INDUSTRY. LIGHTING ROUND TABLE
NM: Thanks to Rosco’s Mix Technology, all Rosco DMG Lighting fixtures provide filmmakers with the most colour options of any lighting source available today. It features six LEDs – red, lime, green, blue, amber and white. This proprietary blend of emitters enables our fixtures to produce a wider gamut of colours than RGBW/ RGBA fixtures. The red, lime and amber LEDs have also been phosphor converted. This process fills in spectral gaps found in other colour-mixing lights, and optimises the fixture’s output to better match the sensors of digital cameras. The wider colour gamut created by Rosco’s Mix technology enables the DMG Maxi to create over 130 True Rosco Colour gel matches. These colours have been verified – by eye, meter and by camera – to match the traditional tungsten and daylight sources with Rosco gels on them. TD: The multi-colour fixtures in the Creamsource line-up are unmatched in terms of dynamic capabilities, including the ability to be used in almost any climate. The Vortex series LED panel is optimised for overall brightness in each constituent colour, toggling between hard and soft light. This makes it a versatile option for gaffers and cinematographers. JV: Currently, LED’s. The state-of-the-art is the one that offers the widest colour space, whether in panels, fresnels, tubes, asymmetrical, open faces... With the growth in the market, can you see LED eventually replacing tungsten? BL: In many ways, LEDs have already replaced tungsten in small- to large-
“In many ways, LEDs have already replaced tungsten in small- to large-scale productions”
logic can apply to lighting, lenses or cameras. LED technology is another tool in the kit empowering artists to achieve their creative vision. A similar question was posed in Cinematography Mailing List, to which M. David Mullen, ASC, responded, “When someone comes up with an LED equivalent to the 20K tungsten fresnel”. Meaning there is still room for LED technology to advance, and Creamsource is prepared to drive innovation forward. JV: Yes, of course, this is already a fact of life in many broadcasting studios and, to a greater or lesser extent, in all current shootings. Except for the higher powers, both in tungsten and in HMI, LED equipment is gradually replacing conventional sources. In terms of light quality or other lighting parameters, both tungsten and HMI offer a texture LED equipment does not offer, but there are so many advantages LED gear offers in other fields that its use on set has become a true workhorse solution. In this case I would refer to the slogan of our Kosmos fresnel series: Speed up your shoot! All the other advantages that LED brings could be summarised in that one phrase. Not only the lighting crew, but production and direction teams are also very well aware of this!
scale productions. The benefits LEDs provide in terms of their ease of dimming and modification – and for some fixtures, colour tuning – are significant in comparison to traditional tungsten fresnels and Par lights. Tungsten fixtures are still in use for their relative affordability and impeccable colour quality due to being black-body illuminants. However, LED technology is growing rapidly and is incredibly affordable. In the very near future, the ability of LEDs to reproduce the spectral qualities of tungsten lights (their tungsten SSI) will achieve new heights, making them nearly indistinguishable from the original source. NM: Yes, I can say with certainty we see a change coming to the market, replacing traditional tungsten lights. Stay tuned! TD: With the advent of LED technology, productions are able to work more efficiently, cutting costs while simultaneously reducing their carbon footprint. Studios are encouraging filmmakers to go green, meaning the number of adopters of LED lighting will continue to rise at an exponential rate. The debate of LED versus tungsten harks back to the digital versus film conversation. The key takeaway remains the same; the look of the project should determine the choice of equipment. That
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