WLS Chicago Uses Cineo Lighting On Set: Film at Eleven

In just a few short years, Cineo Lighting Inc. has made a name for itself in the world of broadcast studio lighting. The reliability and consistency of Cineo fixtures have made the company an integral part of lighting talk shows and news programs across the globe.

Broadcast studio lighting presents a unique set of challenges specific to high-use fixtures. Lighting designer, Nicholas Hutak, has spent his career fine-tuning the lighting needs of sets and studios, making him one of the go-to professionals for the design and installation of semi-permanent set lighting.

On the set of WLS Chicago, one of the top news stations in the country, Cineo fixtures are the heart of the design. Hutak originally designed and specified the lighting in 2013. Given the studio’s near constant daily usage, longevity and color stability topped the list of fixture requirements.

In 2015, the WLS set was redesigned, requiring Hutak to return to reconfigure the lighting setup. The Cineo Fixtures he had installed two years earlier were still producing the same quality of light. “I took a CRI reading with the same meter I had used in 2013 and compared it to what was in the meter’s memory. It was the same. I had never seen this before in an LED fixture”.

In an interview with Cineo Lighting, Hutak explained the nature of broadcast studio lighting and why he chooses Cineo products, “Broadcast news is a fast-moving industry where fixtures need to last. These studios are in use day-in and day-out, requiring the lights to operate for years at a time.”

The reliability and the consistency of Cineo products have made their use an efficient solution for the broadcast industry. Hutak has been using Cineo lights since the company’s inception, noting that the Remote Phosphor Technology has been a game-changer in the world of lighting.

“There is no color shift. Cineo’s use of Remote Phosphor Technology solves the problem of the phosphor boiling away, ensuring that the color output is the same as it was the day that the light came out of the box.” Reliable longevity is an absolute necessity in an environment where the equipment is used daily for long hours.

On the set of WSL, Hutak used multiple Mavericks as key lights and Cineo HS with Chimeras as base and fill. He also implemented the use of Matchstix as backlighting for the chroma key. While this has traditionally been a challenge because of the limited space between the screen and the wall, the unobtrusive size, output, and the robust durability of the Matchstix has proven to be the ideal solution for this situation.

Broadcast news is speedy and unpredictable. The long hours on set require equipment that is up to the rigorous demands of this time-intensive environment. Cineo products offer a level of dependability that makes their fixtures a high-quality solution for this specific set of lighting needs. As more lighting professionals recognize the long-term benefits of Cineo products, there will be an expanded potential for these powerfully compact lights in the world of broadcast news.

 

 

Cineo Provides 200 Fixtures to Light ‘Billy Lynn’s Long Halftime Walk”

When Gaffer Jarred Waldron was tasked with providing lighting for “Billy Lynn’s Long Halftime Walk,” a film based on the award-winning book about the realities of war as seen through a 19-year-old Iraqi war-veteran’s eyes, he trusted the HS™ digital soft source from Cineo Lighting, a leader in the production of lighting systems available for the motion picture, television and photography industries.

“Billy Lynn’s Long Halftime Walk” follows Billy Lynn, a young man on a victory tour after a traumatic battle in Iraq. His company’s tour culminates in Billy Lynn being a centerpiece for the Dallas Cowboys pregame and halftime shows. Much of the movie focuses on the realities of war versus America’s perception of our war heroes. Waldron used upwards of 200 Cineo HS digital soft sources throughout the shoot.

“We shot the film at 120 frames per second, which meant we needed at least 2.5 times the amount of light we would normally need on a picture,” explains Waldron. “Director Ang Lee also liked to keep all eight actors in focus at the same time, so we found ourselves shooting up to a 22 f-stop. That would require another four to five stops of light. Finally, we also had to balance our kelvin temp to the stadium lights in the dome. All of these challenges required a very bright source that could get to 6000K, point straight down and still be photographed in the long concourses of the stadium and locker rooms.”

The HS easily met Waldron’s and Lee’s exacting needs on set. It provides twice the output of a 2K incandescent soft light with an extended CRI over 95. Generating a 160-degree beam spread, the HS manages to still only use less than 500 watts of AC power.

“Having a much more efficient power consumption to light output ratio in a dimmable source that can operate in the higher kelvin range is incredibly useful,” says Waldron. “Overall the HS allows us to work much quicker and more efficiently.”

