TIM KANG Principal engineer for imaging applications, Aputure
DEFINITION: From your perspective, what recent developments in lighting technology have had the most meaningful impact on productions? TIM KANG: Technology exists due to high creative standards and solutions to meet those standards. To match the lighting standards upon which all photography technology rests, the last decade has seen the introduction of the AMPAS Spectral Similarity Index (SSI) and ASC White Point to significantly improve the spectral identity and colour calibration of LED lights. Before these developments, productions faced colour confusion on- set and in post because LED fixtures did not have these technology design guides. As proof, in 2024, Aputure released its first BLAIR LED engine fixture, the STORM 1200x, to satisfy both of these spectral matching criteria (SSI) and spectral design target (ASC White Point) requirements. Since then, many productions have reported to us that this foundation has delivered both psychological and technical results. Filling in a significant spectral gap with the indigo diode improves SSI scores to match daylight and incandescence has meant the expected consistency in colour rendition can be achieved – cinematographers and colourists have reported less issues with colour shifts in post from creative expectations on-set. What we did not expect was for it to also get universally elicited, positive emotional responses from non-lighting professionals such as directors, actors, costume designers and production designers. They all point to a certain natural ‘brilliance’ or ‘presence’ once missing from LED lighting. They more closely match the true energy identity of natural light, which, as a design standard, will always have the most meaningful impact in lighting technology. JIM AMOROSINO: I see control technology, intelligence and the high- power large format LED lighting sources as having the biggest impact. As with most things in the modern era, set lights in 2026 are as much computer as they
ROB GARVIE Vice president, Universal Production Services UK
DAN WALTERS Technical manager, LCA Lights Camera Action
JIM AMOROSINO Creamsource technical director, Americas
are lighting fixtures. While this adds complexity compared to the days of bulbs and dimmers, it also allows for more creative freedom and control. Think about how we are able to control lights via an app versus a lighting desk, or sample video or virtual environments in real time and instantly communicate that sampling data to your fixtures. We aren’t just lighting sets anymore; we’re crafting entire worlds motivated by immersion and realism. And the type of fixtures we can use to achieve this are evolving by the day. We are finally seeing LED lights that are starting to give tungsten and HMI a run for their money! When LEDs first hit sets over a decade ago, it was all about colour and flicker, but now, we’ve mostly solved those issues and manufacturers can focus on developing more efficient, large format lighting sources that allow crews to be
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