32 TVBEurope Acquisition Focus
Lighting: Back to Square One
PHOTON BEARD’S new full- spectrum, compact light panel, the Square One, is a 1x1 (30x30cm) fixture using eight 8W fluorescent tubes and is claimed to be more economic, weigh less and produce more light than rival 1x1 fixtures. The panel uses Osram daylight or tungsten-balanced phosphors to provide predictable colour results with fewer spikes and spectral variations than LED-based fixtures. Tubes will also be available with other colour temperatures. At 64W its output is
equivalent to a 110W Highlight. It is dimmable locally and can be powered from either a V-mount camera battery for around an hour, or mains. It costs less than £600. Although not aimed at studio lighting, “the consistent, high- quality light, portability and low heat benefits are ideal for both broadcast and film, either for on-the-fly pieces to camera or in relatively confined spaces like, for example, a car,” says Photon Beard managing director Peter Daffarn. Photon Beard has also
introduced a new space light adapter for its Highlight 440, as well as a new cyclorama hood for that model to give “even illumination over a 6m fall. Previously, if you wanted anything over 3m, you’d have to have lights at the top and the bottom and cross light,” Daffarn explains.
High-speed plasma Hive’s upgraded Killer Plasma Maxi made its worldwide debut at CineGear in LA recently, and is claimed to be 20% brighter for the same power draw. It also now features: an improved DMX control system; an easy lens mounting system; and the ability to attach barn doors, softboxes, and use scrims. The Killer system is available in 2-Light, 4-Light, and Spacelight configurations. The Killer Plasma Maxi uses
Hive’s Wasp Plasma Par optics, but combines two lights in one housing. It is as bright as a 1.2K HMI, but only draws 540W. The
The Light Stuff: AadynTech’s new ECO LED Space Light
Most of the recent progress in television lighting has been in LEDs, but other technologies are also being given a chance to shine. David Fox rounds up recent developments in this ever- changing technology sector
much softer source,” says Amphlett. The frame can also accommodate an optional louver for more precise beam control. “We’ve also taken about half the weight out of it. It is down by about 3kg to 3.9kg.”
The 85W light uses 72 LEDs, can be powered by mains or V-mount batteries, and has DMX control (with an optional wired dimmer/colour temperature controller). Prices start at £1,599.
Pushed to the Max: ARRI’s new 9,000W M90 fixture
four-light Maxi is a 2x2 array as bright as a 2.5K HMI. It can be hung with a 6K Spacelight silk to make a Maxi Spacelight that is claimed to be brighter than a 6,000W Tungsten Maxi-Spacelight, but only pulls 1,080W. For different beam spreads and orientation, standard 8-inch Par lenses can be easily changed with snap rings. Hive’s full-spectrum 5600K plasma lights are particularly well suited for daylight balanced High Speed Cinematography, as they are 100% flicker free (up to 225,000,000fps). They carry no heat in the beam, and use 90% less power than tungsten.
ENG light Gekko Technology has a robust new on-camera light, the k7, which is IP65 rated so it can be used in the rain, and delivers a reasonable throw for 18W. “At 2-3m it is enough light [750 lux at 3m], and not so focused [24º beam angle],
Dedolight’s new 40W DLED 4.0 compact focusable daylight source
that it can cover two interviewees,” explains Gekko Technology’s founder and managing director David Amphlett.
The 7-LED 5600K ENG lamp plugs in to most battery sources and comes with barn doors, diffusion, a CTO colour correction filter, and a cold shoe mount. It has just started shipping, in black or silver, for £749. It is also available in a three-head kit, with two k7s and a compact karesslite 2006, in bi- colour (3200-5600K) or daylight versions, for £1,500, including stands and carry case. Gekko’s new karesslite Bi-Colour is colour tuneable between 3200K to 5600K and has been significantly revised since earlier versions. “We have improved how the
diffusion works, so it is faster to deploy than the older system. We’ve put it on a simple scissor system, to allow users to move the diffusion away from the light, which makes it a
Spot to flood Dedolight is expanding its range of LED lights, to build on the success of the 8W camera-top LEDzilla. First up is a new 40W daylight (the DLED 4.0), which recently started shipping and costs about £600. “It’s probably going to be the most useful. It’s a compact daylight source,” explains David Morphy, MD of UK distributor Cirro Lite. “It goes wider than the classic 150W Dedolight it has been designed to compliment, with a greater spot to flood ratio.” It can be mains or 12v dimmable. There will also be a 20W light (DLED 2.0), aimed mainly at on- camera use, as well as a 90W unit (DLED 9.0), both of which are expected soon, plus a 120W studio light (DLED 12.0), which should emerge late this year or early next year. There will be three versions of each light: daylight, tungsten and bi-colour. “Dedo is taking time to get this right. Any delay is down to ensuring the quality of the LED.
They have to ensure they are 85TLCI [Television Lighting Consistency Index — the new EBU recommendation] minimum, but you can’t hit those colour points cheaply, especially for a soft light,” he says.
A cooler tune ARRI has two new additions to its L-Series of LED Fresnels: a tuneable tungsten model (the L7-TT); and an optional active cooling version for all fixtures. The L7-TT (Tuneable Tungsten) is tuneable between 2600K and 3600K. It is more than 20% brighter than the L7-C, but the same size and weight, and offers the same calibrated colour quality and adjustable green-magenta point as the L7-C. It is suited to applications requiring precise colour matching to conventional tungsten lampheads. All versions of the L7 can now
have an active cooling option with reduced size and weight, making them ideal for location shoots, portable lighting kits and space- constrained studios. ARRI has also completed its M-Series lighting range with new M90 fixture. At 9,000W the M90 is half the wattage of the ARRIMAX, and just over double the wattage of the M40/25. It uses ARRI’s Max
Technology, a patented reflector technology that unifies the advantages of a Fresnel and a PAR fixture. The unit is open- faced and as a result, very bright.
www.tvbeurope.com July 2013
Run and gun lighting:
The Lowel GL-1 (also fits on a lighting stand)
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