DEFINITION August 2018

36 LIGHTING LED FUTURE

written with all of these requirements in mind. KK, Digital Sputnik: Our

now by identifying colour coordinates above and below the Planckian Curve, and we divide the deviation from the Planck Curve (Delta UV) in five groups, and we measure that after 20 minutes of runtime. This will give a closer match and a closer identification, as long as it is still not possible to get all the incoming LEDs from any manufacturer to match, even within the same batch. Maybe that is taking all such matters much too seriously, because the colour of light sources in fluorescent and in metal halide has never been a pure science, and the results were always diverging, even from the same manufacturer in the same production batch of HMI lamps, let alone fluorescent lamps. KH, Sumolight: We think the DOPs and gaffer have always been working with mixed light sources and are skilled enough to use it creatively. We also think that it is important to be careful in the choice of lighting gear and how they work together. So, we don’t think that it is a growing problem rather that purely theoretical solutions are also not improving the work of the DOPs and gaffers. FH, Kino Flo: Already it’s a problem. CE, Cineo Lighting: Yes. That is the primary issue we see and that’s what I was focusing on with the first question. Also our industry of motion picture and television has divergent requirements to those of stage lighting. We light for cameras, not the human eye. Cameras need to start with the CCT setting being used on set for that scene. Colour adjustment should be relative to that new CCT white point. Finally, the range of colour should correlate to and be within the Rec. 2020 standard. The NU-HS1.2 standard is being

approach is to give the camera the maximum amount of chromatic information/colour

depth allowing for easy manipulation of images in post. We have designed our lights to have the largest possible colour space in order to be able to create maximum amount of hues in our lights. This approach allows us to use a LUT-based workflow where we can grade the lights instead of the image to achieve the look that we want already in camera. MW, ARRI: Yes, this can be a problem especially if it is difficult to fine-tune colours on one or both of the fixtures. There are solutions available such as the ESTA standard E1.54 which outlines a way for fixtures to match in colour. ARRI has implemented this standard as well as a few other manufacturers but it is not widely used or adopted. Def: Why are there fewer LED options for high-output directional sources? Will this change? ADeM, LiteGear: The LED revolution that has taken place worldwide, in nearly every market segment, has largely been with the use of non-directional LED chips. Frankly speaking, they are much easier and cheaper to produce. For cinema and television use, these 120º, wide output LEDs are ideal for soft light fixtures. Our business grew up using directional light fixtures such as Fresnels and PARs with diffusion or bounce boards to create beautiful soft light. Today soft light is easy and uses far less area around camera.

Directional light fixtures are coming, but are a much greater challenge to make as they require engineered optics. Especially challenging is the use of phosphor-corrected, ultra-high CRI white LEDs. Today, ‘available’ optics reveal limitations of the LED package design. Stadium lights are high powered and directional but typically score low when testing white light quality. Street or roadway lights are even worse. I think we will soon see high-quality directional white light as the technology and design evolves. DW, Dedo Weigert Film: I can only interpret that from my own constructions and concepts. We are working with optical systems that are very highly developed, and those usually work best with a point light source, ie. a very small light source. A high-output LED takes up quite a bit of floor space, and therefore it cannot provide the same functions as a point light source. I see this as a limitation to how far we can go with larger LED light sources. KH, Sumolight: This will change for sure. High output directional light sources used to have a relatively small light source combined with a lens system. Our SUMOSPACE has exchangeable lens array plates and mounting system for creating high-output cluster. LEDs in contrast to HMI are more heat sensitive and have to be cooled considerably. If not, they suffer colour temperature changes while in use. FH, Kino Flo: Cost and market demand – if

ABOVE Pinewood MBS lighting has collaborated with Chroma-Q for Brute Force, a new LED RGB-W alternative to the Wendylight.

BELOW Cineo Lighting and NBCUniversal’s Light Blade LB 800.

DEFINITION AUGUST 2018

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