Welcome to Leading Lights, a special supplement from Definition exploring the latest innovations, techniques and talents shaping the future of film and television lighting.
L E A D I N G
L I G H T S
A LIGHTING SPECIAL EDITION BY DEFINITION MAGAZINE!
Introducing the inaugural Definition Lighting Excellence Awards! LIGHT YEARS AHEAD
TRICK OF THE LIGHT PRO TIPS: DAY-FOR-NIGHT SHOOT SUCCESS
DREAMI NG IN COLOUR GAFFER CHRISTOS GEORGAS ON HIS STANDOUT SCENES
THE WAY OF THE FUTURE HOW IBL IS CHANGING THE GAME FOR FILMMAKERS
Find out more about Definition magazine
WELCOME
EDITORIAL Editor in chief Nicola Foley nicolafoley@bright.uk.com
Senior staff writer Katie Kasperson Chief sub editor Matthew Winney Sub editors Zanna Buckland, Minhaj Zia Contributors Adrian Pennington, Phil Rhodes ADVERTISING Sales director Sam Scott-Smith samscott-smith@bright.uk.com 01223 499457 Sales manager Emma Stevens emmastevens@bright.uk.com 01223 499462 | +447376665779 DESIGN Design director Andy Jennings Magazine design manager
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W elcome to Leading Lights, a special supplement from Definition exploring the latest innovations, techniques and talents shaping the future of film and television lighting. First up, we’re delighted to introduce the inaugural Definition Lighting Excellence Awards, a celebration of technical brilliance and individual creativity. From the reader-voted Star Gaffer award to industry-leading breakthroughs in panel lights, weatherproof fixtures and colour technology, these accolades honour best- in-class products and services, as well as the visionaries driving the lighting industry ever forward. Elsewhere, gaffer Christos Georgas reflects on his career, breaking down standout scenes from Peaky Blinders and Electric Dreams , plus we examine innovations like IBL – proof that new tech isn’t all about flashy tools, but ushering in fresh perspectives on the craft of cinematography itself. Adrian Pennington explores the difficulties faced when lighting day for night, balancing ambition with cost and logistics, while Phil Rhodes assesses the pursuit of colour-perfect, user-friendly lighting – could 2025 be the year it all comes together? Also inside the issue, Aputure’s Tim Kang and ARRI’s Dr Raphael Kiesel share their insights on the sector’s biggest innovations and challenges. Enjoy! THE CHARGE OF THE LIGHT BRIGADE
Lucy Woolcomb Junior designer
Hedzlynn Kamaruzzaman Ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck
Definition: Leading Lights , produced by Bright Publishing Ltd in 2025, presents information provided by companies and writers in good faith. Bright assumes no liability for errors or omissions.
04 AWARDS Which companies came out on top in our all-new awards? Dive in to find out! 12 IN CONVERSATION ARRI and Aputure experts discuss burgeoning innovations and solving common pain points
18 DREAMING IN COLOUR Renowned gaffer Christos Georgas zooms in on his lighting approach to some key scenes 20 PAINTING WITH LIGHT Adrian Pennington explores how image- based lighting is rewriting the rulebook 22 DAY FOR NIGHT We explore how to light nighttime scenes effectively in the fullness of day 28 BRIGHT IDEAS Are we closer to achieving colour accuracy than ever before? Phil Rhodes investigates
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ON THE COVER Image courtesy of Aputure
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T hese unique accolades celebrate both technical innovation and individual talent, recognising best-in-class products and services, as well as the visionaries driving the lighting industry forward. From Star Gaffer – a reader-voted prize given to the brightest spark in the game – to companies blazing a trail in panel lights, weatherproof fixtures, colour technology and more, dive into our coverage to discover the extraordinary contributions and groundbreaking achievements of our amazing winners!
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RENTAL Special recognition Universal Production Services With the latest in cutting-edge set lighting, combined with a large inventory of rigging equipment, transportation and experienced customer service, Universal Production Services provides a seamless filming and rental experience for features, TV dramas, commercials and other video productions. With a rich background spanning more than a century, Universal has locations across North America and Europe – including Los Angeles, New York, Atlanta and London – supplying a global network of studios and projects both big and small. Today, Universal is the exclusive lighting and rigging equipment supplier for Sky Studios Elstree, the UK’s newest state-of-the-art film and TV studio that’s home to 2024 blockbusters Wicked and Paddington in Peru . The team knows each production is different and uses its expertise to find the right kit for the project at hand, whether that’s an array of LED lights or chain motors and trusses. Besides lighting, rigging, grip, costumes and props, Universal offers sound stage availability, exterior filming locations, support spaces, reliable transport and a full-service graphics shop. The Universal team considers itself solution-orientated, taking a holistic, individualised approach to rental. Taking each project all the way from point A to B, each specialist is knowledgeable in their area and accessible throughout the production process, available to help with installation and operation, answering any questions along the way. “We greatly appreciate this honour,” says Rob Garvie, director of Universal Production Services UK. “With a dedicated team of industry professionals supplying the best in state-of-the-art technology, we are proud to support the creative community on stages and on location.” Honourable mentions Sunbelt Rentals Sunbelt is a leader in all things equipment rental, offering hire of a huge array of kit. Its film and TV production team provides an expert crew from prep through post, and its new Wembley hub is a game changer, with 180,000 sq ft packed with
