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Pete Burns, lighting cameraman from the UK, introduces and explains his interview lighting kit, which is based on parallel light intensifiers and handy dedolight Lightstream reflectors.

Im 3. Teil der FORENSIK Reihe gehen wir genauer auf polarisiertes Licht und deren Vorteile bei der Spurensuche ein. (with subtitles in different languages) Teil 1 - Einführung: https://youtu.be/SEo2EfRl3pQ Teil 2 - Nah-Infrarot: https://youtu.be/nRyI42lGDOg

Im 2. Teil der FORENSIK Reihe zeigen wir die Einsatzmöglichkeiten von Nah-Infrarotlicht bei der gerichtsmedizinischen Spurensuche. (with subtitles in different languages) Teil 1 - Einführung: https://youtu.be/SEo2EfRl3pQ Teil 3 - Polarisiertes Licht: https://youtu.be/QJlYzk4QdQk

A short overview of the TOP30 winners of the international dedolight lighting competition in 2015.

Diplom Biologe Dr. Martin Schulz vom Institut der Rechtsmedizin der LMU München hat in Zusammenarbeit mit der Dedo Weigert Film einen speziellen Lichtkoffer für die forensische Spurensuche erarbeitet. Welche Leuchten in diesem Koffer sind, welche Ergebnisse sich in der Spurensuche damit erzielen lassen und weitere Informationen in unserem neuen Mehrteiler. (with subtitles) Teil 2 - Nah-Infrarot: https://youtu.be/nRyI42lGDOg Teil 3 - Polarisiertes Licht: https://youtu.be/QJlYzk4QdQk

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time he turns a clean hotel room into a chaotic living room for a "Family Life" portrait. Equipment used in this video: Key light on her: 2x "DLH4" 150W focusing tungsten light head and a "DLH1x150S" 150W tungsten soft light with mini soft box Key light on him: "DLH4" 150W focusing tungsten light head TV screen imitating light: "DLED4-BI" 40W focusing bicolor LED light head with blue glass filter Background light (outer reflections): "DLH400DT" 575W focusing daylight light head Background light (reflection): "DLH650" 650W focusing tungsten light head

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time with a "Film Noir" setup for a portrait. Equipment used in this video: Key light: “DLH4” 150W focusing tungsten light head Hand light: "DLH4" 150W focusing tungsten light head SFX light: “DLH4” 150W focusing tungsten light head with DP2.1 imager/projection attachment

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time with a "Horror Lighting" setup for a portrait. Equipment used in this video: Key light: “DLH4” 150W focusing tungsten light head, shining through a translucent reflector. Backlight: “DLH4” 150W focusing tungsten light head SFX light: “DLH4” 150W focusing tungsten light head with DP1.1 imager/projection attachment and steel gobos

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time with a "Film Noir" portrait. Key light: DLH4, 150W focusing light head with translucent diffuser Fill light: DLH4, 150W focusing light head with SunBounce reflector Backlight: DLH4, 150W focusing light Kicker: DLH4, 150W focusing light

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time two different kinds of photos with a big window as main light source. SCENE 1 Key light: Felloni bicolor LED panel, DLED4-BI, 40W focusing bicolor LED light head Fill light: 3x DLED4-BI, 40W focusing bicolor LED light head Backlight: big window SCENE 2 Key light: DLED4-BI, 40W focusing bicolor LED light head with DP1.1 imager projection attachment Backlight: big window Background light: 4x DLED4-BI, 40W focusing bicolor LED light head

The renowned Cinematographer, Inventor, and Manufacturer Dedo Weigert is presented with the 2019 DCS Cinema Lighting Service Award for innovation and dedication to educating future generations of Lighting professionals. He also tells about his latest products and gives a live lighting demo at the 2019 DCS Cinema Lighting Expo. Video courtesy of DIGITAL CINEMA SOCIETY (link to original video): https://vimeo.com/320515609

Adam Chambers, Gaffer in Hollywood, about his experience with the dedolight parallel beam light "DPB70" on location

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time: a lighting set-up in a large room, with lighting set-ups separately dedicated for actor and background. Key light: DLH4, 150W focusing tungsten light head and glass bottle Fill light: DLH4, 150W focusing tungsten light head with translucent diffuser Backlight: 2x DLED4-BI, 40W focusing bicolor LED light head. One with wide-angle attachment Background light: DLED4-BI, 40W focusing bicolor LED light head and glass bottle, DLED4-BI, 40W focusing bicolor LED light head with translucent reflector Background light (floor): DLH650, 650W focusing tungsten light head

Angel Penchev, Bulgarian photpgrapher, demonstrates precision lighting with the help of a Bugatti model car.

