COMPARE AND CONTRAST BLAIR’s colour technology brings out the natural shades and skin tones in filmed scenes
because a fixture has some deficiency, then those colours will never be recorded. Filmmakers are often in situations where colours appear correct to the human eye on-set but completely wrong in camera.” The BLAIR-CG engine addresses these concerns, solving the problem presented by traditional RGBWW LEDs, which can leave noticeable gaps in the colour spectrum. “It offers a greater range of colours than any other film LED system to date,” claims Sim. “Beyond that, the advanced design of the BLAIR-CG engine has been precision-calibrated in every way possible, resulting in colour-tuneable light that’s more accurate, adjustable and trustworthy than ever before.” Being green Speaking of RGBWW, the BLAIR engine offers a full green-magenta shift, from +1.0G to -1.0G. “For decades, we used gels to adjust our green-magenta shift. Unfortunately, these had limitations; the dyes would shift the CCT,” or the colour temperature – as Kang describes. With the help of the ASC’s MITC Lighting Committee, Aputure has been able to incorporate full-plus to full-minus
green tuneability into the BLAIR engine, allowing filmmakers to control colour with more precision when compared to using gels instead. Either/or Both the BLAIR and BLAIR-CG engines excel at what they do, but Sim recognises that filmmakers’ diverse needs require specific tools, tailored to the task at hand. “If you need tuneable white light,
adjustable colour temperature, green- magenta shift and a whole lot of output, BLAIR is for you,” he suggests. “But to create a particular colour, reach an extreme CCT or match a gel or coloured object repeatedly and precisely,” then he recommends BLAIR-CG. Experience impossibly accurate colour with BLAIR in the STORM 1200x and BLAIR- CG in the STORM 80c and 1000c.
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