everything from camera and lens testing spaces to a viewing theatre and a variety of sustainable equipment options. ARRI Rental Part of the wider ARRI ecosystem, ARRI Rental has 100+ years of industry experience under its belt. With facilities in North America and Europe, the group offers gear from its own in-house brand – often developed in collaboration with leading filmmakers – as well as from external suppliers. Panalux A subset of Panavision, Panalux focuses solely on film lighting and power. From LED panels to tungsten lamps and everything in between, the company’s vast inventory can support productions of all scales, ensuring that DOPs, gaffers and other crew members have what they need to succeed. Since the mid-2000s, Astera has manufactured battery-powered, remote-controlled LED lights – and these days its products are also 100% wireless. A company that embodies an innovative spirit, Astera strives to produce sustainable tools that elevate cinematic lighting, and QuikSpot is its latest product to do so. A versatile uplight that can function as a zoomable fresnel, QuikSpot combines portability and precision in one neat package. With an optimised runtime of 4.5 hours at maximum output, and rapid SPOTLIGHTS Special recognition Astera
charging via Astera’s Charging Plate, the light can hold power throughout the entirety of a shoot. Whether controlled through the AsteraApp, a remote or a standard controller, gaffers can adjust QuikSpot’s beam angle – which ranges from anywhere between 13 and 60° – in whichever way is most intuitive. “Astera’s QuikSpot redefines what a compact spotlight can achieve, offering unmatched flexibility and performance for creative professionals in any setting,” writes Ben Díaz, head of product management. Informed by industry feedback, and representing a delicate balance of German design and utility, QuikSpot is tailored to filmmakers’ evolving needs. Special recognition Nanlite A company dedicated to the user experience, Nanlite offers a range of cine lighting solutions that inspire, including a range of LED spotlights and monolights. Each product is affordable and compact, without compromising colour accuracy, output, versatility or usability – making them an ideal choice for filmmakers with slightly smaller budgets. Ranging in size, power and price, Nanlite’s spotlights are built to last and impressively bright. Each fixture features control via Bluetooth and the Nanlink mobile app, an OLED screen and an intuitive on-board interface, though they differ in how they’re powered – by AC or battery. For instance, its best-selling monolight, the FS-300B, is a bicolour lamp with an average CRI of 96 and a temperature range of 2700-6500K. Plus, it’s meant for both beginners and industry vets, in line with Nanlite’s commitment to accessibility. The company is proactively minimising its environmental impact by using eco-friendly materials and reducing plastic packaging. Honourable mentions ARRI A chameleon of an LED spotlight, the ARRI Orbiter is a versatile device that can transform into various types of lamphead, from fresnel to open face. With easy installation, a powerful operating system and the ARRI Spectra light engine in tow, the Orbiter is a one-of-a-kind piece of kit with infinite possibilities.
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VELVET A compact, colour-tunable fresnel, VELVET’s KOSMOS light promises simple operation with both local and wireless control, including a motorised zoom and remote beam angle adjustment, as well as the best lux-watt ratio currently on the market – in line with VELVET’s commitment to energy efficiency. PANELS Special recognition Litepanels Self-described as the ‘original pioneer in LED panel lighting’ for film and TV, Litepanels has certainly made a name for itself. Besides elevating the production industry, Litepanels has even travelled out of this world by illuminating the ISS. Back on Earth, Litepanels’ Gemini RGBWW LEDs were used on Wicked , lighting the wonderful (fictional) world of Oz, from the Forbidden Forest to the Throne Room. Using over 800 Gemini 2x1 Hard lights, which were rigged across several sound stages, the Wicked crew selected these Litepanels products for their overall quality, colour accuracy, smooth low-end dimming and precise control. Plus, they successfully produced various types of light, from soft, diffused spacelight to background illumination. Litepanels’ Gemini series – which includes the 2x1 Hard as well as 2x1 Soft, 1x1 Hard and 1x1 Soft – is known for its
lightweight design yet intense output. The Gemini 1x1 Hard is the most powerful RGBWW LED of its class, while the 2x1 Hard boasts unparalleled brightness, delivering up to 23,000 lux. Each panel also promises industrial-grade strength alongside an impressively long product life. Special recognition Nanlite Nanlite now offers six collections of LED panels: the Alien, PavoSlim, Compac Bicolour, Compac Daylight, MixPanel and LumiPad. Like its other product lines, the panels are high quality in construction, colour accuracy and versatility – and available at a reasonable cost. Plus, each has a high CRI and TLCI rating, so filmmakers can achieve their desired lighting effects in camera. The Alien 300C, for instance, is Nanlite’s RGBWW LED that’s brighter and lighter than you’d expect. It boasts quick set-up and tear-down thanks in part to its pop- up softbox, and comes with a rain cover to encourage use in inclement outdoor environments. With five ways to control it, via on-board controls, CRMX LumenRadio, DMX/RDM, Bluetooth or 2.5G, the Alien 300C suits any workflow scenario. Elsewhere, the Nanlite PavoSlims promise unprecedented speed and output from an ultra-thin panel; the Compacs provide flattering, soft light via a compact body; the MixPanels offer versatility in both light shape and colour; and the LumiPads create a flattering glow
for its subjects. In other words, whatever the desired effect, Nanlite can do it. Honourable mentions ARRI A modular system with soft and hard light technology, the ARRI SkyPanel X is an all- weather LED solution that’s both durable and innovative. With a high lumen output and flicker-free low-end dimming, plus a rounded beam that’s great for bouncing when used as a hard light, the SkyPanel X gives gaffers the best of both worlds. Creamsource The all-powerful Vortex24 builds on Creamsource’s lower-wattage LED fixtures, boasting 24 pixel zones, 1950W and the company’s own colour management system – all within a compact shell. With precise control and a 20° beam that packs a punch, this panel works well even in the most demanding circumstances. ACCESSORIES Special recognition Astera Don’t be fooled by its appearance; the Astera LunaBulb looks like a normal light but acts like a professional luminaire. A versatile little unit that blends nostalgic aesthetics with modern technology, the LunaBulb will prove a useful addition to any filmmaker’s arsenal.