Ilya Rashap, Russian photographer and lighting expert, shows and explains his "painting with light" set-ups in a little 10 part tutorial series. This time with two completely different lighting set-ups in one location. SCENE 1 Key light: DLED4-BI, 40W focusing bicolor LED light head and yellow glass filter Fill light: DLED4-BI, 40W focusing bicolor LED light head, DLH1x150S, 150W tungsten soft light SFX light: DLH4, 150W focusing tungsten light head and disco ball Backlight: DLH650, 650W focusing tungsten light head Background light: DLED4-BI, 40W focusing bicolor LED light head SCENE 2 Key light: DLH650, 650W focusing tungsten light head with bounce card Backlight: DLH400DT, 400W focusing daylight light head Background light: DLED4-BI, 40W focusing bicolor LED light head with mirror-like reflectors

Interview with Dedo Weigert and Marc Ludwig at the Foto-TV live studio about reflected light and the PHOTOKINA Wedding Zone studio which was exclusively lit with the dedolight lightstream system in a combination of DPB70 parallel beam light head, reflectors and Ledraptor5 LED soft light

Interview mit Dedo Weigert und Marc Ludwig im Foto-TV Live Studio über reflektiertes Licht. Das PHOTOKINA WEDDING ZONE Studio wurde mit dem dedolight Lightstream geleuchtet, einer Kombination aus DPB70 Parallelstrahler, Reflektoren und dem Ledraptor5 LED Softlicht.

Working with the TECPRO LITEFLEX: bicolor, flexible, battery or mains powered, LED lighting The TECPRO LITEFLEX is one of the most useful lights on the market for the single camera person or anyone who needs portable lighting. Key Features: • High output • Low power consumption • Incredibly light and portable • Dimmable • Bicolor - daylight or tungsten at the turn of a knob • Runs on Sony BPU batteries or V-lock batteries with adapter • Detachable power stick which enables the LITEFLEX to be mounted to any flat surface • Can easily be angled down when fitted to a light stand - many lights cannot do this • Can be bent to the appropriate shape you need - you can effectively create a tube of light With a variable color temperature of 3200K (tungsten) to 5600K (daylight), the TECPRO Liteflex Bicolor flexible LED Panel is a durable, rugged LED panel, that is equipped with a Velcro surface, so it can be attached to almost any surface. It comes with a Power-Stick, which can be powered by a 14.4V battery or via 12-20V DC, and which contains the controls for dimming and color temperature. Optional Accessories: * 2 soft boxes are available for the LITEFLEX: 50 x 50CM TECPRO TP-SBX50 60 x 60CM TECPRO TP-SBX60 * A grid is also available for each of the soft boxes * Adapter for V-lock batteries Overall, this is an incredibly useful and easy to use light with a good range of accessories. The LITEFLEX provides light at a moments notice, with good output and excellent color rendition. It is easy to use on a stand or hand-held. The LITEFLEX is powered by small Sony BPU batteries; for extended power, V-lock batteries can be attached with optional adapter. Optional soft boxes, in 2 sizes, and grids for the soft boxes, are available.

Review by Pete Burns, lighting cameraman in the UK

Photographer Angel Penchev demonstrating a lighting setup for a little, real-sized medal, called "Jesus Christ"*. A lighting setup with 1 light only, a semi-transparent mirror and photo camera.

Interview with Dedo Weigert @NAB 2018 about new dedolight products. Video courtesy of DIGITAL CINEMA SOCIETY: https://vimeo.com/264769894

Jennifer Tanksley-Coss and Roman Zenz present the latest from Dedolight as part of the Digital Cinema Society's 2018 Cinema Lighting Expo held February 24th at the IATSE Local 80 stage in Burbank, CA.

