what my colors are looking like to a high degree of precision and do so consistently from shot to shot and from day to day. I have the unit going through a thing called a light blade at the moment which is an accessory the digital sputnik cell. It's a very small softbox that doesn't really diminish the output of the light. I've got this on less than 50% right now if I choose to and go up to 100 you're going to see a lot of emission. At three feet this light is 30,000 lux or 3,000 foot candles which is pretty much brighter than anything else on the market in the led range and really starts to rival the hmi's for output. I'm going to continue playing around with this light getting the most I can from it and discovering how you know a ridiculously high quality small unit very transportal led can be used in a whole bunch of different ways. That is my look at the digital sputnik DS1. Thanks very much for watching leave your questions in the comments and I will see you next time.