Exceptional Lighting in a TV Series: Griselda (Netflix, 2024) PEOPLE & PROJECTS
W hen it comes to fantastic lighting on a TV series, the hit 2024 Netflix series Griselda came out on top with our readers. Inspired by the life of cocaine queen-pin Griselda Blanco, this drop- dead-gorgeous series blends seventies glamour with gruesome gang warfare. The lighting plays a key role in bringing the gritty Miami underworld to life and – under the skilled direction of gaffer Cooper Donaldson – captures the era’s aesthetics and enhances the emotional layers of the story. Donaldson, alongside DOP Armando
Salas and director Andrés Baiz, creates a visual atmosphere where light and shadow are narrative tools: as one Def reader put it, it truly ‘feels as though the light is part of the storytelling’. From the warm, nostalgic hues of Griselda’s past to the cool, intense tones of her violent present, the lighting shifts seamlessly to reflect the antiheroine’s evolution. A standout includes the sequin haze of the Mutiny nightclub, shot inside a ballroom in Long Beach. The team deployed a 20x20ft stained-glass Translite ceiling, Cineo
ladder lights and a blend of modern and legacy fixtures, resulting in an immersive atmosphere that nails the period look.
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B lending naturalism with theatrical flair, the lighting in Poor Things plays a crucial role in bringing such a whimsical world to life. To capture the film’s surreal aesthetic, gaffers Andy Cole and Gromek Molnar Jr used a blend of practical lights and fixtures including ARRIMAX 18ks, SkyPanel S60s and BrikLoks. The 18ks, combined with CTO filters, were especially useful in creating the dreamlike Lisbon scenes. They also utilised SkyPanels to craft the film’s signature candy-coloured palette and achieve subtle colour temperature adjustments. The team faced unique dilemmas such as balancing set lighting with the powerful LED wall on the ship set, where 100 SkyPanels helped create the perfect lighting intensity. The meticulous Though successful as a stand-alone light, LunaBulb is bolstered by Astera’s LunaBulb Accessory Kit, which includes four reflectors, diffusers, lenses and snoots – as well as four LunaShades. Inspired by DOP James Friend, these shades only cover half the bulb, allowing filmmakers to further manipulate their source. “The LunaBulb Accessory Kit is a testament to Astera’s ability to merge timeless design with advanced functionality, empowering users to achieve beautiful and impactful lighting,” writes the company’s head of product management Ben Díaz. Besides the LunaBulb kit, Astera offers a variety of items for rigging, charging, shaping, controlling and transporting its lights, ensuring that there’s always an innovative solution to the creative challenge at hand. Honourable mentions DoPchoice Founded by cinematographer Stefan Karle, DoPchoice has contributed more than its fair share to the lighting accessory market. From snappable soft boxes and frames to grids and mounts, the company is known for its masterful
‘light-shaping’ gear, and its products are compatible with most major brands. Lightbridge All available with lifelong product support, Lightbridge accessories are made to last. From tabletop essentials like the T-Wheel, to Snapbridge Color Bounce reflectors (made in tandem with DoPchoice), each gadget goes the extra mile to guarantee only the best cine lighting. Dedolight An established name in cine lighting, Dedolight’s reputation precedes it. Hard to fit in one category, we’ve recognised the brand for its lighting accessories, which often come in kits but also include individual items like gels, filters, stands, batteries, barndoors and much more. WEATHERPROOF Special recognition Litepanels Besides its exceptional RGBWW offerings, Litepanels also manufactures bicolour and miniature panels (as well as
accessories) which excel in extreme weather. In this area, the Astra IP LEDs stand out above the pack. Litepanels’ Astra IP is a bicolour LED with an IP65 rating, built to withstand the most unrelenting environments all while meeting aesthetic demands. While the Astra IPs may be best for live video broadcasts, they can also benefit filmmakers working under less-than- ideal conditions. Promising to light any location, they can even go off the grid with the option to add V-Mount, Gold Mount or BP-U weatherproof battery brackets in single size or dual. Meanwhile, the Brick bicolour mini LED offers the same IP65 rating, good to go in rain, snow or sleet. Plus, all Litepanels products come with a warranty (length depending on the individual item), so you’re insured even if something goes wrong. With Litepanels, weather doesn’t have to pose a problem. Honourable mentions Aputure Aputure’s Electro Storm family features the company’s most robust products, spanning point source lamps to fresnels, motorised yokes, reflectors and more. Built to be tough, Electro Storm fixtures can handle the most adverse weather conditions, being the brightest lights in their class without compromising on colour quality. Nanlite Encouraging outdoor use in inclement weather, Nanlite offers waterproof bags and casings for select pixel tubes and LED panels, as well as IP54-rated battery packs. Handy for when stuck in the rain, these housings also enable underwater use at up to 10m of depth. LED PROCESSING Special recognition Brompton Technology Founded in 2011, Brompton Technology has since established itself firmly as an industry leader in LED processing. Having won awards for its flagship processor, the Tessera SX40, and more recently picking up a Guinness World Record, the company has been at the forefront of innovation since its very beginning.