Classic portraiture from Leonardo da Vinci to Rembrandt, Looking at specific, traditional lighting styles, using a single light, and then developing onto classic Hollywood and beauty lighting. This is the final part of the series, Lighting the Human Face, by cinematographer, Ian Murray. “Let’s not forget the beauty of just using one soft light and seeing how a human face responding to soft light, graduating from the highlights, softening into the shadows. Let’s not forget how beautiful that is. Many artists base their whole careers on just studying that one phenomenon. They sit their models next to a window, and all they’d do is they do is paint their models from day to day, painting them, endlessly fascinated by what that light would bring. A North soft light coming from a window with a model sat next to it - I mean that’s, arguably some of the most beautiful lighting you’re ever going to see: very very simple.” Ian Murray, Cinematographer Lights used for this tutorial: DLED4-BI, 40W focusing bicolor LED light head with mini soft box DLH1000SPLUS, 1kW tungsten soft light with Panaura5 soft box White, silver and soft-gold reflectors

Understand the ways in which one can create light in the eyes. Eye lighting can come from direct lighting, with filters designed to blend the light invisibly with the rest of the face, or the light can be gentle reflections in the eyes, or a hard point - as a cinematographer you need to know how to control the eye light with regards to size, shape and intensity. Eye lighting will, inevitably, be a major influence in creating the portrait. “The Eye light provides a limited area of fill or highlight when the key or fill leave one or both eyes in darkness. So the eyesight is really a remedial light, it's what you use to remedy a problem. The eyesight is used when you can’t see enough life in the eyes and need to introduce a sparkle into the eye.” Ian Murray, Cinematographer Lights used for this tutorial: DLED4-BI, 40W focusing bicolor LED light head DP2.1 imager projection attachment with DPEYE filters DLH1000SPLUS, 1kW tungsten soft light with Panaura5 soft box White, silver and soft-gold reflectors

Where to place the lights in relation to the subject is crucial to achieving results. Here we look at several different lighting setups - from classic 3 point lighting to alternative 3 point lighting technique; ear side key; far side key; how to use fill light effectively; and achieving the classic Hollywood beauty and glamour look. “The classic beauty lighting technique is diffusing an on nose key position just above the lens. This minimises wrinkles, double chins, large noses, jowls, and emphasises cheek bones. It’s the classic technique.” Ian Murray, Cinematographer Lights used for this tutorial: DLED4-BI, 40W focusing bicolor LED light head (with mini soft box) DLH1000SPLUS, 1kW tungsten soft light with Panaura5 soft box White, silver and soft-gold reflectors

A lighting tutorial by Ian Murray from England. Learn more about key light positioning and its effects. (Part 2of5) It is important to understand the structure of the human face in order to effectively light it. The face can be defined by 5 distinct points: nose, chin, the 2 cheeks and forehead. The face can also be divided into 4 distinct facets, made up of ear to jaw and cheek to nose, on both sides of the face. By arcing a light around the face we can see how the different facets react to the light from different angles. This is also affected by whether the light is soft or hard, or a combination of these. This gets more complicated in a multi light setup. “In reality you tend to work with varying degrees of hard and soft, often in combination. In most situations a face is lit with a variety of lighting textures. Understanding and replicating these produces the most complex and richest images." Ian Murray, Cinematographer Lights used for this tutorial: DLH1000SPLUS, 1kW tungsten soft light with Panaura5 soft box DLED4-BI, 40W focusing bicolor LED light head (with mini soft box)

A lighting tutorial by Ian Murray from England. Learn more about hard and soft key light and its effects. (part 1of5) Part 1: understanding the difference between hard and soft light; how to distinguish between hard and soft light and how to evaluate hard and soft light; the characteristics these different types of light bring to the image. The primary goal of this video is to introduce some of the principals of cinematography through the act of portrait lighting, or the act of lighting the face. We will show practically how this is achieved. “We often look to nature for lighting inspiration. As cinematographers our job is to notice the light that inspires us and to be able to recreate it. The tools I’m showing you here allow you to evaluate the light and better understand the physics of it and, in turn, how to apply it to cinematography." “We start seeing light. It’s really very craftsman light. What you do is you just start studying the subject and in that process of studying it you become more sensitive to it and by being more sensitive to it you can start manipulating it in ways that you’re aware of that other people aren’t. But what happens with studying light from a photography point of view, a cinematography point of view - is your relationship with it changes a little bit, you become more intimately involved with it. And that’s what I realised is that the beauty of this process is you start seeing light…” Ian Murray, Cinematographer Lights used for this tutorial: DLH1000SPLUS, 1kW tungsten soft light with Panaura5 soft box DLED4-BI, 40W focusing bicolor LED light head (with mini soft box) White, silver and soft-gold reflectors

Even with the utmost care there are some common misunderstandings and some minute divergences that may need to be taken care of. Learn more about: - Color temperatures and DELTA UV color coordinates on the Planck Curve - Lumen maintance on LED fixtures We take extreme care to have all of our LED light sources as close to matching each other as possible, still, some minute differences are so far unavoidable.

