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Digital Sputnik Apollo 1: Next-Level Color Quality for Filmmakers

Digital Sputnik Apollo 1: Next-Level Color Quality for Filmmakers Hey guys, Hugo here. Today, I’m diving into something pretty exciting for anyone serious about lighting—especially if you’re into high-quality, cinematic color. I’ve been testing the Digital Sputnik Apollo 1, a new, more affordable light that’s packed with some impressive tech. Let’s break down why this light stands out and why it might just be the next big thing for high-end productions. Digital Sputnik’s Legacy in High-End Productions If you’re into blockbuster films, you’ve probably already seen Digital Sputnik’s lights in action. These are the same lights used on sets like The Mandalorian, Batman, and Arrival. Big names like Greig Fraser and Bradford Young have used them, and for a good reason. Digital Sputnik lights have a reputation for producing stunning color quality, but until now, they’ve also had a hefty price tag. The Apollo 1 changes that—it’s significantly more affordable than its predecessors, without sacrificing that premium quality. Lightweight, Modular Design One thing I noticed right away is how lightweight the Apollo 1 is. With an aluminum body, it’s easy to handle, and you could even mount it on a drone for aerial shots, which opens up a ton of creative possibilities. Plus, it’s modular, meaning you can link multiple units together. Want a massive light wall? Just attach a few of these side-by-side, and you’re set. Each unit is 100 watts with a 20-degree beam angle, which I actually like because it lets you control the spread better. If you need a wider angle, you can always diffuse it to get the look you want. RGB Technology and What Makes It Unique The Apollo 1 uses RGB technology—just RGB, not RGBW like many modern lights. At first, I was skeptical. I wondered if RGB alone would be enough to produce the quality we need, especially for getting good whites. Here’s the kicker: this isn’t your average RGB. This light uses a unique approach to RGB mixing, and it shows in the results. When I tried to read the light’s CRI (Color Rendering Index) on my spectrometer, it didn’t register anything, which was surprising. I reached out to the founder of Digital Sputnik, and he explained that they didn’t design this light for CRI scores. Instead, they built it to look amazing on digital sensors, specifically catering to what cameras capture best. They’re more concerned with what the light looks like on film rather than what a spectrometer reads. This was a new concept for me, but once I saw the results, it all made sense. Comparing the Apollo 1 to Traditional High-CRI Lights To see just how different the Apollo 1 is, I compared it to my Aputure 300X, which has a high CRI score of around 96-97. Side by side, the Apollo 1’s output looked cleaner and richer. I’d describe it like comparing an 8-bit image to a 10-bit one—the colors from the Apollo 1 were more saturated, nuanced, and just felt deeper. The Aputure is a great light, but when I saw them next to each other, it looked almost “dirty” by comparison. The Apollo 1’s color quality brought out richer shades, making it feel like a truly cinematic tool. This experience made me realize that CRI, while useful, isn’t everything. The Apollo 1’s RGB system is engineered for how it appears on camera, which explains why it’s so popular in big-budget productions. The colors aren’t just accurate—they’re vibrant and dimensional, perfect for narrative work. Final Thoughts After testing it out, I get why this light is used on major film sets. It’s not just about numbers or CRI scores; it’s about how the colors come to life on screen. The Apollo 1 delivers rich, beautiful tones that feel cinematic right out of the box. For anyone looking to add a versatile, high-quality light to their kit, especially if you’re working in film, the Apollo 1 is worth checking out. My Instagram: @hugo_willl My website: www.hugowill.com