Exceptional Lighting in a Film: Poor Things (2024) PEOPLE & PROJECTS
planning involved virtual set walks and close collaboration with the VFX team to ensure seamless integration of painted backgrounds. Using SkyPanel S60s with Chimera attachments, powered by batteries to avoid visible cables, was a key aspect of lighting the actors. Well done to all involved for bringing the wacky world of Poor Things to life.
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Rosco Rosco’s DMG lights boast exceptional colour mixing and control thanks to the company’s patented MIX technology, which combines red, green, blue, amber, lime and white. For simulating everything from car headlights to candlelight, the DMG line-up can mimic almost any colour or fixture, all while beautifully preserving skin tones. Fiilex Fiilex’s COLOR LEDs are bright punch lights which use the company’s Dense Matrix LED technology to unlock a new standard in colour quality and optical versatility. Suited to almost any environment, these products promise smooth dimming, precise control and convenient user customisation thanks to their swappable lenses. SUSTAINABILITY Greenkit It’s all in the name; Greenkit specialises in providing energy-efficient fixtures and concerns itself with shaping the future of film lighting. Helping to enable more sustainable filmmaking practices, Greenkit’s lights are not only more environmentally friendly but also less expensive to run and often incredibly portable, making them an obvious choice for today’s eco-minded creatives. Panavision Panavision – and Panalux by extension – is completely committed to creating a greener production industry through innovative, eco-friendly solutions. This is true whether it’s with energy-efficient LEDs or emission-free generators. Even its hybrid generator, the 40kW Power h40, only engages its diesel engine when recharging its battery array. Universal Production Services Universal prioritises environmental practices, stocking the latest, most energy-efficient LEDs as well as a range of battery-powered products. Its entire fleet of generator carrier vehicles also runs on hydrotreated vegetable oil (HVO) fuel, which significantly reduces emissions when compared to traditional fossil diesel.
ROE Visual One of the best-known brands in LED displays, ROE Visual is well poised for the future of virtual production (and has been there since the start; its Black Pearl panels were used on The Mandalorian ). ROE’s comprehensive product range suits a variety of VP scenarios, including those requiring an LED floor. Rosco With 109 years of industry expertise, Rosco has established itself as a lighting innovator. Throughout the continued rise of virtual production, Rosco has fit right in, offering both the SoftDrop customisable backdrop as well as the Chroma Key System, which creates a seamless VP space from floor to ceiling. Quasar Science Quasar’s Rainbow linear LEDs were purposefully designed for image-based lighting – a vital element of VP. Powerful sources which occupy little space, each light boasts vibrancy, intensity and realism above all else. COLOUR TECH Special recognition Aputure Aputure’s R&D team has been working tirelessly to develop innovative, industry- leading lighting and colour technology. Its latest achievement is the BLAIR-CG light engine (found in the Storm 80c and 1000c), which excels in matching existing colours from gels/other artificial sources.
Virtual production and in-camera VFX is one of many applications in which Brompton has excelled. Its LED processors stand out for their colour quality, made possible with the company’s TrueLight technology – a revolutionary innovation for skin tone preservation. This software is fundamental to the virtual filmmaking process, as it enables realistic lighting and reflections inside an LED volume. Perhaps most crucially, it offers creative flexibility when lighting a film set, thanks in large part to Brompton’s Dynamic Calibration, which maintains uniformity, colour accuracy, saturation and brightness when calibrating LED panels. No matter what might come next for the production industry, Brompton Technology will likely be one step ahead. LIGHTING FOR VP CHAUVET Professional A Kino Flo brand, CHAUVET Professional provides LED displays – among a vast inventory of other lighting products. The REM MIRA , REM 3IP and REM 1 are the latest additions, while the MT-07 is a new tool for easy panel installation and removal. MARS Volume MARS Volume is more than lighting; it’s a full VP solution that blends game engines, tracking technology, graphics servers and – of course – LED displays. Its London facility features a curved LED wall and 176 sq m ceiling, designed to hold vehicles for simulated travel – and to light these scenes seamlessly.
