New Light in the Forbidden City


IBC 2009’s Production Village was the venue for the launch of a revolutionary new lighting product, the Rotolight ‘Stealth Edition’ RL48 ring-light. Although the show had more than 48,000 visitors and over 1200 exhibitors, Rotolight was listed in the TV-Bay lighting category, featured in the IBC News and the ‘Eye Catcher’ technology report on Amsterdam’s TV Channel AT5.
RL48 features 48 super bright LED’s arranged in two rings which deliver that much sought-after fashion ‘ring-light’ effect. Also included is a unique filter holder and lighting gel filter set made by Lee Filters, which allows the unit to operate at a wide range of accurately calibrated colour temperatures 6400K, 5600K, 4200K and 3200K. Dimming is achieved in precise stop aperture steps using a variety of Neutral Density filters and a Lee 216 Diffusion filter. Despite this extraordinary versatility the unit is incredibly simple to operate (just one on/off switch!!) and extremely fast to deploy (it can be installed and working on a camcorder in under 2 seconds!). Rotolight has a universal 38mm mounting hole which allows it to be installed onto a shotgun microphone (with foam windshield), leaving the accessory holder free for Monitors, Radio Mic receivers, etc. Incredibly, the unit is powered for 3 hours by 3 AA batteries and all the filters and calibration charts are stored inside the unit making it totally self contained, yet is still weighs less that 6 ounces.
During IBC most of the IBC News cameramen switched over to using Rotolight in preference to their Lite Panels Micro and PagLights, because they preferred the warm natural colouration of the light and the flexibility, ease and speed of operation.
Rick Young, editor of Mac Video, was really particularly impressed with the versatility and quality of light from Rotolight. IBC News recommended the Rotolight as a ‘light, mobile and low-cost lighting solution for your professional camcorder’. Throughout IBC, Rotolight was featured as an accessory during the JVC seminars for their range of tapeless ProHD JVC Camcorders.
Wim Goddyn, a film maker from Netherlands based ‘Millennium Media’, bought a Rotolight RL48 ‘Stealth’ for his JVC GY-HM100E camcorder and put it though its paces whilst filming on a journey through China. He has recently moved up to Tapeless HD and was looking for a versatile lighting solution for his new JVC Camcorder. Rotolight fitted perfectly over the standard JVC Microphone but still kept the weight of the rig really low.
The first trials were on the overland Chinese hard sleeper night train to Beijing, filming in very low dimmed lighting conditions. Wim found that Rotolight was the perfect lightsource for providing an overall level of background light to reduce the picture noise in low light conditions. The highlight of Wim’s trip was filming in The Forbidden City, the former Imperial Palace built during the Ming Dynasty. Now a UNESCO World Heritage Site, The Forbidden City served for almost 500 years as the home of the Emperor as well as the ceremonial and political centre of the Chinese government.
The complex of over 980 wooden buildings and 8707 rooms can present some very challenging lighting environments for filming and again, Wim found Rotolight to be the perfect accessory for lighting subjects that were too dark or needed fill-in light. The fact that Rotolight has 48 lightsources proved very useful to Wim, because they provided a ‘shadowless’ wide diffusion with a long throw which was perfect for illuminating ‘wide-screen’ subjects without the typical Halogen bulb problems of ‘pointlight’ when the single source light beam is too narrow. Wim found it easy to match ambient light colour temperatures (using Rotolight’s calibration chart) and enjoyed the lack of ‘lightsource’ heat which would normally distort or melt the filter Gel. When shooting interviews, Rotolight provided the perfect lightsource, “there are no problems with over-exposure of a face when using Rotolight, because it has a large area as a lightsource, therefore there is no ‘pointlight’ effect that you would get with a Halogen Lamp” concluded Wim, “ I already told a colleague about my experience with Rotolight, because now you can always have a fill-in light, with no problems for facial shots. No big halogen cameralight and no heavy batteries anymore..great !!”.
Wim’s company, Millennium Media, also specialises in shooting medical training videos and he recently used Rotolight whilst shooting in an Operating Room during an open heart surgery operation at the Leiden University Medical Centre. “For me it is a very practical fill light when I am working in an operating room, shooting educational video. During a recent open heart operation we turned out (for a little time) the OR lamp because of the danger of over-exposure of the heartvalve. With the Rotolight we could make beautiful HD video images. For the patient the Rotolight causes no danger (because of the lack of radient heat). I am really glad that I have bought the Rotolight, and I am constantly discovering new applications for it”