Introducing the GIZMO-PRIME 360° remote head at IBC 2017.

VOCAS latest introduction of new camera accessories at IBC 2017. Introduction of Follow-Focus MFC-3(F) and Rail-Plate Type P, as well as camera accessory packages for Panasonc EVA1, Canon C200, SONY FS5 and more.

Photographer Angel Penchev demonstrating a lighting setup for a little, real-sized coin, called "Victor Hugo"*. A combination of up to 7 soft lights, focusing lights and imagers were used for this photograph. *Victor Marie Hugo (26 February 1802 – 22 May 1885) was a French poet, novelist, and dramatist of the Romantic movement. Hugo is considered to be one of the greatest and best-known French writers. Outside of France, his most famous works are the novels Les Misérables, 1862, and The Hunchback of Notre-Dame (French: Notre-Dame de Paris), 1831. Music: Vexento - Home https://www.youtube.com/watch?v=ojiGKxIKrWw

Scott Wright, from Dreamshock Design Studios, is a photographer, filmmaker, web designer, print designer and more. Here we see Scott at work in 3 separate situations, working as a filmmaker and photographer. At the heart of Scott's filmmaking skills are camera movement and lighting - harnessing the flexibility of lightweight DSLR and Mirrorless cameras, Scott has honed himself as a filmmaker able to provide high production values across a wide range of projects. Scott's skills are shown off in 3 filming situations. The material is filmed with a Canon 5D Mark III. The following lighting equipment was used: Felloni Bi-Colour LED panels dedolight DLED4 x 2 dedolight Panaura5 Check out more of Scott’s work at: http://www.dreamshock.com

Simple idea for unique background projections

In this informative interview, Dedo Weigert, the Founder of dedolight, not only introduces several new lighting products, but also explains some of the physics behind parallel beam lighting and how it can be used to great effect in motion pictures. Video edit in cooperation with DIGITAL CINEMA SOCIETY. https://vimeo.com/digitalcinemasociety

dedolight parallel beam lights and reflected light in news studios i24, Tel Aviv / Israel. Well organised softness and unlimited creative freedom, natural sunlight in a news room. Game changer in studio illumination.