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PEOPLE & PROJECTS
Star Gaffer: David Smith
OUTSTANDING CONTRIBUTION Aputure
EDUCATION & TRAINING Special recognition CVP
all of its products,” argues Ted Sim, the company’s co-founder and president. Its latest inventions – the BLAIR and BLAIR-CG light engines – “represent Aputure’s two first monumental steps in truly matching the spectrum of traditional light sources,” according to Mitch Gross, director of product marketing. It seems like we’re entering a new phase of cine lighting, and we’re eager to see what Aputure does next. playful ways, heavily referencing the original Oz books, and treating the audience to some truly stunning spectacles which have already earned a place in the cinematic canon. Our voters praised Smith’s meticulous attention to detail, forward planning and collaborative skills, as well as the incredible talent and vision it took to light Wicked ’s vast sets. As one reader put it: “To plan, action and light 15 stages and three outdoor sets bigger than any others in the UK needs acknowledgement!” C ongratulations to David Smith, whose stellar work lighting movies earned him a clutch of nominations for our Star Gaffer award. His CV ranges from Bond to Star Wars , but it was his recent stint on the blockbusting Wicked which piqued the attention of many, and led to he and DOP Alice Brooks earning the Creative Synergy award at last year’s prestigious Manaki Brothers Film Festival. The film uses light and colour in
Since 2005, Aputure has been leading the charge in LED film lighting, and we’re pleased to recognise the company for its outstanding contribution to the industry as a whole. As filmmaking has evolved exponentially, Aputure has kept pace, continuing to offer innovative solutions in the form of lighting software, fixtures and control technologies. “LED lighting is now approaching a 1:1 match between image-based concepts of lighting in artists’ minds to the physical reality on film sets,” explains Brandon Le, head of product development at Aputure. The future of film lighting is here and there is a real thirst for authenticity; for what we see on screen to mimic colour and light in real life. This is only possible with a true replication of traditional tangible sources, whether it’s sunlight, a flickering flame or a tungsten lamp, and this requires engineering expertise. “LEDs can now practically create the actual physical basis of colour,” says Tim Kang, principal engineer for imaging applications. “This is a huge leap in lighting technology.” Aputure excels in this area, blending science with art and knowing what the film industry needs before it has even been articulated. “Many other companies simply try to provide the lowest price at the bare minimum functionality; Aputure instead leads the industry by providing the highest possible technical quality and features with a keen focus on a filmmaker-based design philosophy for
There’s no one like CVP when it comes to education and accessibility, which is why we have no choice but to recognise it for excellence in this area. From launching the annual Education Festival to offering a slew of training courses at its various locations around the UK and Europe, the company expertly links academia and industry. CVP also possesses this same scholastic spirit in its daily operations, with a knowledgeable team that truly exists to serve its customers. Founded in 2023, the Education Festival has quickly become a once- yearly opportunity for attendees of all ages and experience levels to learn new skills, whether it be the latest lighting tricks or other equipment innovations. In the interest of accessibility, the free event also includes expert-led seminars, interactive workshops and hands-on demonstrations held across four CVP locations. Marketed largely to educational institutions and their students, attendees come away inspired and prepared for a career in production. CVP injects this experiential approach into its entire business model, with dedicated spaces – like its two London showrooms – for creative experimentation and product testing. Whether you’re in the market or have already made a purchase, the CVP team can advise on project-specific kit as well as general know-how. In short, if you are looking to learn, CVP’s doors will always be open.
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IN CONVERSATION
Tim Kang, principal engineer for imaging applications at Aputure, and Dr Raphael Kiesel, senior vice president at ARRI Group, give their takes on burgeoning innovations, common hurdles and what the future holds
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Definition: What innovation or burgeoning trend in lighting excites you most right now, and how do you see it transforming workflows or creative possibilities? Raphael Kiesel: It’s been very exciting to follow recent advances in LED emitter and cooling technology. This is making it possible to scale up into the medium- and even high-wattage tungsten and HMI equivalent space. The replacement of conventional light sources with LED has led to significantly more creative flexibility. Access to different colours and effects has been greatly simplified. Laser-based light could lead to another leap in development. Unfortunately, the technology is still in its infancy. Tim Kang: The transition from RGB colour to truly full-spectrum matches for lighting has finally arrived with
Aputure’s STORM series. This opens the door to straightforward What You See Is What You Get (WYSIWYG) lighting colour workflows that are similar to the traditional methods of adding lighting gels to full-spectrum white light. It also continues to provide the flexibility and dynamic image-based colour controls that RGB colour lighting promised but previously failed to fully deliver. These technological advances completely connect images and ideas to lighting environments. Def: What are the most significant challenges or pain points you encounter in your field, and how are you/the industry addressing them? TK: Apart from company-specific product challenges, industry-wide agreement still doesn’t exist on the definition of white light, coloured light or the means to effectively control both these variations. I experienced a competitor rejecting my recommendation to use the white light colour conventions recognised and specified by the American Society of Cinematographers Motion Imaging Technology Council (ASC MITC), due to their perceived – but misguided – conflation of these standards with Aputure’s product calibration standards. However, patient education of filmmakers about these standards has started to erode suspicion and distrust from other manufacturers, since the adoption of fundamental and brand- agnostic specifications has improved colour workflows and fidelity for the craft of cinematography. RK: The television and film lighting market has seen dramatic periods of growth and contraction in the last few years. Vendors and manufacturers have to be flexible and ready to ramp up in times of growth. We also have to focus more than ever on proper market research so that we can reduce risk and create the correct products during times of contraction. Furthermore, due to the cost pressure, the film industry has to keep asking itself how it can further optimise its workflows on-set. And, as manufacturers, we have to develop products that support them in this endeavour.
Tim Kang Principal engineer for imaging applications, Aputure
Dr Raphael Kiesel Senior vice president, ARRI Group
Def: With sustainability a growing priority in production, what advancements or practices in lighting tech are contributing to more environmentally friendly filmmaking? TK: Though energy requirements have removed energy-inefficient incandescent lighting from normal practice, they have also removed the sustainable practice of only replacing incandescent bulbs within fixtures that last for decades. In contrast, LED fixtures inherently have shorter shelf lives due to more complex computing and electronic controls, so shorter component lifespans often drastically reduce fixture lifespans. To increase the sustainability of these fixtures, having manufacturers design them with easily replaceable and recyclable lighting engines, driver boards and electrical components will drastically reduce waste and increase the lifespan of LED lighting products. RK: There are many reasons that customers and vendors alike have embraced LED lighting tech. In addition to the creative freedom granted by LED fixtures, the industry has been happy
PANEL SHOW The ARRI SkyPanel S60 Pro is packed full of the company’s latest technology, including the new Digital Twin
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to embrace the energy savings and lack of hazardous material disposal that comes with discharge lamps. Furthermore, ARRI products are designed for durability and repairability to ensure the longest possible device life. Def: How do you see the relationship between lighting manufacturers, DOPs and production teams evolving? Are there areas where collaboration could improve? TK: Lighting manufacturers are gaining more access than ever to their target audiences – like cinematographers – through social media, professional societies like the International Cinema Lighting Society (ICLS) and other kinds of internet-based communities. This ongoing communication has created mutual awareness of customer needs and led to more responsive iterations of lighting products that previously took significantly longer to realise. This valuable collaboration has the potential to improve, with a clearer, shared lighting language commonly used by all parties. LIGHTING TECHNOLOGY AND SOFTWARE have evolved TO EMPLOY image-based lighting ”
TRUE COLOURS Aputure’s STORM 1000c features the powerful new BLAIR-CG light engine
RK: In the past ten to 15 years, we’ve seen the transition from film to digital and from tungsten to LED. In both cases, this means projects with lower budgets can achieve results previously out of reach. It also means our customer base is much more spread out, both in terms of geography and budget. The importance of listening to our customers has not changed, but the variety of perspectives has grown. To that end, there is always room for us manufacturers to improve at talking with and understanding the needs of our customers. It’s truly a continuous practice. To our customers, please keep sending us your feedback. We need to hear your voice! Def: What is one feature or capability your clients most frequently request – and how does it shape your R&D priorities? RK: Within the cine market, wireless connectivity has quickly become a requirement. At the same time, price points have become more sensitive. We have a fixed cost with the inclusion of wireless capability, so we have to work to avoid unnecessary costs in other aspects of the product. We have to
make sure every aspect of our products is creating value for our customers. TK: Ease of service has recently dominated Aputure’s feature requests. This feature completely transforms and shapes physical and software product research, as well as development, to make easy service possible. Def: As the boundaries between physical and virtual production blur, how is lighting tech adapting to serve hybrid workflows? RK: This is something we’ve been focusing on quite a bit over the last few years. One of the results is our Digital Twins. These are exact replicas of our lights in the Unreal Engine. The photometric behaviour and physicality are exactly the same as the real fixtures. This means crews can use the exact same fixtures on their virtual set and their practical set. TK: Lighting tech and software have now evolved to employ image-based lighting (IBL), which offers more dynamic or realistic lighting controls at simple and complex levels alike. For the first time, these IBL fixtures have given lighting
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technicians the same post-production tools as post-production departments. This new era of sophisticated lighting controls has only just begun. Def: Looking ahead five to ten years, what does the future hold for lighting technology in film production? What advancements are you most eager to see, or what untapped potential are you hoping to explore ? TK: IBL workflows will simplify in scale for the common user due to advancements in compatibility and standardisation of full-spectrum colour control. Lighting control will both grow more robust and simplify with the adoption of common colour and white light standards; and synchronised lighting timing standards will reduce control errors or unexpected colour problems in camera. RK: One can expect the trend of increasing LED wattages to continue. It’s hard to imagine anything replacing a 9K,
IT’S HARD TO IMAGINE ANYTHING REPLACING A 9K, 12K or 18K HMI, BUTWHO KNOWS?”
12K or 18K HMI, but who knows what the future holds? There’s also a lot of room to grow in terms of connectivity and communication, both between fixture and console, and also between fixture and camera. Furthermore, the question naturally arises as to how much AI will influence film productions, and whether there will be a kind of counter-movement and a return to traditional methods such as analogue cameras or conventional lighting technology.
NEXT GENERATION ARRI’s range of L-Series Plus fresnels (left); Aputure’s STORM 80c LED (above)
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DREAMING IN WORDS Katie Kasperson
Gaffer Christos Georgas details his career, zooming in on standout scenes from Peaky Blinders and sci-fi series Electric Dreams
A s gaffer on projects like Blue Jean , Top Boy , Peaky Blinders , Black Mirror and more, Christos Georgas has enjoyed a lengthy career in production thus far. He first studied cinematography in Greece – his home country – later moving to London, where he chose to instead pursue a career in lighting. “I progressed quickly,” he admits, working alongside cinematographers like Rob Hardy, ASC, BSC, Christopher Ross, BSC, Sam McCurdy, ASC, BSC and long- time collaborator Felix Wiedemann, BSC. While he’s got many celebrated titles to his name, Georgas’ favourite scene is in The Hood Maker , the first episode of Amazon’s anthology series Electric Dreams . Adapted from a 1955 short
story by Philip K Dick, the episode is set in a dystopian future with a telepathic subculture. The plot follows a telepath and a detective as they investigate the emergence of mysterious hoods that block telepathic abilities. During a demonstration, Georgas explains, “they end up at the hood factory, where a fire breaks out. They find themselves on either side of a door, where they share an emotional exchange through a letterbox. “The camera and cast were in very close proximity, but we needed to expose their faces, which were two inches from the door,” Georgas continues. For this, he used the ETC Source Four Zoom 25-50° – “my favourite light,” he adds, due to its versatility. With it, he bounced a sliver of