The HS’ Remote Phosphor Technology (RPT) eliminates the color-accuracy limitations that are more inherent in most LED fixtures. The HS’ independent phosphor panels emit high-quality light when excited by the high-frequency wavelengths from blue LEDs. This is a stark contrast to most LED fixtures that rely on LEDs as the source of illumination. The interchangeable phosphor panels allow users to achieve a variety of color temperatures with a single fixture.

The lamp head of the HS weighs in at 12lbs., with the total dimensions being 12in. x 21in. x 3.8in. The output range is 2700-6500K. This combination proved to be one of the most beneficial features for Waldron: “It’s light weight and brightness are a great combination. Also, I can use it for flashes or lightning due to the quick reaction of the light.”

“Billy Lynn’s Long Halftime Walk” stars Kristen Stewart, Vin Diesel, Garrett Hedlund, Steve Martin and Chris Tucker. It is directed by two-time ACADEMY AWARD® winner Ang Lee and will be in theaters November 11th.

Into the Badlands Lit with a Range of Cineo Lighting Products

Into The Badlands, a “genre-bending martial arts series,” is an action drama hit for AMC that showcases more than innovative fight choreography but also a complex range of visual styles. Set in a dystopian future where a feudal society has taken shape after civilization has collapsed, the series is loosely based on a 16th Century Chinese story, Journey to the West. The plot follows the journey through the Badlands of a trained assassin and the young boy he rescues after a deadly attack as the two seek enlightenment. The setting of the Badlands, the differences between the feudal barons, the mix of close interiors, and sweeping exteriors all offer a wealth of visual possibilities.

The show has a very stylized look and feel, due in no small part to the masterful work of Director of Photography Shane Hurlbut, ASC. The show is shot in a variety of locations, with a mix of color temperatures—bright, day lit exteriors; flickering nighttime in the rain; warm and colorfully lit interiors, to dark and dangerous spaces. The full range from bright to dark and everything in between is used to great effect with rich saturated colors used often to support the characters’ traits and their place in the plot itself. Hurlbut had multiple lighting units on the shoot and the Fight Unit lighting team includes Gaffer Jeff Stewart and Best Boy John Gorman, who had served as a U.S. Marine, is known to most in the industry as “Jarhead.” The Fight Unit lighting team quickly realized that shooting Into The Badlands would prove to be very complex and chose an array of Cineo Lighting products to illuminate the non-traditional shoot and to ensure that they perfectly match the First Unit’s shots which are done with a more traditional film lighting rig.

Stewart and Jarhead need to think through a lot of variables when arranging the lighting to get the illumination needed and the match to the First Unit. “When you’re shooting a show that’s as darkly lit as this; with a lot of fire effects and things like that, it’s very crucial that you get the lights in the exact position necessary, so that you can get the costumes, the distinct facial features, etc,” explains Jarhead. “It’s a challenging show to work on, it has you thinking every day. We don’t shoot a normal day scene; we’re shooting a day scene inside of an old fort or factory. When Jeff and I found out what the lighting for Badlands was going to be like, we knew we wanted to get Cineo involved, because that’s the lighting that we were going to need to pull this off. We could not have done this shoot without the versatility of the Cineo products. My first purchase was the Cineo Matchstix and I have just expanded my inventory of their products from there.”

Hurlbut felt the selection to use Cineo Lighting products made sense, especially considering the need to light in a challenging array of locations. “What I loved about the Cineos were their small size that packs a wallop,” says Hurlbut. “You can hide them in small places as well as their light weight nature fits in small soft boxes that can move quickly and deliver the perfect quality of light I am looking for.” Jarhead and the rest of the lighting team agree with Hurlbut and really appreciated the fact that they could use the Cineo Lighting products just about anywhere. Ideal for both interior and exterior shoots as well as in the elements; there were no limitations to where they could be used. “The Cineo products helped out because the lights are so compact in design, and their versatility makes them amazing,” Jarhead comments. “We liked using the Cineo Matchstix in some of the trickiest locations. We used that light in in a lot of places, especially when we were shooting in an old abandoned power plant. When there wasn’t a place where we could easily put an HS light, I would use a Matchstix. I actually used rare-earth magnets and added a pin receiver on the magnets. That allowed me to mount the lights inside of an old boiler, in tunnels, and places like that. That worked out really well.”