Continuation of the practical demonstration. Part 1/2: https://www.youtube.com/watch?v=JU7D9j24hBU Tim Palmer, Director of Photography, demonstrates key lighting techniques used in drama based cinematography. Tim shows how to use controlled soft light effectively, how to light an entire room full of people while retaining the natural look - to light without the lighting being seen, and how to create a sparkle in the eye, to bring life to the eyes and face, and to complement the performance of the actor. In this practical demonstration Tim shows how he uses Dedo Panaura domes suspended from above, to creative a beautiful soft light, along with precision lighting for eye reflexes. Equipment used: dedolight PanAura, dedolight DLED4, Dedo DPEYE filters. Check out more about Tim Palmer and examples of his work at: timpalmerdp.com Tim Palmer Bio. Tim discovered an interest in photography while reading history at the University of California, Berkeley. After gaining a degree in 1986 he returned to England to pursue a career in photography. He spent time working as an assistant at a photographic studio and soon started receiving commissions to shoot editorial for fashion magazines, daily and Sunday newspapers. Always a passionate filmgoer Tim could see how his photographic experience could be applied to lighting for film and now, beginning to understand the function of the director of photography, he realized that this role encompassed everything he loved most about films – the power of the camera and lighting to tell stories visually. Branching out from stills work he found a position as a camera trainee on a feature film, which led on to work as a clapper loader on features, television dramas and commercials. This gave him the grounding and on set experience to realize that, one day he would be able to fulfill his dream of becoming a director of photography. In 1994 Tim gained a coveted place on the cinematography course at the National Film and Television School in Beaconsfield. He spent the following three years working on as many projects as possible and was fortunate enough to be taken on by the agency Casarotto Marsh on the strength of his graduation film. Coincidentally Casarotto also chose to represent the film’s director John McKay and he and Tim have gone on to work together on numerous productions since. Soon after, Tim began establishing himself in the field of television drama and over the past fourteen years has assembled a wide variety of credits including work on a mixture of groundbreaking dramas, long running television series and historical documentaries. He is always looking for ways to embrace new technology. In 2004, on the period drama "A Waste of Shame" Tim was one of the first DoPs to adopt P&S Technik’s pro 35 device to achieve a true 35mm look on High Definition. For the next two years, at least until the advent of the Genesis and D21, this was the only method of realizing that look. In 2010 Tim was director of photography on ‘The Road to Coronation Street’, the first mainstream British television drama to be shot entirely on the Canon 5D Mark 2 digital SLR camera. Little did he know twenty five years ago, on the brink of a photographic career, that the stills camera he was experimenting with then would one day metamorphose into a device capable of shooting a theatrical feature. In 2011 'The Road to Coronation Street' went on to win the British Academy Film and Television (Bafta) award for Best Single Drama. Another award winning production followed soon after. "We’ll Take Manhattan", made with Tim’s long time collaborator John McKay for the BBC, won the 2012 Prix Europa for best television drama. In 2013 Tim was elected a member of the British Society of Cinematographers. He went on to photograph the television adaptation of Kate Summerscale’s best selling novel ‘The Suspicions of Mr Whicher’, his work on which received a nomination for best cinematography at the 2013 Royal Television Society awards.

Tim Palmer, Director of Photography, demonstrates key lighting techniques used in drama based cinematography. Tim shows how to use controlled soft light effectively, how to light an entire room full of people while retaining the natural look - to light without the lighting being seen, and how to create a sparkle in the eye, to bring life to the eyes and face, and to complement the performance of the actor. In this practical demonstration Tim shows how he uses Dedo Panaura domes suspended from above, to creative a beautiful soft light, along with precision lighting for eye reflexes. Equipment used: dedolight PanAura, dedolight DLED4, Dedo DPEYE filters. Check out more about Tim Palmer and examples of his work at: timpalmerdp.com Tim Palmer Bio. Tim discovered an interest in photography while reading history at the University of California, Berkeley. After gaining a degree in 1986 he returned to England to pursue a career in photography. He spent time working as an assistant at a photographic studio and soon started receiving commissions to shoot editorial for fashion magazines, daily and Sunday newspapers. Always a passionate filmgoer Tim could see how his photographic experience could be applied to lighting for film and now, beginning to understand the function of the director of photography, he realized that this role encompassed everything he loved most about films – the power of the camera and lighting to tell stories visually. Branching out from stills work he found a position as a camera trainee on a feature film, which led on to work as a clapper loader on features, television dramas and commercials. This gave him the grounding and on set experience to realize that, one day he would be able to fulfill his dream of becoming a director of photography. In 1994 Tim gained a coveted place on the cinematography course at the National Film and Television School in Beaconsfield. He spent the following three years working on as many projects as possible and was fortunate enough to be taken on by the agency Casarotto Marsh on the strength of his graduation film. Coincidentally Casarotto also chose to represent the film’s director John McKay and he and Tim have gone on to work together on numerous productions since. Soon after, Tim began establishing himself in the field of television drama and over the past fourteen years has assembled a wide variety of credits including work on a mixture of groundbreaking dramas, long running television series and historical documentaries. He is always looking for ways to embrace new technology. In 2004, on the period drama "A Waste of Shame" Tim was one of the first DoPs to adopt P&S Technik’s pro 35 device to achieve a true 35mm look on High Definition. For the next two years, at least until the advent of the Genesis and D21, this was the only method of realizing that look. In 2010 Tim was director of photography on ‘The Road to Coronation Street’, the first mainstream British television drama to be shot entirely on the Canon 5D Mark 2 digital SLR camera. Little did he know twenty five years ago, on the brink of a photographic career, that the stills camera he was experimenting with then would one day metamorphose into a device capable of shooting a theatrical feature. In 2011 'The Road to Coronation Street' went on to win the British Academy Film and Television (Bafta) award for Best Single Drama. Another award winning production followed soon after. "We’ll Take Manhattan", made with Tim’s long time collaborator John McKay for the BBC, won the 2012 Prix Europa for best television drama. In 2013 Tim was elected a member of the British Society of Cinematographers. He went on to photograph the television adaptation of Kate Summerscale’s best selling novel ‘The Suspicions of Mr Whicher’, his work on which received a nomination for best cinematography at the 2013 Royal Television Society awards. Part 2/2: https://www.youtube.com/watch?v=li2CTBO8mMA