Tags: ibc2009 | iss035 | rotolight | planet video | rl48 | production village | lighting | ring light | N/A
Contributing Author N/A

Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Rotolight at IBC2011

    Rotolight at IBC2011

  • Rotolight at ProVideo2011

    Rotolight at ProVideo2011

  • 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 Anova Pro 2 LED at NAB 2018

    Rotolight Anova Pro 2 LED at NAB 2018

  • TNP and Rotolight at BVE North 2011

    TNP and Rotolight at BVE North 2011

  • Area 48 Color and more from BBS Lighting at IBC 2018

    Area 48 Color and more from BBS Lighting at IBC 2018

  • BBS Lighting Force 7 at NAB 2018

    BBS Lighting Force 7 at NAB 2018

  • DOP Choice Lighting Bracket and Snapbox at IBC 2017

    DOP Choice Lighting Bracket and Snapbox at IBC 2017

  • Hive Lighting at IBC 2015

    Hive Lighting at IBC 2015

  • FilmGear LED lighting at IBC 2015

    FilmGear LED lighting at IBC 2015

  • LSC Lighting at IBC 2015

    LSC Lighting at IBC 2015

  • LCA - Snapgrid lighting control - BVE 2015

    LCA - Snapgrid lighting control - BVE 2015

  • Hive Lighting Wasp Plasma Par at IBC 2014

    Hive Lighting Wasp Plasma Par at IBC 2014

  • Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

    Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

  • Litepanels at IBC2011

    Litepanels at IBC2011

  • Gekko at IBC2011

    Gekko at IBC2011

  • Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

    Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • Cirrolite and Kino Flo at BVE 2017

