{"id":1476,"date":"2011-06-02T10:53:17","date_gmt":"2011-06-02T18:53:17","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1476"},"modified":"2014-06-04T21:29:04","modified_gmt":"2014-06-04T21:29:04","slug":"its-a-phosphorous-world","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/its-a-phosphorous-world\/","title":{"rendered":"It\u2019s a Phosphorous World"},"content":{"rendered":"

Matt Hurwitz goes in search of the color science of LED lighting<\/strong><\/p>\n

<\/strong><\/p>\n

\"\"
Sci-Tech Council (Solid State Light Subcommittee) Test Graphic with SPD and MacBeth Charts \/ Courtesy of AMPAS<\/figcaption><\/figure>\n

When is a white light not a white light?<\/p>\n

This isn\u2019t just a riddle for cinematographers. It\u2019s a question that\u2019s arisen over the last several years, as DPs have begun to implement what appears to be the likely successor to the tungsten lamp: the light-emitting diode (LED) fixture.<\/p>\n

Cinematographers, like AMPAS\u00ae<\/sup> Science and Technology Council member Daryn Okada, ASC, began noticing color rendering problems a few years ago when mixing LEDs with tungsten sources.<\/p>\n

\u201cI had used [LED] lights as touch-up lights \u2014 and they\u2019re handy,\u201d he recalls. But Okada cites one example of having lit a set with incandescents, and \u201cjust needing to touch up a face in one spot.\u201d He hid a small LED unit behind a chair, to add some glow to an actress\u2019s face when she reached that mark. \u201cThe manufacturer claimed the unit to be a \u2018tungsten LED source,\u2019\u201d he recounts. \u201cShe stopped right in the doorway, where I had this LED, and looked fine. But when I got the dailies back, her face was totally cyan.\u201d<\/p>\n

What\u2019s worse, Okada says the image could not be repaired in post, because there wasn\u2019t enough of the right color of light in the scanned negative for a color timer to bring out.<\/p>\n

When Okada queried the manufacturer about the LED fixture, he was told it was rated at 3200 K, the color temperature on the kelvin scale of measurement which true tungsten lights have, and, indeed, when Okada measured it himself, it was 3200 K.<\/p>\n

\u201cThat\u2019s when I knew we had to look into this,\u201d he says. \u201cI didn\u2019t want it to happen to anyone else.\u201d<\/p>\n

\"\"
ARRI L-Series LED True Fresnel<\/figcaption><\/figure>\n

Such experiences are not isolated. Many DPs are finding what looks right to the eye may not be right on the screen, given how LED lighting fixtures react with film emulsions and HD camera sensors designed for true tungsten or daylight sources.<\/p>\n

That\u2019s what the Sci Tech Council\u2019s Solid State Lighting Subcommittee has been trying to find out. Committee Chairman Jonathan Erland and his team have spent the last two years studying the effectiveness of lighting instruments that are intended to replace tungsten fixtures in motion picture production by the year 2014. That\u2019s the same year that the Energy Independence and Security Act of 2007 requires household light bulbs in the range of 40 to 150 watts meet certain energy requirements, which tungsten lamps do not.<\/p>\n

Erland says he\u2019s sure the energy act will, at least for now, exempt studio tungsten stage lights, which are far brighter than 150 watts.<\/p>\n

\u201cBut as soon as you\u2019ve taken something as ubiquitous as the tungsten light bulb out of the market,\u201d he notes, \u201cit becomes increasingly expensive.\u201d Or perhaps even non-existent; experts suggest that few manufacturers will be making tungsten lamps by 2014.<\/p>\n

Even if tungsten units are still available \u2014 and affordable \u2014 there are other issues.<\/p>\n

\u201cOn any set, besides the various studio lights, we will also have any number of practical lights,\u201d Erland explains. Those lights will, by 2014, no longer be tungsten, but some other source. And, as Erland and his team have discovered, mixing and matching various types of lamps that intend to portray tungsten within one shot makes for something he calls \u201cchromatic chaos.\u201d<\/p>\n

