L IGHT & MOT ION | ADVERTI SEMENT FEATURE
HIGHLIGHTING THE RANGE CLx10 Delivers 10,000 lumens in a light, compact and portable form factor CL 8000 Equivalent to a 200w HMI CL 2000 Up to 415 minutes of use CL 1000/2500 Submerge up to 100m
IMAGES Not every filmmaker needs to throw lights around at 4m/s, but a compact, lightweight and highly durable LED still has a place on virtually any set
Many other LEDs just aren’t rugged enough, and when they are, they aren’t very bright
and turn each one off individually, or have an expensive, manned control board. With my StellaPro CLx10s, I can press one button and control up to four. “When the battery does expire, there’s a D-Tap, so if you have a few V-Lock batteries, you can keep going for hours more.” It’s not hard to see how beneficial kit like the StellaPro lights can be for a filmmaker like Anwar, always pushing boundaries and using only the tools capable of keeping the creative vision alive. “They’re just not at all like your usual cinema lights,” he concludes.
the fresnel lenses to intensify the light as much as possible. We put the lamps on the arm right beside the lens and moved the whole set-up at high speed. There were no issues and we got the shot!” he enthuses. The StellaPro lights’ durability is a huge benefit in more typical use, too. “Kit can get dropped and knocked around. I let one of my StellaPro CLx10s fall from about a metre no less than 40 times in one demonstration, on to a solid flight case. That exact lamp works perfectly today.” The rugged nature of the StellaPro lights may be a priority for Anwar, but it’s not the only deciding factor. “There are lots of modifiers if you need to make the quality soft and cinematic, or control it more. You can even use Profoto attachments, so if you’ve invested in those already, it’s not wasted. “The wireless remote is another helpful feature on set,” Anwar continues. “Battery life is decent – you get around an hour at full power – but obviously don’t want to waste that between shots. “If lights are on a tall stand or mounted to a wall, you’d usually have to climb up
pouring out of the box, but from an inside perspective. It was very technical, because we needed the box to fly across a table, then see the contents hit the bowl. “We captured at 1000fps, which the StellaPro CLx10 lights flicker-free, and strapped the cereal box to the arm with the camera. To record inside it, we used a macro probe lens with a T14 maximum aperture.” A shutter speed that high, combined with a slow aperture, is demanding at the best of times. Extremely powerful lights are needed, but Anwar also faced the challenge of getting that light inside a small box. “The ad team decided to scrap the shot, due to its difficulty. But I said, ‘hold on, I’ve got these two StellaPro CLx10s,’ and put on
MORE INFORMATION: lightandmotion.com
AUGUST 202 1 | DEF I N I T ION 37
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