The team also relied on the Cineo Maverick and the Cineo HS units. “Those lights have so much punch. For example, there’s a scene where you’ll see a character running through a series of tunnels,” says Jarhead. “If you look at all that lighting, those were all Cineo HS lights. We would run HS lights in every tunnel. I would say by far that the HS was the most used light on the entire shoot. The rain was our biggest challenge for many of the scenes shot. When it comes to HMIs, all it takes is one drop of water on that glass and the lens will crack. You’re talking 18,000 watts; and the lens gets up to about 300 degrees. The Mavericks and the HS don’t have that issue but they give you the punch. Another nice things is with the different capabilities of the Cineo products you just change a panel or dim it down, where with an HMI to cut it down, you are putting scrim after scrim, after diffusion in front of the light.”

Not needing to haul the large and heavy HMIs around all the time was another plus. “We shot a lot of locations where it came in handy that the Cineo lights are so compact and come in their own cases,” points out Jarhead. “Instead of having the guys push HMIs fitted onto rolling stands out into an open field for a half mile; it’s easier for the guys to transport the Cineo gear in a cable cart.”

With the wide variety of colorful costumes and sets, accurate color rendition is important. With a wide varieties of ethnicities amongst the cast, accurate skin tone reproduction was equally important. “Skin tones were very important,” Jarhead says. “We have a great cast with many Asian and African American actors and there is a wide array of skin complexions. One of the things we did was use a custom-made gold and white checkerboard that we put on four by bounce card. Basically what that does is just give a great warm light against the Asian complexion. That skin tone on camera looks completely different if you don’t use a bounce. We take an HS and bounce it into the custom checker board for a lot of the close up profiles. Especially in the first episode, when the lead is sitting in his character’s little cabin, the only lights we used inside that cabin were the Cineo HS and the Mavericks; they gave us this great light to work with doing that scene and throughout the shoot.”

Appreciation of the engineering and design that went into the cold phosphor technology behind all of the Cineo Lighting products and their reliability over time is why Jarhead wants them in his the lighting inventory. “The problem with most LED panel lights is that they’re great for the first two years that you own them, but then the color temperature starts to shift. When Cineo came up with the HS light and the phosphor panel they solved those issues. It’s just amazing the way that light is designed with the phosphor panels, those panels make the lights completely versatile as you can go all the way up to 6,500K with the panels. They are by far my favorite light that’s out on the market right now.”

Daniel Wu as Sunny – Into the Badlands _ Season 1, Episode 1 – Photo Credit: James Dimmock/AMC

Emily Beecham as The Widow and Daniel Wu as Sunny – Into the Badlands _ Season 1, Episode 6 – Photo Credit: Patti Perret/AMC

Oliver Stark as Ryder – Into the Badlands _ Season 1, Episode 6 – Photo Credit: James Minchin III/AMC

Granger Community Church

Granger Community Church, based in Northern Indiana, has two campus locations, Granger and Elkhart, as well as an extensive online presence for people around the world to celebrate and access GCC’s message. The church uses a variety of creative and visual arts to deliver their message shooting a wealth of videos created in house. The Visual Arts team at Granger in fact captures and produces a wide range of content for its services and presentations with almost half the videos being storytelling, documentary style works. For many of their video shoots Granger’s team relies on Cineo Lighting products.

Dustin Maust, Director for Film & Design, works with a video team that shoots both in the church’s in-house studio and in the field to produce the numerous pieces of video and news segments used for the church’s worship services and online. Maust, who has been working at Granger Church since 2002, recently spoke about why they chose to use Cineo units for both studio and on-location work. “We have a nice range of Cineo products, including HS, Mavericks, LS, and Matchstix units,” explains Maust. “in our inventory for over a year now and we love them. As a full production house we shoot all sorts of style videos—story videos, news pieces, promos, commercials. You name it and we take the Cineos on every shoot because we love the portability of them. They are nice softlight for the shoots that we do. We came from using Kino Flo Diva-Lites, but I prefer the HS; they are more powerful. I feel like they are just a much better soft light and we have much more control than with the Diva.”