The scene in this video is lit with 11 separate lights. Each light serves a distinct purpose in achieving the overall result. This short video shows the positioning of each of the lights, what they do, and the different types of lights which have been used. dedolight provides the ideal tools for the modern cinematographer to work with. These lights are low in power consumption, easy to carry around, and enable the cinematographer to precisely place light exactly where they wish within the scene. The term "painting with light" has been used to describe the abilities of dedolight and this short film, 11-light set-up, is a good example of the precision of dedolight at work.

ARMOR-MAN – the quick, easy and light stabilising-vest for gimbals. - Payload up to 7,5 kg - V-mount on the back, for powering gimbal and camera. - Smooth movements - Less effort, less weight on your arms, but more flexibility and longer shoots with a gimbal The 2nd Generation of this stabilizing vest is available now at Dedo Weigert Film in Munich.

Reflected Light System The Cine Reflect Lighting System (CRLS) provides a different way of lighting, using reflected light with a parallel beam to precisely direct the light. This creates a working environment which is free of cables, heat, and it is quick to make changes to the lighting. The results, using the CRLS system, have been described as producing "a very natural type of light." The system has proven itself on many feature films. This video - Reflected Light System - shows the CRLS system at work, the results which can achieved, and examples of how to use it. Background to the Cine Reflect Lighting System The Austrian Oscar nominee for cinematography, Christian Berger, has broken with the guidelines on the set regarding lighting. He looks at light in another way and uses only reflected light. “My main intention was to invent a luminaire that would create beautiful light that would, at the same time, reduce stress on Actors, Directors and, of course, Cinematographers, while at the same time offer great flexibility,” Christian explained. The idea of the PARALLEL BEAM SYSTEM is to avoid diminishing the light by “obstacles” (cutters, flags, scrims) and to replace these tools by special reflectors that can dramatically influence dramatically the shape and structure of the light that reaches a scene. For best efficiency, it is crucial to use the special reflectors with parallel light beams. (In other words, they won’t work as well with ordinary Fresnels or PARs.) The reflectors use specially calculated laminations and diverse coatings.

Sensors come in many different sizes and the size of the sensor has a direct relationship to light sensitivity. Large sensors perform better in low light, and a large sensor creates a more shallow depth of field to the image. The critical factors affecting depth of field is the aperture setting on the lens, the sensor size, and the chosen focal length. For the cinematographer, understanding the sensor within a camera, is key to producing cinematic images. It is worth mentioning that the small sensor tends to exhibit more noise than large sensors. Just like 16mm film was more grainy than 35mm motion picture film, a large sensor contains more information than a small sensor and this shows in the low light performance. There are other considerations which will affect the look and quality, such as recording codec, resolution, and of course lens choice and the aperture you choose to shoot at. Regardless, sensor size certainly has a major influence on depth of field and low light performance. It is therefore an important consideration when choosing the right camera for the job. For those filming with smaller sensors it can be difficult, or impossible to suitably throw the background out of focus. This can make producing cinematic looking images difficult, and contributes to what many call the “video look.” There is a solution to this problem. By using a dedolight in combination with an imager, one can project an image onto a background, and then throw the background out of focus. The result, when recorded, shows an out of focus background with the foreground subject in focus. We can therefore simulate the large sensor look with a smaller sensor - this means we can produce cinematic images regardless of sensor size. As cinematographers our job is to create the look and feel of a scene through all the tools available to us. The tools provided by dedolight, specifically focussing lights in combination with a dedo imager, enables us to project an image on a background, control the focus of the background image, and create truly cinematic results regardless of which camera you are using.



