INDUSTRY. LIGHTING ROUND TABLE
turned on – causing strain on generators and taking additional time for the light to stabilise – LEDs can turn on instantly without those same issues. Additionally, LEDs can be operated using DC batteries, whether they are block batteries or V-Mount cinema batteries, instead of only with AC power from generators. This is ideal for shooters in remote locations, who need to pack smaller and lighter. NM: DMG Lighting fixtures are all very conservative in their power consumption and are ideal for remote locations. The Dash’s internal battery runs for three hours at full intensity (15W) and the MINI (100W), SL1 (200W) and Maxi (360W) units can be battery operated without the necessity of a thermal generator, which the larger HMI/tungsten would need. The DMG Lighting fixtures can be controlled through our myMix app via Bluetooth. This allows filmmakers to fully control the output, as well as the colour, the CCT and effects remotely. The fixtures are also RDM compatible, and therefore they can be controlled via wired DMX or wireless DMX using CRMX from LumenRadio and Artnet. TD: Nearly all of the lights within the Creamsource portfolio are IP65 rated, which gives gaffers a key advantage when shooting remotely. The Vortex8, for example, can be taken to a secluded location outside of a studio environment and powered off a battery source, whereas tungsten counterparts or equivalents would not be able to. JV: All our equipment can work on battery, and when they do, they give 100% output power. Our well-known Velvet soft light panels or our Velvet Power – long-throw beam hard light panels, with capability to work outdoors, through windows, or on cranes, at full power even with standard batteries – define us. Our latest contribution is without a doubt the most paradigmatic example; a fresnel light built with all the characteristics of tungsten light (and its “The LED is fully incorporated into all types of shooting scenarios, bringing countless advantages due to its versatility”
sustainability, low energy consumption, connectivity and the absence of fans have been part of our DNA since inception. Which lights are the most sustainable and are they as good as the older and more power-hungry ones? BL: All of our LEDs have incredibly long lifespans, with most of our units – from the Amaran T2c to the LS 600c Pro – having estimated lifetimes (L70) of 50,000 hours or more. So like all mechanical structures, they do age and accumulate wear and tear, LEDs will typically last significantly longer than the equivalent incandescent or gas-discharge sources – which will burn out and shift in colour more quickly. NM: While all of our DMG Lighting fixtures are equally sustainable, the fixture that stands out most to me is the triple DMG Maxi. This is three DMG Maxi units combined together on a Triple Maxi Yoke. Anecdotally, we have heard that gaffers have been successfully using the Triple Maxi in place of a 12K HMI with diffusion. The comparison of a maximum output of the Triple Maxi’s 1080W versus 12,000W heavily impacts sustainability. TD: LED lights are inherently more sustainable than previous, more conventional lighting options. Using Creamsource’s Vortex fixtures as a prime example, the weather proofing, energy efficiency, reliability and tuning make these LEDs the perfect alternative to large HMIs. Vortex units are often leveraged in ways HMIs would typically be used, with the added benefit of needing fewer power generators on set. Beyond efficiency, the built-in FrameSync feature allows for strobe effects that sync directly with the camera’s shutter.
These effects simply wouldn’t be possible without ‘smarter’ lighting technology. Artistically speaking, the comparison between LED technology and traditional lights becomes subjective, as the visual language of a project should dictate the tools chosen. There are countless feature films and episodic content that have utilised LED technology with great success, most notably The Mandalorian lensed by Greig Fraser, ASC, ACS. JV: Since our foundation, Velvet follows a clear mission: Made to last. What it means is to design and produce durable lights that can be used for many years, in order to get maximum value from them. At Velvet, we take care of industrial raw materials, especially packaging, using mainly recycled carton and the minimum possible recycled foam. Velvet’s factory and offices’ electricity are supplied by a green energy provider. Working closely with suppliers and collaborators, we generate a lower carbon footprint, minimising the environmental impact of manufacturing. Sustainability is not a choice for Velvet. LED technology helps bring sustainability to our TV studios and film sets. Velvet is committed to protecting and preserving the environment; we enable our customers to do the same by designing our products to be easily repairable, updated and finally, recyclable. What technology do you supply that could help the gaffer power varied lighting in a remote location or secluded area? BL: Many of Aputure’s LED fixtures are ideal for lighting in remote locations, because of their ability to ‘hot strike’, as well as their lower power consumption and DC power operation. Unlike HMIs, which often produce power spikes when
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