Maust and his video team selected the Cineo gear after seeing the product line at the NAB show while exploring lighting and camera equipment to purchase for their inventory. “We looked at a lot of lights from a lot of companies and the Cineo Lighting products were the ones we really felt worked best for us, we liked what we saw,” Maust comments. “The first thing with any light I do is take a look at the quality light; ‘does it look good? Does it produce the sort of results that I want?’ The HS lights are a great soft source; they’re easy to shape and are powerful. It’s very easy to get plenty of light from them to compete with the natural light coming in from a window for instance. I really like that, especially as we do a lot of location shooting. The other thing about all of the Cineo lights is that they’re built really, really well. It doesn’t feel like you’re compromising at all. They are really well built and engineered well. That they are so portable is a great bonus with the quality of the light.”

Granger Community Church, though in the process of building out a larger studio space, does shoot some15% of their content in a small on-campus studio. “We use the Cineo HS units in our studio and for every weekend service we shoot a news-style piece; one person presenting with a seamless backdrop; just really clean, really simple. We use the Cineo lights for some really soft light. For the balance of our shoots, about 85% of the time, we are on a location somewhere; on those shoots we use the Mavericks, LS, Matchstix, and the HS units as well.”

The high output, paired with the low power draw is a big benefit for the filmmakers of Granger Church’s Visual Arts team. “To get the output that we want out of the HS lights while just plugging into a wall outlet is a big benefit,” states Maust. “To capture the documentary-style videos we often show up at a person’s house or other random locations to shoot. It’s not like we have access to special electrical power. The fact that we can just plug them into a wall outlet is pretty incredible. Our goal in a lot of shoots, is to make the lighting feel as real as possible. Just the other day, we put a couple of the Mavericks outside a window and shot them in; it was perfect. No one knew that the light coming through the window wasn’t daylight. We have found they are very versatile lights.”

The video team is shooting predominantly at a daylight color temperature, yet appreciate how easy it is to change out the phosphor panels when needed. “I would say that 95% of the time we’re shooting daylight, 5,600K, and using them in tandem with natural daylight coming from nearby windows,” notes Maust. “We do have the 3,200K panels that we can always pop on. That’s another nice feature that the phosphor panels just pop in so you can easily and quickly change the color temperature. In addition to how easy it is to adjust the color temperature, I want to mention the important fact that the Cineo lights are all flicker-free. We shoot some of our work at 200-300 frames per second with our Red Epic cameras. It’s great to have the Cineo lights that give us results that are completely flicker-free.”

Maust and his fellow filmmakers also appreciate the ability to use a camera battery to power the lights when no local power is readily available or if the shoot requires them to stay portable. “There’s a lot of times where we can have a very portable light with the Maverick. We just use a V-lock battery and now the light is easily movable; it’s quick; and you don’t have to find an outlet. We did a video shoot last week and one person was manning the light and moving it where it was needed. That was nice because it kept things moving along and well lit at the same time. It’s really great to have something so lightweight and give a soft light without a lot of work to move it around.”

He finds similar benefits with the Cineo 12” Matchstix lights, “Those lights are great for being able to place them in locations where there isn’t a lot of room for lighting. We don’t need to use them a ton but when we do they are just what we need. We can stick them in tight places and feed them using a V-mount battery. Most of the time we don’t have to go as small as the Matchstixs but I will say what’s awesome about the HS’s and the Mavericks is how thin they are. When we are on a set, we can easily stick them just about anywhere. We find ways to hide them and that’s a big bonus, especially for a softlight. And all of the Cineo lights play really, really well together,” maintains Maust. “To have a really powerful HS and some of the small Matchstix and everything in between is awesome.”

The Granger Church made their Cineo purchase through lighting dealer, Barbizon Chicago, adds Maust. “We’re big fans of Barbizon; they have been great to deal with and we’ve been completely happy working with them. All around it has been a good experience with them and with our purchase. We are really very pleased with the Cineo lights.”

For more information about Granger Community Church, please go to: http://gccwired.com/

The Art of Listening

For their documentary, The Art of Listening, Co-Directors and Co-Cinematographers, Michael Coleman and Emmanuel Moran, used Cineo Lighting products exclusively. Lighting the many interview subjects well was particularly important as the documentary filmmakers explain, “This is about the journey that music takes to reach a listener’s ear, from the intent of an instrument maker and composer, to the producers and engineers who capture and preserve an artist’s voice. The film itself is narrated by intimate conversations with the artists about the philosophy of their work combined with a visual narrative of their process.”

