3 ms·
This is only partially true. The problem with LED lights is that they deviate quite a bit from a Planck and/or daylight frequency curve. So you can end up with
by jorlow 4y ago
This is only partially true. The problem with LED lights is that they deviate quite a bit from a Planck and/or daylight frequency curve. So you can end up with colors looking different even if the color chart looks right. And even the best Aari LED lights have ssi scores of only ~75. I wouldn't be surprised if this is a part of the effect the author describes.
- KaiserPro 4y agoif that was the case then teal/orange grades would be "impossible" as most lights don't kick out that much teal (~510nm) Not only that, but you can micro adjust the colour of these lights to suit your needs, which means you can have much richer colours on set and not worry about colour cast. if it was such a burden on the film maker, and limited artistic expression, then we'd see holdouts for tungsten lights (in film making). When was the last time you hear someone in film go: "yeah, these filament lamps are so much greater than LEDs, so much more real." If you're on location then you can have >5 times the amount of light for the same power/heat budget. No one is going to sniff at that. Anyway, the first thing you do when you get film/footage in through the door is conform it. you need to have everything at a base grade before you can add "artistic colour" to it. so subtle difference in colours are always obliterated.
- djhn 4y agoWhenever I've used the local rental house, it's the massive ARRI tungstens that are being loaded in the production trucks. Although I guess it's their size that makes them stand out, maybe the LEDs I just don't notice.