COMMUNICATING COLOUR
camera will pick up inconsistencies.” This kind of precision requires a common language, but as Kang pointed out, “even when two lights are calibrated to the same Kelvin temperature, their spectral output can produce dramatically different results on camera.” The challenge isn’t just selecting the right fixtures but also ensuring that everyone on-set – from DOPs to gaffers to lighting programmers – understands how those lights will behave. TOOLS OF THE TRADE Fixture selection was another focal point of the discussion, with Stones noting that sustainability was a big consideration for Hijack : “We used as much LED as possible. For daylight punch through windows, we relied on the Aputure Electro Storm XT26. On-set, everything had to be full colour spectrum and ideally CRMX- capable. We needed fixtures that were not only powerful and reliable but also wireless and mobile.” For Moore, trusting his team’s decisions was paramount. “I pretty much defer to Chris on fixture selection,” he said. “It’s not just about colour accuracy any more – everything has to be practical, reliable and flexible. It used to be the Wild West with LED colour, but now, thanks to advancements in TION TION
manufacturing and spectral tuning, we’ve reached a point where the quality is consistently high across the board.” THE FUTURE OF COLOUR CONTROL As the panel wrapped up, discussion turned to the future and where lighting colour technology could be headed. One major trend is enhanced control at lower brightness levels. “We’re working at higher ISOs now, which means using less light,” Crisell commented. “The challenge is maintaining colour purity at extremely low intensities. Right now, some LED fixtures struggle to keep consistent ONE THING IS CLEAR: how we communicate colour IS AS IMPORTANT AS the technology ITSELF”
colour below 10% brightness. Fixing that would be a game changer.” Another key shift is the increasing integration of virtual production. “We’re still using LED panels that are designed for live events,” Moore noted. “But as VP advances, we’re seeing better colour matching between real-world lighting and LED walls.” It’s particularly vital when working with skin tones and naturalistic environments – areas where spectral accuracy is non-negotiable. For Kang and Aputure, the goal is to keep refining the tools that cinematographers rely on. “Education is critical,” he stressed. “You really have to understand your infrastructure – trust your monitor, trust your LUT, trust your camera. Lighting is evolving rapidly, and if you don’t stay ahead, you’re going to be left behind.” THE TAKEAWAY The seminar made one thing abundantly clear: how we communicate colour is just as important as the technology itself. As fixtures become more flexible, powerful and precise, the key to unlocking their potential lies in collaboration: bridging the gap between technical and creative teams, refining workflows and building a shared language to achieve colour accuracy – and ultimately, allowing creativity to shine.
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