InCinematographer - Issue 3 - 8

8

www.incinematographer.com | Issue 3

What's New in Lighting
Contributing Editor David Kirk looks at the latest innovations
in lighting technology...

T

he transition from filament-bulbs and florescent
tubes to LED-based production lights is almost
total if one may safely judge from the lighting
products emerging at major shows such as Cine Gear
and NAB Show.
Energy efficiency, inherently low levels of UV light,
fan-less operation and reduced need for studio
air-conditioning all combine to make LEDs the
logical choice for most modern studio and mobile
production purposes. The following is a summary of
recent introductions in this category.
Akurat's DL3120 is
a bi-colour wide-angle
LED panel for studios
and reporters. It has a
30 × 30cm aluminum
illuminator
equipped
with two sets of surfacemounted LEDs. Features
include a microprocessorbased controller allowing
brightness
and
color
temperature
adjustment,
three memory banks for
Akurat
user settings, battery state DL3120 bi-color
readout and low-battery state wide-angle LED
indication. The studio kit includes a panel complete
with a mains power supply and, optionally, a DMX512
decoder.
The ARRI SkyPanel has always been known for its
tremendous output and large light aperture. The new
S360-C has expanded ARRI's LED soft light range
with the largest and brightest SkyPanel to date. Not
only is the S360-C powerful, but it is packed full of
exciting features, making it one of the most versatile
LED fixtures on the market. Features include full
color control, lighting effects on a huge aperture,
wireless DMX built in, a unique carbon fiber yoke,
and much more. The S360-C is truly a beast of a
light.
AC Lighting's Chroma-Q Inspire XT can deliver
9,500 lumens of flicker-free light and is twice as
bright as the Inspire. It has a claimed 50,000 hour
life expectancy. RGBW color mixing provides a CRI of
up to 90. DMX-512 control allows individual fixture
adjustment. Accessories for mounting and beam
control are available.
Cineo and NBCU have co-operated to produce
three NBCUniversal LightBlade configurations: the
LB50 stand-alone linear source, the LB1K integrated
1.2 x 1.2 meter foot soft source, and the LightBlade
Ladder Light backdrop light. LightBlades generate
variable white light from 2700K to 6500K.

Dedolight's DLH4x150S is a tungsten soft light
head for feature films or television production.
It contains four 150 watt lamps with reflectors in
one unit and is claimed to provide light output
comparable with a soft box mounted to the front of
a 2K Fresnel. It can be used with small, medium or
large soft boxes. The light level at a given distance
remains unchanged even though the size of the
diffuser surface changes drastically. The illumination
of the diffuser is claimed to be perfectly even
whether one lamp or all lamps are in operation.
Depending on the power option used, the four lamps
can be dimmed individually allowing variation of
warm tone effects. The head requires a DT4x150 and
DT24-3 or DT12-4 power supply.
Fiilex' has introduced C360 and C365 compact 90
watt LED fixtures. The C360 is designed specifically
for use with standard pipe-clamps and has an
integrated power supply. Magnetic attachments
including diffusers, fresnels, honeycombs and
gel holders are available. The C365 features
the 127mm Zoom Fresnel attachment
which narrows the beam and increases
intensity by 800% at full focus. Both
fixtures are RJ45 DMX512 compatible,
allowing users to operate them remotely
via a Fiilex DMX controller or any standard
DMX board. Other features include wide gamut color
tuning, full dimming, and hue adjustment.
Frezzi's ProLight is based on the Frezzi Mini-Fill
and adds a quick release feature. The low-profile
base stays wired to the camera body. An aluminum
articulating arm allows positioning at any desired
height or forward location to avoid lens hood
shadow. A built in USB port can charge any USB
powered device from the camera battery. Wireless
or other broadcast devices can be connected to the
same Power Tap port as the ProLight.

Arri S360-C LED soft light

tungsten to 9900K daylight, and Kino Flo has set up
a fourth channel called Gel. The Gel channel includes
Kino Flo presets such as blue and green screen,
sodium vapor, mercury vapor and over 100 lighting
gels. A fifth channel is called Hue Angle and a sixth
designated Saturation.
Ledgo's T1440MC and large T2880MC wide panels
offer manual, DMX and Wi-Fi
dimming, as well as onboard bi-color control.
Also available is the
E116C thin bi-color
LED on camera pad
Ledgo E116C
light
claimed
to
bi-color LED
deliver softer output
than traditional oncamera lights. It is
intended for portrait
lighting,
single
person
interview
or product shots.
16mm deep, it
weighs 230g.

Kino Flo's new FreeStyle 31 & 21 LEDs include three
menu options, one white and two color menus. The
white menu gives the user access to dimming, Kelvin
and green/magenta control channels. The Kelvin
range is from 2700K tungsten to 6500K daylight.
In the color menu, the Kelvin range is from 2500K
Dedolight
DLH4x150S

Ledgo panel


http://www.incinematographer.com https://www.arri.com/skypanel360/ http://www.akurat.lighting/en/products/soft-panels/dl3120-a-wide-angle-led-panel http://www.ledgo.co.uk/products/LG-E116C http://www.dedolight.com/dedolight/default.php?la=&pg=00000400260101&id=DLH4x150S&section=0

Table of Contents for the Digital Edition of InCinematographer - Issue 3

In This Issue
InCinematographer - Issue 3 - Intro
InCinematographer - Issue 3 - Cover1
InCinematographer - Issue 3 - Cover2
InCinematographer - Issue 3 - In This Issue
InCinematographer - Issue 3 - 4
InCinematographer - Issue 3 - 5
InCinematographer - Issue 3 - 6
InCinematographer - Issue 3 - 7
InCinematographer - Issue 3 - 8
InCinematographer - Issue 3 - 9
InCinematographer - Issue 3 - 10
InCinematographer - Issue 3 - 11
InCinematographer - Issue 3 - 12
InCinematographer - Issue 3 - 13
InCinematographer - Issue 3 - 14
InCinematographer - Issue 3 - 15
InCinematographer - Issue 3 - 16
InCinematographer - Issue 3 - 17
InCinematographer - Issue 3 - 18
InCinematographer - Issue 3 - 19
InCinematographer - Issue 3 - 20
InCinematographer - Issue 3 - 21
InCinematographer - Issue 3 - 22
InCinematographer - Issue 3 - 23
InCinematographer - Issue 3 - 24
InCinematographer - Issue 3 - 25
InCinematographer - Issue 3 - 26
InCinematographer - Issue 3 - 27
InCinematographer - Issue 3 - 28
InCinematographer - Issue 3 - 29
InCinematographer - Issue 3 - 30
InCinematographer - Issue 3 - 31
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InCinematographer - Issue 3 - 33
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InCinematographer - Issue 3 - 35
InCinematographer - Issue 3 - 36
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InCinematographer - Issue 3 - 46
InCinematographer - Issue 3 - 47
InCinematographer - Issue 3 - 48
InCinematographer - Issue 3 - 49
InCinematographer - Issue 3 - 50
InCinematographer - Issue 3 - Cover4
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http://usa.nxtbook.com/nxteu/lesommet/incinematographer_issue2
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