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“All I do is set exposure with white light, then dial in my saturation – and I’m set. It’s a much cleaner way to expose for saturated colour” around the hue wheel, the colours are evenly distributed.” The same approach works for colour temperature. As Kang puts it, “When you’re communicating with a lighting technician, you can ask for, say, five more points of blue to cool it off. Those five points mean the same thing, regardless of where you started. You don’t have to think in numeric kelvins. That’s too abstract a concept for everyday use.” CLEAN EXPOSURE With colour under control, Kang turned his attention to exposure, in the knowledge that most light meters can’t read saturated colours reliably. “There’s no way you’re going to properly meter a magenta, red or blue,” he says. Not only that, but the output varies depending on colour. “One not-so- hidden secret is that the blue diode is more efficient – two to four times more than other diodes.” That means some lights emit blues that are two or three stops brighter than other colours. “With many lights,” Kang warns, “when you set exposure according to red – and you’re doing a police chase in the US, where the lights are blue and red flashing – you’ll clip out in the blue.” Quasar’s light engine avoids this problem. “We’ve normalised the output of the saturated colours to white light. So, all I need to do is
CHOOSE YOUR COLOUR The Rainbow 2 is built with multi-pixel control, and makes use of RGBx technology
create a deliberately limited spectrum. That might mean simulating old-style industrial lighting or, crucially, matching less-capable devices. “This control moves from the best possible spectrum to the worst, and any blend in-between. We’ve put a spectral fingerprint display in the device itself, so you can see the spectrum line at all times. If I select a rainbow effect and go to that screen, I can see the fingerprint morph.” These ideas, Kang concludes, are far from an academic exercise. “Between JNDs, hue equalisation and spectrum control, the goal is to bring back the art, so you’re not saddled with technical issues. You can feel your way into lighting set-ups more easily, it’s more seamless. It shouldn’t just be us doing this, it should be a craft that everyone has in their toolkit.”
set my exposure with white light, then dial in my saturation – and I’m set. It’s a much cleaner way to expose for saturated colour. We call it hue intensity equalisation.” No matter how sophisticated a light may be, though, Kang’s thoughts turn to the reality that no set is likely to be outfitted with just one type. The flexibility of Quasar’s colour controls makes matching easier –particularly a new control letting users
® quasarscience.com
23. MARCH 2022
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