In handling the interviews, Coleman and Moran kept the team small—just two or three people—so as not to overwhelm their subjects. They also wanted to travel light, get in and out quickly and efficiently, and not take up too much of the interview subject’s time. “From the very beginning, we knew we wanted to talk to a very diverse group of musicians, luthiers, producers, engineers, and overall people that are involved in music,” says Moran. “That is the very essence of the message of the film. To kind of go beyond what everyone is used to seeing in a music documentary and talk to a pretty wide range of people. A lot of documentary filmmaking is asking for favors, really; people being generous by giving you their time. So in terms of our lighting, we knew we had to be efficient with the limited time we had to setup and we needed something reliable and compact because we were going to be traveling so much. We knew that we couldn’t carry a ton of very heavy gear; that possibly might not work in a tight space; so that’s where using the Cineo lights were really amazing.” Their gear selection included the Maverick and Matchbox lights to illuminate their interview subjects expertly and expediently.

The ease in setting up the Cineo lighting was an efficiency that both filmmakers really appreciated as it gave both of them the extra time to talk with the subjects about the interview and to put them at ease. “A lot of these interviews were opportunities to talk to wonderful artists and producers,” says Moran. “So when we were there we’re not just setting up the lights; we are getting to know people, getting them comfortable with you. If you have gear that makes it easy for you to just do that part of your job, I think, is really special. We have done other shoots together where you spend more time putting the lights together than getting to know people. This problem was easily fixed by the decision to work with the Maverick for example, which was our main key the whole time. They let us light in a way that we felt was representative of the overall feel of the film.”

“I think the nice thing about the Cineo products is just the quality of the light,” explains Coleman. “That was one of the big factors for us even getting them originally. It was Emmanuel who said ‘You should check out Cineo’s lights’ as I hadn’t really been familiar with the line. The first impression I had when I saw the Maverick and the Matchbox for myself was that they were really well built. They’re really small and the quality of the light is fantastic. We were able to really do everything we needed with them; the whole film was lit with only those two lights. As Emmanuel said, we were going for a very kind of natural type of look, so we didn’t want to over-light the shoots. Also, with the amount of space we had, we couldn’t really use more than those two. All the shoots were pretty much two cameras, so it was the both of us. At most it was a three person crew when we had a producer with us. We usually used the Matchbox as a hair light, sometimes we’d use it as an accent, or for insert shots.”

Being a documentary, the team knew that it was important to create an environment where they put the viewer right in the middle of workshops, right in the middle of studios, and the spaces where people go to create music. “We didn’t want to go in there and start to tamper too much with what was going on, because we saw that what was in front of us was just cool enough on its own,” Moran says. “I think that’s another challenge we avoided, going into a space where we would have a tough time just bringing in another light we could use a Cineo Maverick and a Matchbox, both of which were very efficient. You want anything you work with to do what you need and just get out of the way, and I think for me that was it. For me, that was the biggest impression of working with Cineo Lighting products, after a while it just became second nature to just put the lights up.”

Moran and Coleman really appreciated the rugged construction of the Cineo products as they trooped around the globe making their documentary. “A lot of gear got pretty roughed up with all the traveling around, especially the Maverick,” Moran comments. “It didn’t matter though, those lights could withstand everything and they still would always turn on! They would always be working.” In addition to durability, Coleman highlights the fact that the source keeps the lights cool, helping the team be more efficient. “I really like how the lights stay cool,” Coleman says. “They’re not an HMI, which I’ve used for most of my career. HMI lights get so hot you have to wait for them to cool down before you can pack them up; now we could pack and go right away. A key benefit that was really nice actually, was that by using the Cineo lights in small places we wouldn’t be heating the place up.”

Another key reason for selecting the Cineo lights was the color quality. This was a benefit that paid off when they got into post production and started looking through the footage. “When we brought the images up and we were studying the color, it just seemed like, wow,” states Moran. “We were amazed at how true to life the colors were and better looking than we were expecting. In post, we kept saying things like ‘Oh, Wow. That looks better than I thought.’ And that’s always a good thing, because I think a lot of times when you’re shooting a documentary it’s so fast that you just have to kind of commit to something and you pray for the best. If we had compromised by using a different light, the colors wouldn’t have been so true. You get a green cast with a lot of LED lights. The color rendition was unique and special about the Cineo lights. And if anything, just because of that reason I can’t see myself using anything else”

“When we were in post, it was very seamless,” agrees Coleman. “To me, there’s not much out there that can compare to the color matching with Cineo’s phosphor technology. We never had a feeling that we were getting a mixture of color temperatures; we didn’t see any weird shades of magentas and other colors like I’ve experienced in the past.” That quality of the color from the Cineo Lighting products helped reduce the time the team had to spend color correcting and balancing in the post process.