    Cirrolite and Kino Flo at BVE 2017

  • Photon Beard at IBC 2016

    Photon Beard at IBC 2016

  • 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 BVE 2015

    Litepanels at BVE 2015

  • LCA - LITEGEAR at BVE 2015

    LCA - LITEGEAR at BVE 2015

  • Rosco at BVE 2015

    Rosco at BVE 2015

  • Photon Beard Platinum Blonde at IBC 2014

    Photon Beard Platinum Blonde at IBC 2014

  • Photon Beard Photon Beam at IBC 2014

    Photon Beard Photon Beam at IBC 2014

  • Zylight Fresnel updates at IBC 2014

    Zylight Fresnel updates at IBC 2014

  • Projects Department on BroadcastShow LIVE at IBC

    Projects Department on BroadcastShow LIVE at IBC

  • Photon Beard on BroadcastShow LIVE at IBC 2013

    Photon Beard on BroadcastShow LIVE at IBC 2013

  • Zylight LED Fresnel at IBC 2013

    Zylight LED Fresnel at IBC 2013

  • Ianiro on BroadcastShow Tour May 2013

    Ianiro on BroadcastShow Tour May 2013

  • Photon Beard: Cyc Hood at NAB 2013

    Photon Beard: Cyc Hood at NAB 2013

  • Photon Beard: Space Light at NAB 2013

    Photon Beard: Space Light at NAB 2013

  • Photon Beard: Square One Light at NAB 2013

    Photon Beard: Square One Light at NAB 2013

  • AC Entertainment Technologies at BVE 2013

    AC Entertainment Technologies at BVE 2013

  • Jonathan Harrison at BVE North 2012

    Jonathan Harrison at BVE North 2012

  • Litepanels at NAB 2012

    Litepanels at NAB 2012

  • Datavision at BVE 2012

    Datavision at BVE 2012

  • Litepanels at BVE 2012

    Litepanels at BVE 2012

  • Flaghead Photographic at ProVideo2011

    Flaghead Photographic at ProVideo2011

  • Jonathan Harrison at BVE North 2011

    Jonathan Harrison at BVE North 2011

  • Cirrolite at BVE North 2011

    Cirrolite at BVE North 2011

  • PAG at IBC2011

    PAG at IBC2011

  • Photon Beard at IBC2011

    Photon Beard at IBC2011

  • IDX at IBC2011

    IDX at IBC2011


Related Shows
  • LED Lighting with Den Lennie at BVE

    LED Lighting with Den Lennie at BVE


Articles
An Epiphany Moment
Peter Savage 2 I had been negotiating the sale of my company and had reached the really hard end of the bargain. We were close to agreeing the final sum after a lot of too-much-give-and-not-enough-take negotiation. The solicitors were calling me, keen for a deal. It had come down to one sticking point and, in my hard ball “I am the Wolf of Wall Street” guise, I wasn’t going to let it go. It would make a value difference of 1.5% on the total outcome. Not much, you might think, but I had already nearly fallen out with the solicitors over their fees and I was giving my advisors an extremely hard time because the corporate adviser couldn’t see how I had already given more than an inch and the buyers were taking more than a mile. I was not going to let them win.
Tags: iss134 | azule | finance | Peter Savage 2
Contributing Author Peter Savage 2 Click to read or download PDF
Using Wireless Transmission
Jeremy Benning Wireless acquisition is a staple of live sports, entertainment and reality shows where cable free capture permits shots not previously possible, for health and safety reasons, and gives the camera-operator greater artistic licence to roam. The same is increasingly true of narrative drama where cinematographers are keen to work handheld or Steadicam where that helps tell the story. Any equipment which frees their movement and time by being lighter, easier to use and reliable in performance is going to tick a lot of boxes.
Tags: iss134 | wireless | 4k | transmission | Jeremy Benning
Contributing Author Jeremy Benning Click to read or download PDF
Shedding Light on the Blackmagic Pocket Cinema Camera 4k BMCPP4K
Garth de Bruno Austin “What is it about light that has us craving it?” Is the question asked in the opening seconds of Garth de Bruno Austin’s latest short, The Colour of Light. Exploring this natural, human need as well as our innate desire to control it, Garth’s film showcases everyday people going about their lives in differing degrees of luminance, whether that be an artificial streetlight or a natural morning sunrise.
Tags: iss134 | blackmagic | cinema camera | 4k | cpp4k | Garth de Bruno Austin
Contributing Author Garth de Bruno Austin Click to read or download PDF
The brave new world of software based production
Boromy Ung In today’s rapidly evolving broadcast industry, the only constant media organizations can truly count on is change — and the need to adapt as rapidly and cost-effectively as possible. One of the biggest agents of change is the IP revolution, driving broadcasters to migrate their operations to all-software solutions running on commodity, IT-based technologies.
Tags: iss134 | chyronhego | graphics | sports | ott | Boromy Ung
Contributing Author Boromy Ung Click to read or download PDF
Sony HDC-4800 Review
Andy McKenzie First announced at NAB 2016, the Sony HDC-4800 is a studio camera system capable of shooting 4K/UHD at up to 8x or full HD at up to 16x. With a price point upwards of £250,000 it is a very high-end product with a wide feature set. In Sony's own words, "This is the future of live production, designed to satisfy the storytelling aspect of modern sports production.” Deliveries began in mid 2017 and, after careful preliminary evaluation, we invested in several systems for our hire fleet ahead of the FIFA World Cup in Russia.
Tags: iss134 | review | hdc-4800 | sony | finepoint | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF