ROUND TABLE
HOW TO KEEP UP Lighting technicians should invest time into their technical literary as kit gets more and more sophisticated
production pressure. At the same time, technology is only helpful if it’s applied in a way that truly supports the crew. If it adds complexity without solving a real problem, it becomes a burden instead of a benefit. That is why it is so important for technology developers to stay close to the lighting department, keep their finger on the pulse and build around actual on- set needs rather than innovating for the sake of innovating. I also think that technical literacy will become a much bigger part of the job. Understanding light will always be the foundation, but pairing that with a working knowledge of IT, signal flow, data and emerging tools such as image- based lighting will make smaller crews far more effective. People who can think creatively, solve problems quickly and bridge traditional lighting skills with newer technical advancements are going to be the ones who feel most comfortable on- set five or ten years from now. DEF: Looking ahead, what feels like the next genuine frontier for film lighting, and what would need to happen to unlock it? DW: As electrical efficiency increases, we will soon reach a point where we can run almost every fixture from a domestic wall outlet. This changes everything. We can shoot anywhere, without the constraints of needing generators and heavy mains. TK: A s the entertainment industry at large has started to converge between motion picture, broadcast, social media and live entertainment, I believe we will see more cross pollination of lighting instruments and styles between these different sectors of the lighting industry. Live entertainment such as concerts and sporting events all have broadcast-style video productions, but social media also comes into play within these events. So, all the advances of spectrum quality and standardised colour control from the motion picture industry will start to apply to these other industries, and tools from live entertainment like projection
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mapping and new fixture types will influence the motion picture industry. JA: A more philosophical way to look at the next frontier is by keeping the human at the centre. The goal is not automation for the sake of automation, but using technology to reduce friction, improve efficiency and give crews more time and headspace for creative decision-making. On-set, innovation only matters if it helps teams move faster, work more intuitively and achieve better results under pressure. If a new fixture or system adds complexity without solving a real problem, that innovation just becomes
a burden. It pulls time and attention away from creative work, which is where the real human value lies. That is the part of the process that should be protected. To unlock the next frontier, manufacturers and developers should stay close to crew needs and prioritise making intuitive, reliable tools over adding unnecessary complexity. Emerging technologies like AI should be used to take care of repetitive work and streamline workflows, creating more space for human judgment and creative intent. The future of film lighting won’t be unlocked by replacing the human element, but by strengthening it.
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