LIGHTING SPECIAL
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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