Supporting creativity and driving better workflows


Rod Aaron Gammons TV-Bay Magazine
Read ezine online
i

For decades videographers and filmmakers have been pushing the boundaries when it comes to creativity all with the aim of delivering a visually spectacular and engaging experience to viewers. For the most part they rely on artistic vision and innate skill, but over the last few years technology has been playing more of a role in enabling that creativity, like cameras, sound and lighting.

With recent advances in technology, think of the evolution of the LED for example, filmmakers, videographers and even photographers, are finding new ways of working and being supported in throughout the creative journey.

Looking at lighting specifically, it not only plays a key part in creating atmosphere, mood and tone for a shoot, but it also has the power to streamline the process and allows users, be it photographers or filmmakers, to be more creative.

One of the more recent developments in LED lighting is the AEOS location light, developed by well-known innovator Rotolight. Designed to bring versatility and flexibility to any shoot, the bi-colour LED provides powerful light output with high energy efficiency. It is one of the most portable lights on the market, and its overall combination of cost, versatility and industry-first features, allows users to unleash their creativity in a way no other light can. Its functionality and feature set provide the versatility needed for those wanting to shoot both stills and video.

The Rotolight AEOS is lightweight (weighing in at under 1.5kg), ultra-thin (1 inch) and portable. It features integrated aluminium handles an industry first that allow photographers, videographers and filmmakers to work more freely and creatively with the light, particularly in the most remote locations.

The light is already garnering praise from well-known users in the industry. Stefan Lange, visual FX veteran known for films such as Batman, James Bond Spectre and Tomb Raider, said: The AEOS is exactly the light that filmmakers and gaffers have been crying out for. Integrating the handles into the actual light just adds that dimension of flexibility to it and allows users to move and manipulate the light quickly and easily in order to get that perfect shot. I can see filmmakers and photographers alike getting great use out of this new light.

One of its key features is that the AEOS does away with the traditional yoke, which typically limits movement of the light to just 30-40 degrees of tilt, limiting control over light spill. Instead it features a ball head that provides a full 360-degree range of movement and 200 degrees of tilt when mounted to a light stand. This makes it incredibly versatile and enables users to achieve lighting setups not otherwise possible with traditional light sources. The ball head is made from solid, high-quality aluminium and can support the full weight of the AEOS with battery and barn doors mounted, at any angle.

World-renowned celebrity photographer Mark Mann has also been impressed: As a photographer whos being asked more and more to shoot video and stills at the same time, Rotolight has really improved my work flow. I find that especially in a situation where I have a really high turnover of people I need to have reliable equipment that looks good and enables me to get results fast. The AEOS has been perfect for this.

Two things that are very important to me when Im shooting is reliability and quality of a product. The Rotolight LEDs have been incredibly reliable as theyve never broken and Im not exactly gentle with my gear. Looking specifically at the AEOS, often when youre using strobe youre not seeing what youre going to get when you look through the viewfinder, so you have to anticipate what the shots going to look like. The fact that the AEOS can be used as both a strobe and continuous light, means I can actually look through my screen and know that is the colour and thats how the light is going to fall, which allows me to get to where I need to be quicker.

In keeping with Rotolights product offering, the new AEOS includes a host of patented features, unique to the company that enable users to be more efficient, effective and creative. This includes CineSFX¢, a suite of cinematic lighting effects; Designer Fade¢, custom fade up/down production effects; and AccuColour¢, Rotolights patented LED phosphor technology ensures that the AEOS can deliver exceptional colour rendering (CRI:96+) and scores in the highest category on the independently-tested Television Lighting Consistency Index (TLCI).

Filmmakers, videographers and photographers will continue to strive for excellence, find new ways of letting their creativity shine, while streamlining their processes. Increasingly there will be a convergence here between advances in technology and creativity, where both will drive the industry forward and truly revolutionise the way we work.


