DEFINITION September 2022 - Web


unlock new worlds – and they can expect LED manufacturers, like Aputure, to work together with companies involved in the pre-, post- and filming phases of production, to create a seamless and synchronous workflow. This removes technological barriers and focuses on creativity. By working together, the tools usually separated by different departments will communicate with each other – like real-world LED lighting and their matching digital twins in the virtual space. In turn, they must be aligned with environmental tools, like LED walls, to emit colours that will appear on camera and match the real-world elements. As essentially light-emitting computers, data communication between different tools and platforms will allow these fixtures to integrate into the entire workflow. VALDERRAMA: In many ways, cinematographers have already fully adapted to LED fixtures. They bring countless advantages, due to a wide range of colour temperatures, dimming capabilities, precise tone adjustment, autonomous power supply, low consumption, lightweight design and wireless connectivity. AMPHLETT: Of course, some fixtures deliver on their promise of versatility better than others. With Panalux Sonara, in addition to the broad spectrum of white light that allows filmmakers

“Practically speaking, LEDs are lighter and cooler, making them much easier to work with”

to go from tremendously warm to incredibly cool, we’ve put a great deal of thought and care into the control modes and connectivity options. Each form factor offers native LumenRadio CRMX, as well as DMX512 and EtherCon connectors, and users can control the units in CCT, HSI, Gel, Primary/Clone and X Y coordinate modes. We know that X Y control has become especially important with LED volume shooting, where cinematographers have to target specific white or colour points, to match their sources. The fixtures also feature a removable controller with an intuitive user interface, that always displays the key pieces of information. HERBERT: With high standards of colour rendering, stronger output than many users might expect and better control options than traditional fixtures, not only does LED allow you to dial in a look to fit your current creative requirements – you can adapt it instantly when they change. Practically speaking, how are LED fixtures shaping productions for the better? LE: Advances in optical technology, combined with the luminous efficiency,

overall lifetime colour consistency and simple dimming operation of LEDs, have led many filmmakers to choose them over traditional fixtures. The versatility provided through interchangeable modifiers and varying form factors has decreased the amount of grip equipment needed to control the fixtures, as well as the overall scale and costs of production. As computerised lights, LEDs can be motorised for fully remote operation. When using colour-mixing LEDs, filmmakers can completely change a scene’s look to satisfy different objectives, without having to swap out gels. HERBERT: Practically speaking, LEDs are lighter and cooler, making them much easier to work with. But their most important impact is for our environment. LEDs use much less power than tungsten equivalents, require fewer cooling devices on set, and last years longer than a traditional lamp – making them a tool in everyone’s quest to create a better world. AMPHLETT: We’ve introduced a number of eco-friendly innovations through our Panalux Power offerings, including the i-Series portable lithium-ion battery

USUAL SUSPECTS As demand grows, companies like Panalux (left) and Litepanels (right) make strides in development

49. SEPTEMBER 2022

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