Digital Video - November 2007 - (Page 40) LIGHTING’S NEW WAVE Shooting in a Los Angeles subway station, operator Dave Frederick hefts a Steadicam setup featuring a Litepanels Ringlite while a 1x1 fixture is positioned to the side. BY JAY HOLBEN INVENTIVE LIGHTING TECH HAS USHERED IN CREATIVE NEW ILLUMINATION OPTIONS. 40 dv november 2007 A t the dawn of the motion picture industry, there were very few choices of light sources for the 6 ASA Kodachrome film. The slow emulsion required 3,250 footcandles of light to achieve a proper exposure at an f/4. That’s the equivalent of 190 60-watt light bulbs at a distance of about 3 feet. At the beginning of the 20th century, there was no means of generating that kind of lighting intensity, short of the sun itself—so film stages were built with open roofs to allow in natural daylight. Early video cameras were more sensitive to light than the first film stocks were, but they still required a considerable amount of illumination. Initial television productions utilized the same carbon-arc lighting that became the norm in early filmmaking. In the 1960s, German light pioneer OSRAM developed the HMI globe, a highintensity gas discharge lamp that burned at a daylight color temperature. The HMI was principally designed for use in television, but it www.dv.com http://www.dv.com
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