The Art of Listening team also really appreciated another efficiency, that the Cineo lights can be powered by batteries, even camera batteries and thus making life easier by not having to carry separate batteries. “When we went to Japan, one of the issues was traveling with all of our gear,” says Coleman. “Honestly, it was nice to work with the Matchbox using camera batteries on it. We made sure the camera batteries we had were going to be compatible and that we could use them. So in some cases we didn’t have to worry about finding power. That was one of the big selling points for us with the Matchbox; that you can just power off a battery and you don’t have to worry about cabling. You can move it around easily and it’ll work really quickly which was definitely the case for a lot of the shoots.”

Moran adds, “Being able to use the same batteries for the camera on the little Matchbox was pretty awesome. There was a scene towards the end where Michael got in a car with a composer and they are going to a show at night. Without thinking about it, we just threw the Matchbox in the car. It’s so portable, so tiny, it was like of course, we’re going to use it. I think that we could have shot the scene without using the light, but it wouldn’t have looked as beautiful as it looks.”

Coleman was so pleased that he is actively telling others to working with Cineo Lighting products. “I just have to tell people about Cineo lights because, while I feel that a lot of people do know about the product, there are still people that don’t know about them and really, really should. You would think that lighting technology would just plateau and not really advance, but with Cineo, that’s not the case at all. Cineo has advanced it so much.”

 For more information on this documentary and to watch a trailer of The Art of Listening, please go to: www.theartoflisteningfilm.com.

Voice of America Studio 50 Lit with Cineo Lighting Products

The Voice of America (VOA), located in Washington, D.C., is a U.S. Government multimedia broadcaster, whose mandate is to broadcast accurate, balanced, and comprehensive news and information to an international audience. VOA recently completed the first round of upgrades to two of its six very busy television studios and addressing lighting challenges in those spaces was a priority. Seth Jason, VOA’s Senior Lighting Director and Studio Supervisor, found the right solution was to specify a range of Cineo Lighting products.

“Our studios are in a WWII-era office building with very, very low ceilings and a lot of restrictions,” explains Jason. “When we started to upgrade the lighting in our studios, I really wanted to go with LED sources, for several reasons, but heat issues were the biggest complaints that we got from people who worked here. Some of the studios are small and the heat can build up quickly when you put on a few ellipsoidals and Fresnels with tungsten halogen sources.

The largest full studio installation is in Studio 50, which gets used quite frequently by a range of VOA programs. “We’re doing 23 language services, doing different productions 7 days a week,” Jason notes. “It’s a lot. We are the only ones in the world doing that many languages in one building.” The many and frequent people using the space have been pleasantly surprised by the new lighting in the studio, as well as the clean, sparse look now of the grid. “When you are used to a lot of Fresnels, Lekos, and soft lights”, says Jason, “it is odd to now see it without the old heavy hang.”

The new lighting inventory in Studio 50 includes: 30 Cineo Lighting Mavericks, 5,600K; 7 Cineo Lighting Foton2, 70˚, Daylight; and 4 Cineo Lighting HS, 5,600K. Plus accessories including barn doors, louvers, gel frames, mounting hardware, etc. The lighting package was provided by Newington VA-based Communications Engineering, Inc. The lighting plot covers four sets in the studio that are always in place, including a desk with four talent positions; a two-position stand-up set; a five chair interview set; and a large, curved 12 feet high by 30 feet wide green screen area. “The desk technically has four positions, but because I light it flat, we can put five people there,” comments Jason. “Just like with our audio, we have lighting flexibility to add in more people for larger coverage of the State of the Union, election coverage, Chinese New Year, certain events like those. The green screen is the only one we have in the building where we can actually do a walk.” Studio 50 is usually shot with standard definition cameras.

