DEFINITION August 2018

LIGHTING LED FUTURE

of low-light camera sensors, lighting designs will not only allow for lower intensity, but also will focus more on colour accuracy and creativity. Rather than flooding the scene with bright light, lighting professionals can use natural lighting and supplement it with colour-accurate LED lighting. KH, Sumolight: We definitely think that light-shaping accessories and usability of the whole lighting system will be more and more important than the very light output quantity. We appreciate the growing number of high-quality sensors and recording formats that comes along with the increasing sensitivity of the sensors. This leads to a growing awareness of the light quality. So again, one could say in general that the colour quality will be more important and the light output a bit less. But we think that even with growing sensitivity of the sensors there will still be a demand for high output artificial light sources, because there will always be a combination of natural sunlight and artificial light. Just because a sensor is able to shoot in low light you won’t turn any setting into moonlit scenery. FH, Kino Flo: The necessity of high output fixtures will be lessened. In general, the size of fixtures has historically not changed much. CE, Cineo Lighting: Not as much as

THERE WILL STILL BE A DEMAND FOR HIGH OUTPUT ARTIFICIAL LIGHT SOURCES

and reliability. I look at this more like the tool bag has gotten larger, not that we have taken some tools out to be replaced. There are applications for all these fixtures, based on budget, lighting requirements, and preference. Def: With the continuing development of low-light camera sensors how are lighting designs going to change? BB, Litepanels: Traditional tungsten and HMI sources are still being used for ultra-high output applications. With the advent and further development

collaboration with Chroma-Q which has resulted in the introduction of the Brute Force, a brand-new, true LED full colour RGB-W alternative to the Wendylight, that draws just 15 amps @ 240V. RP, Cineo Lighting: In my opinion, three factors are limiting the adoption of LEDs in production: familiarity, cost and market confusion. In general terms most gaffers, LDs and DOPs use the tools they are most familiar with, so the number of traditional fixtures on productions generally outnumbers the LED fixtures. As professionals become more familiar with digital lighting systems, this is changing, but not quickly. The second aspect is cost, especially to the rental companies who have a warehouse full of fully-amortised equipment that are currently more profitable to rent than higher-cost LED systems. So there’s less incentive for rental companies to invest. Thirdly, there is a tremendous amount of market confusion about standards, infrastructure and product quality, which makes choosing the right LED solution difficult! That said, change is inevitable and digital lighting is an unstoppable technology shift. KK, Digital Sputnik: As of today the majority of Hollywood studio pictures have already switched to using mainly LED based technology. MW, ARRI: In many ways, LED lighting has already superseded traditional lighting. The versatility and range of options has made LED fixtures very attractive to users. Of course, there are still many that use traditional lighting because of the outstanding quality

BELOW The Gemini light from Litepanels scores very highly on the TLCI. have an output comparable to larger HMIs. ABOVE The Light Blade LB1Ks

DEFINITION AUGUST 2018

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