I picked up a Frezzi Micro Fill. I have a Softbox on order. Does anyone know if the Softbox will mount along with the Frezzi dichroic filter? If not, how do people to daylight balance the light with the softbox on?

Blue correction gel cut to size and placed inside the front face of the softbox. Of course you know that's going to cut your light down dramatically.

-gb-

Yup. I understand the physics. So the micro-fill softbox has something that holds the gell in place? I know the mini-fill SB does but saw nothing about the micro-fill in that regard.

Yup. I understand the physics. So the micro-fill softbox has something that holds the gell in place? I know the mini-fill SB does but saw nothing about the micro-fill in that regard.

I think it will be a roll-your-own solution. I'm looking at my AB softbox and think it would be easy to cut a square piece of blue gel to sit at the front, on the inside. I've done it with a larger 2X2 softbox and it worked ok. Maybe I need to look at a picture of the micro-fill softbox.

-gb-

Epilog: The Frezzi micro-fill and softbox arrived 18 hours before departure. For the record, the metal frame on the Softbox holds a properly cut 3"x 3" CTB gel nicely without interfering with the way the SB folds up. However, inserting or removing the gel isn't something you want to plan on doing in the field. Unfortunately, I don't think there is a field friendly solution as the SB ring does not seem to leave room for anything else to mount on the lamp such as the Frezzi dichroic filter. Bummer. It's great light.

Les:

How about a followup from three years of experience?

I just ordered the micro-fill softbox today. Do you still use yours?

Any tips or observations?

Jeff

I still use it and appreciate its engineering and design that puts a compact and low weight light on the camera and the heavy bulky battery elsewhere. I use a 4-pin XLR connector. I rarely use the Dichroic attachment because I prefer the softbox and use a gel inserted inside the cage for daylight.

It's a rugged light that I took to the Ukraine, Singapore, China and all around town here. In addition to being a mobile light, I also use it in studio to address the raccoon effect and to boost the catchlight from the key (see attached still from XL1s). The built-in dimmer makes it versatile and precise. However, at the end of the day it's only a 35w light but that's what I wanted.

I LOVE the build and light of the Frezzi but did they ever work out the deal with the screw not staying tight against the stud post screwed into the top of the camera? When I worked TV news, we couldn't keep the Frezzi's pointed forward and tight which was too bad because the dimmer was AWESOME as was the form factor. I personally bought an AntonBauer UltraLight2 for my cameras for the SOLE reason that it stays facing forward.

That is a weakness. I have to crank hard to tighten it. Securing the wire to the camera helps prevent any tugs from turning it but ya, that happens.

Thanks for the update! Good to hear there are still sensible people using tungsten balanced lights.

Well, I tried out my Micro-Fill softbox. It works well for softening, but it's cutting my beam width down even more than the already tight (30 degree flood) pattern of the Micro-Fill. For my use, I need a 2 to 3 person wide interview illumination, which the Micro-Fill is not well suited for anyway at close range.

I should have known that was to be expected. Gonna have to return the softbox.