light on a piece of unbleached muslin that he’d stuck to the door. “The soft, reflected light illuminated their faces and provided an effective eye light that captured the emotional weight of the moment,” he concludes, adding: “It’s my favourite scene I’ve ever lit.” Besides the Source Four light, Georgas also touts the LiteGear LiteMat range and Astera HydraPanel, “which are fantastic,” he enthuses. Georgas’ training in cinematography and his years of lighting experience have taught him how to communicate with DOPs and establish a common visual language that can be translated across the crew. “DOPs create theirs through the camera; I create mine by working closely with DOPs while lighting. One of the main elements, for me, is to be versatile and adapt,” he says. On Peaky Blinders , for instance, Georgas collaborated with DOP Mathieu Plainfossé, with whom he “pushed the creative elements of lighting because it was the last season. We wanted to go out with a bang.” His second-favourite scene comes from the series finale –
GEORGAS URGES YOUNG PEOPLE not to take one ‘no’ too seriously ”
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THE HIGHLIGHT REEL Pictured scenes from Electric Dreams (below) and Peaky Blinders (left) were some of Georgas’ favourite to light
specifically the night exteriors outside The Garrison Tavern, where a gun fight takes place. “Mathieu and I deployed Dino 24 Lites and 12kW fresnels to penetrate the atmos SFX that had been pumped onto the set. With around 50 practicals, we set the tone for the finale – of the season and the series.” Now approaching his fifties, Georgas feels like he’s entering a new phase. “I’ve already had quite a long career and a steep learning curve. I recently archived all the films and TV series I’ve done so far, which made me realise how much I’ve learnt and am still learning,” he laughs. He recently wrapped an American independent film, and is in talks to become an ETC ambassador in 2025. While Georgas might not have regrets per se, he occasionally wonders what his life would have been like if he’d pursued cinematography instead. “I had a choice to make in my early twenties: am I going to carry on in the lighting department or become a cinematographer?” he recalls. “I applied for the National Film and Television School and wasn’t accepted, so I took that as gospel. I wouldn’t
say I gave up the dream of being a cinematographer – you never know what might happen further down the line. “I continued working in the lighting department, which – although it’s been amazing – is a very different dream,” he shares, urging young people not to take
one ‘no’ too seriously. Regardless, he’s proud of his portfolio and eager to see what comes next. “It’s the beginning of a new journey – for me to take initiative, present more of myself and my work and maybe find a way to transfer that knowledge. It’s a very exciting time!”
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LIGHTING SPECIAL
WORDS Adrian Pennington
The most recent advancements in lighting tech are not just new toys, but fundamental philosophies and perspectives on the craft
T he concept of image-based lighting (IBL) is simple: lighting using images. It’s a well- established virtual lighting technique that uses calibrated photographic or videographic RGB colour information to generate subject and environment lighting. Virtual production popularised IBL as a method for motivating light with LED displays, but it’s becoming a more mainstream part of the cinematographer’s arsenal. “There’s rarely a case in which you can’t use it any more,” explains Tim Kang, principal engineer in imaging applications for lighting vendor Aputure.
IBL uses images displayed on LED set lights to produce realistic reflections and ambient lighting in a scene. It gives the cinematographer subtle lighting effects that help make objects appear as though they naturally belong in a given environment. The three main benefits are accuracy, time saving and much more control. “The biggest one for me is control,” says Kang. “We’ve been chasing naturalism in lighting for around 100 years, but we’re only able to approximate an image of the real world. “With IBL, you can get the naturalism you want and then control the variables and fix them much more directly. The
problem is that people still associate this concept with an incredibly niche, expensive LED environment, when in fact IBL is a fundamental lighting philosophy. It involves using any kind of image – like a pattern painted live or a light card – as a lighting source. It also utilises a lighting control methodology that employs an entire environment of lighting fixtures – not merely displays – to generate IBL onto a scene.” There are now clear technical steps for transforming lighting fixtures into colour-accurate and video-driven lighting pixels. This is why Kang believes the entire craft of entertainment lighting
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LIGHTING SPECIAL
SOLAR APPOSITE By sourcing colour from reference images, set lights can more closely replicate true tones such as sunlight
can formally shift its mindset from pixel mapping as a live entertainment effect towards physically – and accurately – executing creatively intentional lighting environments and concepts. “It isn’t very complicated, as long as you’ve got a simple software package and a lighting fixture that understands how to correctly interpret the values. Then it’s just a matter of plug and play. You load the fixture up in your software. You load in your content. You play back the light. “To enable this, you need to have good data coming in and good data going out. You also need to have the right physics tied to that data.” Aputure has now released tools that take Ethernet data from a video source containing RGB information, translate it into DMX data for lighting control and output that data to all your lights. “Before this, it was extremely expensive. Now, IBL is much more accessible,” Kang says. Light fixtures need to be fully calibrated so that you have got the best spectrum coming out of it for any colour value you throw at it. “If you want to use a shade of light that’s kind of a cool moonlight, you’re not going to just use red, green and blue diodes alone to simulate that colour. You need to output as much spectrum that
software like Assimilate Live FX Studio to manage and interpret the video to the correct colour values. What differentiates IBL from pixel mapping is not only granular control, but the ability to accurately dial in colour that dynamically matches video environments. “While lighting technicians in the event lighting industry only ever need to create the suggestion of a colour (on the stage or a performer), what IBL gives cinematographers is an accurate interpretation of colour space. “You can use Photoshop-style tools to literally paint onto your fixtures. You can set it to a certain shade of green and instantly see that exact green on-set. You can even use colour grading tools to adjust each fixture’s hue and trim. “The fact that colour can be painted on fixtures is an absolute dream for gaffers and cinematographers. Most of them see themselves as painters of light. Being able to paint light onto fixtures, as well as change and reset shades and hues, is the ultimate iteration of that. “That immediacy and granularity is distinct from pixel mapping,” Kang concludes. We have now entered the territory of expression: it’s immediate, it’s dynamic, it’s responsive and that’s what you need in a hectic set environment. IBL really is the future.”
