Filmmaking is now an artform with a long history, and that means a lot of received knowledge. Things like primes being better than zooms, and characterful primes best of all. The public attitude to that orthodoxy, though, is starting to show some signs of changing, and the dawn of a new year seems like a good time to examine some of the ways that’s starting to show up in production.
Creating an LED light that looks reasonable, both on camera and to the eye, is no longer that difficult.
2021 saw the end of a British lighting institution with the demise of Photon Beard. The company has existed since the founding of R. R. Beard Limited, founded in 1882 by a man who reveled in the fantastic name of Robert Royou Beard.
Creamsource announced Vortex4, a 1’x1’ 325W high-powered LED for film production. Shipping in March.
BB&S Lighting of Denmark adds the Compact Bicolor Fresnel to its range of Compact Beamlight LED studio fixtures.
A technology might seem to be near maturity when design approaches that were once theoretical, and impractical to build, become easier to make and start to hit the market. LED lighting isn’t necessarily easy to build in 2021, which is why it’s still not as affordable as we’d all like, but some advanced techniques are becoming more everyday.
In some ways, the best DOP and a sadist have a lot in common: We strive to make our viewers suffer and the curious thing is, our audiences love us the more for it. Of course, DOPs, like most civilized people, wouldn’t think to wrench the fingernails from our viewers’ fingers; I’m not talking about that kind of suffering exactly.
The last twenty years has seen a lot of film and TV hardware turn into software that runs on workstations and servers. With Apple’s move away from Intel, though, and several other recent attempts to popularize alternative designs, anyone looking at new equipment finds a field in flux.