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I’m
a great believer in using the right light for the job.
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Gone
are the days when a cameraman would turn up with just a box
of redheads. I take pride in using the best lighting tools
available and all of
my lights have been carefully chosen for performance, speed
and portability.
Modern
digital cameras are extremely light sensitive
and produce bright images in even dimly illuminated environments.
Therefore, today I can at last light purely for aesthetic
effect as opposed to lighting mainly to achieve a level of
illumination in which the camera can deliver decent images.
Put simply, I no longer need to use massive and powerful 'key' lamps
in every situation. Instead I can travel lighter, equipped
with smaller and more versatile lights such as Dedolights, Rifas and Zylights.
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Dedolights
are Amazing, I don't know how I managed before I had them!
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With
it's 150W lamp in flood position, its light output is greater
than a 600W studio fresnel. In spot position, its output equals
or exceeds a 1000W studio fresnel.
Each
Dedolight has an in-line electronic power supply that is dimmable
from maximum to minimum.
Projector
attachments allow projection of background patterns from MM size
Gobos.
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My
Dedolight 575HMI is the big brother of the classic Dedolight and
it really packs some punch!
It
delivers perfectly even output all the way through the focus range
with no hot spots or dark rings. The
quality of this light has to be seen to be believed. |
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| Zylights came along just when I thought things couldn't get any better |
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My Zylight
Z90 is the brightest next-generation LED lighting instrument on
the market. It can instantly change from fully calibrated tungsten
to daylight with the push of a button. When switched to creative
colour mode, the Zylight can output any color of the rainbow
including pastels.
This multi-use palm-sized
light is a perfect addition to my dedolight kit. It can also be used as an onboard camera light.
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Rifa-Lites
often
surprise directors by the quality of light they produce
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The
self-contained Rifa 55 creates a beautiful soft key and is my
preferred choice for talking head interviews.
The
lamp is placed in the focal centre of the soft box so the surface
of the soft box is perfectly lit. The result - much higher light
efficiency (more than twice the output than any Fresnel with soft
box attached).
I also have a large CineBank Soft Light (120cm x 90cm) and two Daylight Soft Lights (70 x 50cm) |
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| LightBreaks are the textural equivalent of diffusion |
LightBreaks are a series of patternsf silk-screened onto clear, heavy duty, heat resistant Mylar. When placed in front of a light, it adds texture, style and complexity to lighting design.
When placed
in front of a light they produce a range of effects which can
be subtly textural or boldly graphic. They are designed to be
the textural equivalent of diffusion and allow you to take control
of lighting texture.
I purchase
two sets of these fantastic breakup patterns and now use them
daily. They roll up into a small tube and have become an
essential lighting tool in my kit.
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standard lighting kit comprises of: |
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| TUNGSTEN |
| 3 x Dedolights with dimmers |
| 1 x Soft Light - Riffa 55 |
| 1 x Soft Light - CineBank 120cm x 90cm |
| 2 x Omni-lights |
| 2 x Tota-lights |
| 1
x Zylight Z90 - RGB LED that outputs any colour without gels |
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| DAYLIGHT |
| 1 x 575 HMI - Dedolight DLH 400D |
| 2 x Soft Lights - 70 x 50cm |
| 1
x Zylight Z90 |
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| LIGHT CONTROL |
| Dedo projection attachment with gobos and iris |
| 40 Degree
grid |
| 6 x LightBreak
gobo patterns |
| Reflectors
and diffusers |
| Mini grip
kit |
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| BACKGROUNDS |
| 8
x Interview / packshot backgrounds - click to see them |
| 16:9 Blue screen |
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