Color rendition is an important consideration that Jason has to take into account since there are a lot of variables at VOA including a wide variety of skin tones as well as a very broad range of colors in the talent’s on-air outfits. Tom Yuhas, the Eastern US Sales Manager for Cineo Lighting, worked with Jason on the selection of Cineo gear and suggested the switch to daylight sources for VOA. Jason states, “Previously, we had been strictly a 3,200K-source studio. This was something that Tom advised me on and I thought a lot about; he mentioned that a few studios had gone to daylight sources and recommended that daylight is more forgiving for skin tones. Here at VOA, we can have a situation with somebody from Asia, from Africa, from the Caribbean, and from Canada on one set. Going to a daylight source is just more flexible and a lot of camera operators and video engineers do prefer the daylight source. When we renovate the other studios, we are going to go daylight as well and in our small studios, we will add CTB to correct tungsten sources to daylight output.”

IT’S A MESS

Behind the scenes shots from upcoming short film ‘It’s a Mess.’ Shot on Varicam 35 at ISO 2500, the crew gelled Cineo HS2 to balance for existing street lights. The two fixtures, which served as the main lights for the entire 50′ square area, were raised high on Mambo Combo stands and dimmed to about 70% output.

Photos by NYC Local 52 gaffer Doug
Shannon. See more of his work at www.doug-shannon.com.

BUNNYCON

Director of Photography Paul Reuter on using Cineo Matchbox to shoot his recent short film “BunnyCon”:

“The Matchbox came in so handy augmenting the existing holiday lights—I used it at the beginning for the close ups in front of Saks Fifth Avenue to edge him from camera right. The Matchbox worked beautifully to supplement the lights from the store. We shot with the A7sii in a crowd so we couldn’t put down light stands. At 3200 ISO the Matchbox was big enough and bright enough to give me the edge I needed.”

 

Bunnycon! from Paul Reuter on Vimeo.

See more of Paul’s work at www.paulreuter.com

MATCHSTIX ON THE SET OF AFI THESIS FILM HUMAN

MATCHSTIX ON THE SET OF AFI THESIS FILM HUMAN

by Toshihiko Kizu

As many cinematographers have already noted, the greatest advantage of using Cineo fixtures is the quality and intensity of the light as well as the fact that they have a low power draw for a great amount of output. I also liked that they are color consistent and could easily be controlled by dimmers or DMX units. I wanted to use them for my thesis project since I believed that Remote Phosphor technology fixtures could not only give me precise control of lighting the scenes but also speed up production, allowing me to be more creative on set.

I was very lucky to have Matchstix for this project because they ended up being the perfect solution to solve a lighting challenge I was facing. In one scene, our character is supposed to be lit by a flickering TV. It was necessary to show the body of the TV in order to establish the geography of the room. While I could have potentially hidden lights right next to the TV, I wanted to avoid cheating the position of the light. I decided to take away the screen and “guts” of the TV and hide Matchstix inside of the body. Matchstix worked for this application because they were small and cool enough to fit in the TV, but were intense enough that we could gel them as well as add diffusion in place of the TV screen. I did end up adding some small fluorescent fixtures as well for the purpose of color variation, but it was obvious that they had much less intensity than the Matchstix. Another great thing was that it was easy to control the intensity with a dimmer to execute the TV flickering gag. The Matchstix were the perfect fit for this situation, and the lighting for the scene worked well thanks to them.

Toshihiko Kizu is a second-year cinematography fellow at the American Film Institute Conservatory. You can see more of his work at www.toshihikokizu.net.

MARVEL’S FANTASTIC FOUR (2015)

MARVEL’S FANTASTIC FOUR (2015)

150 Cineo HS fixtures were used to create a green screen environment for the production of The Fantastic Four (2015). DPS Cinema supplied the fixtures to the production and organized the 150 fixture lighting array, marking the largest quantity of Cineo HS fixtures ever assembled for a feature film.

“The HS is my new go to light for green and blue screen,” said Erik Messerschmidt, gaffer of the film. “It’s a game changer, a new breed of LED light.”

Rigging gaffer Jeff Soderberg agreed, adding that the fixtures are “state of the art…energy efficient, low amperage, and dimmable. One HS fixture replaces three conventional Image 80 fixtures, reducing labor costs by half. HS is my first choice for illuminating VFX blue and green screens.”