GEAR BUYERS’ GUIDE LIGHTING
LIGHT FANTASTIC If you want to improve the look of your work, invest in some top-quality LEDs COOL HEADS
WORDS ADAM DUCKWORTH
Y ou can procure a large-sensor camera for wafer-thin depth-of-field from an ultra-fast lens, shoot wide open at 24fps, then slap on a teal-and-orange LUT in post while cropping to Cinemascope. But, if you want the real cinematic look, nothing compares to the right lighting. It’s the biggest difference between work that’s good, and work that really stands out. Hollywood types obviously have trucks full of expensive lighting gear, but choose wisely and it’s possible to take your production values to the next level. Soft panels to create flattering close-ups, punchy beams to form pools of dramatic, hard-edged light – and even multicoloured arrays in all shapes and sizes. These are the latest innovations in LED technology.
78
PRO MOVIEMAKER
Powered by FlippingBook