matches real moonlight as possible.” The company offers a fixture that is fully tunable for white and incorporates an element of the spectrum that matches daylight sources for more consistent colour responses across all cameras. “Because camera sensors are designed for standard white light (for accurate colour fidelity), the closer you can match the physics of white light, the fewer problems you’ll have in post. It’s as simple as that.” Each calibrated light fixture has to understand video inputs. One way to do this is to control the lights with a DMX profile. Alternatively, you could use a WITH IBL, YOU CAN GET the naturalism you want AND THEN CONTROL the variables ”
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LIGHTING SPECIAL
SHOOTING DAY FOR NIGHT Lighting a night exterior can be costly, logistically clumsy and restrictive for vistas – but the alternative remains creatively precarious, says Adrian Pennington
S hooting day for night is as old as the hills in filmmaking terms, although its use has diminished as the light sensitivity of digital cameras has improved. However, you don’t need a large budget or top-of-the- line equipment to shoot night scenes.
Shooting day for night is both a practical and effective way to go. “Lighting is always about control,” says gaffer Julian White ( The Martian , The Midnight Sky , Murder on the Orient Express ). “Whenever we are scouting for night exteriors, someone will propose day
for night; everybody initially thinks it’s a good idea, but it’s actually risky because you’re at the behest of the weather. “If you are shooting outdoors in an open landscape day for night, you need continuous sun; otherwise, your light values will keep going up and down.
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DARK BY DESIGN Stills from True Detective: Night Country highlight the power of carefully balanced light and shadow; Julian White on- set (below)
EVERYBODY INITIALLY THINKS day- for-night SHOOTING IS A GOOD IDEA, BUT IT’S actually risky ”
That’s difficult in places like England, but better in locations such as California or Spain, where there’s less likelihood of rain or clouds. “You always shoot into the sun, so it’s always a backlight. Everything in front of it becomes backlit and thus goes into shadow. Your first challenge is to control both the backlight and the front light, continually balancing them.” Controlling the lighting may require employing neutral density (ND) filters to reduce the amount of light entering the camera, adding artificial light to mimic the look of nighttime, or both.
“Traditional black & white films would put a heavy ND on the lenses and then shoot,” explains White. “The problem is that, by reducing the overall stop so much, your actors will end up overexposed. And if you blast lights into their faces, it makes things difficult for them because they’ll be blinking.” Day-for-night shoots often have a cooler colour temperature, so adjusting the white-balance of the camera could help simulate nighttime. Since moonlight is often thought to have a blue hue, setting the temperature to 3200K can help sell the illusion. The look can also be
enhanced in post by adding elements such as stars. A common giveaway of ineffective day-for-night footage is the look of the shadows cast by performers and objects. Daytime and nighttime shadows look markedly different, and it can be quite difficult to replicate nighttime shadows during the day. “Back or side-lighting actors with the sun and closing down to prevent their hair from having that glamorous glow is a good place to start,” adds White. “Of course, you want to see the actors’ faces, so you’ll need to fill them. But this
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LIGHTING SPECIAL
is where you can deviate from a daylight look by using less fill or only filling part of the actors’ faces. It’s a balancing act.” He also advises paying close attention to practical lights when shooting day for night. “Not only do you need to avoid direct sunlight, but it also helps with realism if nighttime practical light sources are visible and casting light.” These days, most DOPs will choose day for night for the surreal look it gives. John Seale, ACS, ASC did this for scenes in Mad Max: Fury Road . “There’s no way you could light up a huge western- style landscape at night any other way because of the huge amount of space and the expense of cranes,” shares White. To shoot the alien atmosphere of Nope , Hoyte van Hoytema, ASC made a rig to shoot two identical versions of the same frame by utilising two cameras at the same time. One camera used 65mm film, which captured vital colour and texture information. The other was an ARRI ALEXA customised to shoot infrared.
Since infrared sensors are sensitive to specific wavelengths of light, the images are monochromatic. Shooting in natural sunlight with a slight contrast boost led to brightly lit images with dark skies. Florian Hoffmeister, BSC modified this technique using a stereo 3D rig to film exteriors against white snow in the eternal twilight of the Arctic Circle for True Detective: Night Country . He fitted the infrared camera with a semi-circle of infrared lights and composited the stereo images in post. “You either embrace the look for what it is or try and smooth it out, but that’s probably the wrong way to go,” admits White. “Either way, use it sparingly because it can be quite jarring.” Others have taken this even further. Greig Fraser, ASC, ACS had the idea that sunlight in the Harkonnen world in Dune: Part Two would kill colour – washing out everything the sun touches. He used infrared lights visible to an infrared camera, while also using LED lights the
YOU EITHER embrace the look OR TRY TO smooth it out, BUT THAT IS THE WRONG WAY TO GO”
camera could not detect, shooting with two cameras and different light sources. Łukasz Żal also shot infrared for The Zone of Interest, but here, the rest of the picture is so bleak that these scenes represent hope amid the darkness.
DESERT NOIR Fraser manipulated natural sunlight to evoke an oppressive, monochrome aesthetic for the Harkonnen empire in Dune: Part Two
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