In the world of photography, it is well-known the impact the reflection in the eye can have on the image: some call it a catch-light or a sparkle in the eye. In filmmaking, we can greatly enhance the visual appeal by creating reflections in the eyes. Reflections in the eyes can be the result of the lighting on the face, or, the eyes can be independently lit with lights used to create specific reflections. These reflections can be achieved in different shapes, with attention to the positioning of the reflection within the eyes. Reflections can also be created in different colours. The result achieved is dependent on the type of lights used, the positioning of these lights, and also the curvature on the eye of the subject. Different eye shapes and the colour of the eyes will result in differences with the reflections. For cinematographers, we can achieve beautiful results and greatly enhance the image by working with the reflections in the eye. This is a deep subject, which *The Light in your Eye* only touches on. The purpose of this film is to inspire those who shoot and light, to spend a little time to look at the reflections in the eye, and how this can be used to effect - and also to provide some insight into how these reflections can be created, controlled and shaped. *The Light in your Eye* shows many different examples of reflections in the eyes, the effort which has gone into creating the results and the equipment used in the lighting process.

Now introducing an additional generation of our focusing LED lights: the DLED TURBO SERIES. - The new DLED7 Turbo - Small package, drastically enhanced output, active cooling, silent. The same size light head as the successful 40W DLED focusing dedolight now accepts 90W light sources and even 2 times 90W light sources in the bicolor version, providing drastically enhanced light output and not sacrificing any of the typical dedolight advantages. - The new DLED3 Turbo – Similar improvements are shown with the very small DLED3 Turbo light head. Same size as the previous 20W DLED2, but now with double the power consumption, and in the bicolor version with 2x40W.

If we want to study and evaluate the characteristics of LED light sources, we need to turn to spectrum analysis, where we are looking at the entire spectrum and take many samples. Traditional CRI misses important information on colors called R9, which is red, and on R13, the skin color; and several others which also have importance. An approach that brings us a lot closer to reliable evaluation of LED light sources, putting them in relation with other light sources is called TLCI (Television Lighting Consistency Index). But TLCI is mainly based on the response from studio cameras, being usually cameras with 3CCD sensors, whilst most of the mobile teams are working with cameras based on CMOS sensors. Spectrum analyzers, as they are used in scientific institutes, are relatively expensive and bulky. Today, however, there already exist some portable spectrum analyzers which can give us valid and often correct information. A major problem can be seen in the fact that cameras with CMOS sensors tend to show different color response towards LED light sources, needing different corrections. Further videos about LED and LED solutions: Introduction of dedolight TURBO series https://www.youtube.com/watch?v=EhbczTK56yk&index=2&list=PL851324673B4033F9 Update of dedolight LED products https://www.youtube.com/watch?v=cxnkrQyLqIk&index=16&list=PL851324673B4033F9

For this demonstration we will be using 3 lights: 2 TECPRO Felloni panel lights with standard diffuser, and a dedolight DLED4 focusing light. We call this complementary lighting, where light is added to the scene not for the purpose of standing out, but to lift and add to what is already there. All of the LED lights used are battery powered which make for very quick setup and the means to reposition lights and experiment as you need to. There are no cables to get in the way - no power points needed; because the lights are bi-color you don’t need to bring an assortment of gels with you.

Today, let’s talk about some of the physical aspects and how they influence our images and scenes. One of these aspects of physics is called the ‚Inverse Square Law’. Putting it in a simple way and if we are talking about point light sources or Fresnel lights, focusing lights, then the general rule can be stated as follows: Double the distance – One quarter of the light The square law as described so far, may prove to be perfectly applicable for point light sources or most of our focusing light fixtures that we use. But it may not hold true for some different conditions and situations. Let's have a look.

Heute ist unser Thema eher bei den physikalischen Aspekten und wie diese unsere Bilder und unsere Szenen beeinflussen. Einer dieser physikalischen Aspekte wird genannt das Quadratgesetz. Wenn wir von einer Punktlichtquelle sprechen oder einer fokussierenden Stufenlinsenleuchte, dann kann die generelle Regel wie folgt definiert werden: Doppelte Distanz – ein Viertel des Lichts. Soweit ist das Quadratgesetz anwendbar für Punktlichtquellen und die meisten unserer fokussierenden Leuchten. Das gilt aber nicht für andere Bedingungen und Situationen.

Interview with Dedo Weigert at NAB 2016 about the dedolight LED lights and new products. With courtesy of DCS. Original upload: https://vimeo.com/163957190

        
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