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Measuring light with nano-precision Opinion
Not all LED luminaires are created equal which is where Quantum Dot technology and the TLCI standard come in, explains Jim Collias, engineering director, Zylight
Lighting for film and television has a long-standing history of traditional equipment and process that have only recently been so transformed by the emergence of LED lighting. Bringing their obvious benefits of energy savings, long bulb life, and heat reduction, LED lighting fixtures are now an established part of the illumination arsenal for film and television. However, not all LED
luminaires are created equal. Measuring and quantifying light quality has become as much of an art form as the creation of content itself. New
measurement standards and technological breakthroughs have allowed for solid state lights to advance quality and measurement to be on par with their traditional brethren. Two areas of note are quantum dot technology and the TLCI standard.
Quantum dots are silicon nano-particles layered over LED chips to help them generate light of a more complete spectrum. These nano-particles vary in size and are tuned to create specific colours of light when excited by their ‘host’ LED; one specific size silicon nano-
particle represents red (650nm), while another can represent green (532nm).
The nano-particles are then
gathered in proprietary ratios and mixed in with the standard phosphor that is layered over LEDs to produce white light. Why do we do this? Because typical white LEDs without Quantum Dots can be deficient in areas of the visible spectrum that can be critical to the accurate representation of skin tones when capturing images for film and video.
In the development of the Quantum Tuned F8, our extensive head to head testing
Four-channel 4K coaxial connectors Canare By David Fox
Canare has launched what it claims is the first four-channel coaxial connector for linking 4K-related equipment. The new connector will enable the transmission of four 3G-SDI 4K signals with a single connector and one cable. The connector plug is composed of four 75-ohm connector units, which can be plugged in simultaneously with an easy push, pull and
lock system. The connectors are compact, solid and lightweight, and are suitable for outdoor use. The receptacle connector units are compatible with IEC’s DIN 1.0/2.3 connector plugs. At 3GHz, the return loss is 20dB or greater. The
connector should be available shortly after IBC in three models: one connector plug, one connector jack, and one receptacle. 11.A50
with competitive fixtures confirmed noticeable improvements in skin tones and the red portion of the spectrum, usually found to be deficient even when using high CRI LEDs.
The subjective Color Rendering Index (CRI) has been proven unreliable even when used for its original intended purpose, industrial and architectural situations. An emerging standard, TLCI (Television Lighting
Consistency Index), is specific to the film and video industry and provides a more accurate measurement of the spectral power distribution and performance of a fixture as it
relates to television production. Operating on a scale of 0 to 100, the results tend to portray a more accurate scale of lighting as it relates to production. We have many installations
throughout Europe and the Americas utilising Quantum Dot technology and IBC allows our customers to see first hand the advantages of quantum tuned fixtures and their ability to accurately replicate traditional lighting sources from a light quality perspective. 11.E38
Virtual camera demonstration Nvidia
By Carolyn Giardina
A virtual camera technology demonstration showcases the potential of Nvidia’s upcoming line of Quadro GPUs.
4x4: Canare’s new MDM-V4C25HW plug and MDF-V4C25HW jack for 4K use
The position of the “camera”—a Google Project Tango tablet with tracking capabilities that uses the Tegra chip—is streamed to a 3D renderer or content creation application (in this case, Autodesk’s Maya) where CG elements are
Towards making HDMI a professional video standard Atomos By David Fox
SDI has ruled the professional video space for more than 25 years, built on a backbone of dependability and control, but HDMI, the main consumer connection, is increasingly important for professional use, particularly for DSLRs. However, many of SDI’s advantages have been missing from HDMI, such as auto triggering and timecode
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communication between cameras and external devices like monitors and recorders. Atomos has implemented these functions in conjunction with camera manufacturers, and now wants to make it an open, free and available standard. “We love HDMI, but as it gets
more popular on the camera side we need to help make it work in the pro world,” said Jeromy Young, CEO and founder of Atomos, “Historically this has only been achieved in the tech industry by creating an open standard... which is what
we've done.”
Atomos initially developed auto HDMI start/stop and timecode communication with Sony’s FS100 in 2011, then Canon’s 5D Mark III, 1DC and C100 last year. Currently, almost all professional Sony and Canon HDMI cameras employ this protocol. Now it is open to all camera manufacturers. Another SDI advantage has been a firmer connection, as HDMI is easily pulled out. To counter this, Atomos developed its own HDMI cables with tight fitting connections and coiled
cable to lessen clutter and reduce pulling at the HDMI connection.
“Initially we developed these cables purely to support the Ninja Star, our lightweight, pocket-size ProRes recorder,” said Young, “but after consulting with our user base we soon discovered no one had yet developed a complete range of HDMI cables purely for ProVideo users in our space.” Its cables include a right- angled HDMI micro-to- micro/mini and fully coiled cables in lengths of 30cm (45cm
Shogun wedding: The Atomos Shogun achieves auto HDMI start/stop and timecode with Sony’s A7S
extended). HDMI mini-to-full and full HDMI-to-full HDMI connections in lengths of 30- 50cm (65cm extended), priced $19.95- $29.95. 9.D25
rendered using Nvidia Quadro GPUs, video-encoded by Nvidia GRID technologies, and streamed back to the tablet combining live action and CG with low latency. “It allows filmmakers and content creators to interactively visualise CGI assets composited into a live- action set, enabling effective shot placement. This new technology enables the virtual framing of a shot, composited with realtime CGI, on a live- action set,” said Wil Braithwaite, senior applied engineer, VFX, Nvidia. 7.J39
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