40 TVBEurope Camera and Lighting Focus
A lighting technician will make use of every tool where appropriate.” Growing origination in Ultra HD is another boost to unconventional sources.
Although there’s little broad change in 2K to 4K techniques, the greater detail of an Ultra HD image can throw a light onto less prepared areas of a set, if care isn’t taken to narrow the light
beam down. Additionally, notes Rich Pierceall, CEO, Cineo Lighting, “We see a general trend toward close-up work for 4K for which you need to bring soft light sources in close
and use technologies which emit no heat while affording a smooth skin texture.” For hair, make-up and skin tone, colour accuracy is key, although the standard
measure of light spectrum, the Colour Rendering Index, is widely disputed. Rather than assess the performance of a light directly, as is done in the CRI, the Television Lighting Consistency Index under EBU development, mimics a complete television camera and display, using only those specific features of cameras and displays which affect colour performance. For want of another standard, most lighting vendors still use CRI (which at least gives an easy to understand mark out of 100) to market product capability. Broadly, lighting requirements haven’t changed. If you’re shooting outdoors, you need daylight balanced instruments versus shooting indoors, where a tungsten instrument will be better suited. It’s rare for any kind of production to use only one set of technologies though, so technicians and cinematographers always want gear that permits interoperability with a variety of sources for accurate skin tone.
LED innovations
LED technology has improved considerably with Fresnels and accessories affording more control. In turn, LED use has boomed. Fitting a honeycomb louver onto a 50˚ beam angle Rotolight Anova, for example, can narrow it to 40˚.
Fresnel heads use a lens and a moving focusing mechanism to allow light to be tightly focused into a spot or allowed to spread more flood effect. All manner of modifiers (umbrellas, snoots, gobos, softboxes of every conceivable shape and size) have been designed for these lights, and as a result they are extremely versatile. “Fluorescent and LEDs are still new enough that for the most part these accessory modifiers are not yet available for them,” suggests Boston- based photographer Chris Conti. “Additionally, the design of most of these lights prevents them from benefiting from Fresnel-type housings, so their beam tends to be very wide.” There are though, a growing number of Fresnal LEDs on the market, most with built-in DMX for remote control. The new GUS 41 LED Fresnel from Texan-maker PrimeTime Lighting features a 61/4-inch acrylic lens and low power draw which, according to president Glen Harn, “offers smooth focus performance with more adjustment than other Fresnels.”
www.tvbeurope.com June 2014
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