Tags: iss127 | rotolight | led lighting | aeos | Rod Aaron Gammons
Contributing Author Rod Aaron Gammons

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Rotolight Anova Pro 2 LED at NAB 2018

    Rotolight Anova Pro 2 LED at NAB 2018

  • Rotolight Anova Pro 2 shown at BVE 2018

    Rotolight Anova Pro 2 shown at BVE 2018

  • Rotolight at NAB 2012

    Rotolight at NAB 2012

  • Rotolight and TNP at BVE 2012

    Rotolight and TNP at BVE 2012

  • Rotolight at ProVideo2011

    Rotolight at ProVideo2011

  • TNP and Rotolight at BVE North 2011

    TNP and Rotolight at BVE North 2011

  • Rotolight at IBC2011

    Rotolight at IBC2011

  • FilmGear LED lighting at IBC 2015

    FilmGear LED lighting at IBC 2015

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • Cineo HS2 at IBC 2015

    Cineo HS2 at IBC 2015

  • LiteGear at IBC 2015

    LiteGear at IBC 2015

  • LiteGear LED LiteMat at IBC 2015

    LiteGear LED LiteMat at IBC 2015

  • Cineo Matchbox at IBC 2015

    Cineo Matchbox at IBC 2015

  • Litepanels at IBC2011

    Litepanels at IBC2011


Related Shows
  • LED Lighting with Den Lennie at BVE

    LED Lighting with Den Lennie at BVE


Articles
Original KVM or KVM over IP
Jochen Bauer Will the technology used in broadcasting solely consist of IP devices? For years, IP has been entering all areas of life. Especially control room applications as they are typically deployed in broadcasting benefit from the IP revolution in many ways. But an “IP-only broadcast world” is not yet here. Nevertheless, the trend clearly moves towards IP transmission, even though a large part of content production still uses traditional transmission paths. And therefore we continue to live in a hybrid world, using both original and IP-based technology. KVM experts Guntermann und Drunck still rely on both original KVM and KVM-over-IP™ to be able to offer their customers the best of both worlds.
Tags: iss139 | kvm | gdsys | guntermann and drunck | kvm-over-ip | Jochen Bauer
Contributing Author Jochen Bauer Click to read or download PDF
Keeping the Show on the Road
Andy McKenzie There is long-established saying in the media business that, if something goes wrong, at least nobody dies. It is almost true unless you happen to be a TV producer suffering a cardiac arrest because your primary video feed has gone blank during a high-budget programme.
Tags: iss139 | service | support | finepoint | maintenance | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF
Why MADI is Still Relevant
Stephen Brownsill While the original idea for MADI was to cater to a very narrow recording studio application, the standard remains a viable go-to multichannel audio technology. Beginning as a standard in 1991, MADI was first introduced to the world as digital production was beginning to come of age. MADI was put together in 1988 by Solid State Logic, AMS-Neve, Sony (DASH) and Mitsubishi (ProDigi) as a way to transport up to 56 channels of digital audio between large-format audio consoles of the day and digital multi-channel tape machines via 75-Ohm coaxial cables. Both tape-based machines have long since disappeared from the equipment landscape.
Tags: iss139 | madi | tsl products | aes10 | aes | dolby atmos | st-2110 | sam-q | Stephen Brownsill
Contributing Author Stephen Brownsill Click to read or download PDF
The Future of Broadcast Connectivity
Jamie Adkin The use of KVM equipment has been essential to meet the evolving needs of the broadcast industry for many years. Over that time, many in the industry have recognised the importance of using IP-enabled KVM to break down technological barriers and enable real-time access to visuals wherever and whenever they’re needed. These components are vital parts in live production environments in particular.
Tags: iss139 | adder | kvm | ip kvm | Jamie Adkin
Contributing Author Jamie Adkin Click to read or download PDF
Keeping Pace with the Content Revolution
Kevin Fitzgerald These are uniquely challenging times for broadcasters and their technical teams. Not only are they having to negotiate the move to IP-based infrastructures and the introduction of new formats and techniques such as 4K and HDR, they are also having to generate more content than ever before to support OTT and web services as well as traditional linear broadcast.
Tags: iss139 | streamstar | streaming | case 800 | ipx | ipx-3g | Kevin Fitzgerald
Contributing Author Kevin Fitzgerald Click to read or download PDF