\"\"
Litepanels 1 x 1 SuperSpot\u2122 5600\u00b0 K with 15-degree beam angle<\/figcaption><\/figure>\n

Problems with color instability and confusion<\/strong> arise from the core technology in LED fixtures, which first appeared as red or green indicators in calculators in the 1960s and \u201970s, followed by the blue LED, invented in the 1980s, as the actual light source. The technology involves a tiny emitter on a circuit board, capped with a layer of phosphors that react to the 450-nanometer wavelength of blue light from the emitter, themselves producing an orange light.<\/p>\n

\u201cIf you combine the blue and the orange, to the human eye, it looks essentially white,\u201d Erland explains. \u201cThat\u2019s your basic white LED today.\u201d<\/p>\n

However, as anyone who\u2019s ever out at night with an LED flashlight knows, that so-called \u201cwhite\u201d light is, well, weird; something is missing.<\/p>\n

And finding what\u2019s \u201cmissing\u201d from LED fixtures has been one of the goals of AMPAS\u2019s Solid State Lighting Subcommittee. They say the problem can be explained by looking at the spectral power distribution graphs of the lights, which depict how much of each wavelength of light a lamp emits. A true tungsten lamp produces a smooth line, rising from less blue, on the left end of the scale, to a lot of red and yellow on the right.\u00a0 Daylight is also nearly smooth \u2014 or, in light language, \u201ccontinuous\u201d \u2014 without any bumps or peaks.<\/p>\n

White LEDs, while trying to approximate white light, have peaks and valleys \u2014 a large peak in the blue range (thus the bluish tint) and a big dip in the adjacent cyan range.\u00a0 The latter became visible in an AMPAS test, in which a model, Charlotte Chen, was photographed wearing a dress that had a number of different blue tints. Footage was shot with both a true tungsten source and an LED source. The tungsten-lit footage displayed all of the subtle differences in blue tones in the fabric, while the LED-lit footage showed just a nice blue dress.<\/p>\n

\u201cIf the light never had enough cyan, then the camera couldn\u2019t record it,\u201d Erland says. \u201cThe data simply never was there.\u201d<\/p>\n

\"\"
MoleLED\u00ae 12-pack fixture designed in collaboration with OSRAM Sylvania and their proprietary Phosphor Dome technology<\/figcaption><\/figure>\n

Multi-emitter fixtures \u2014 so-called \u201cRGB\u201d lights \u2014 contain additional colored LED lights in an attempt to come closer to approximating the quality of light emitted by tungsten, but they still fall short due to the addition of peaks to the curve at the frequencies of those additional lights.<\/p>\n

The smoothness of the line of the true tungsten light is representative of light being emitted by a \u201cblack body\u201d source at 3200 K. Another index, the Color Rendering Index (CRI), can reveal how close any light purporting to be like tungsten actually gets to hitting its mark.<\/p>\n

\u201cOne hundred CRI means a light is emitting the same as a 3200 K point on a black body,\u201d Erland explains. \u201cThat\u2019s as good as it gets. Anything else is relative to that 100 CRI.\u201d<\/p>\n

Though a scale like the CRI can help tell a cinematographer how close a manufacturer has gotten their light to true 3200 K in terms of color temperature, there is currently no standard to indicate how close the light is to the 3200 K output of a real tungsten lamp.<\/p>\n

\u201cCRI is not aimed at photographic capture of the light, but rather the way it appears to the eye,\u201d Erland continues. \u201cThe manufacturer might show you they can make a nice picture and say, \u2018But we spent a lot of time developing this, and we think we\u2019ve delivered a perfectly wonderful look,\u2019 but it\u2019s still not quite there.\u201d<\/p>\n

The Council is trying to create a new set of indices, the Studio Tungsten Simulating (STSI) Index among them. Erland says STSI will tell you how close a light designed as 3200 K is to that true tungsten curve.<\/p>\n

\u201cYou can say \u2018By this index, this light is 98 or 48,\u2019\u201d he adds. Then the cinematographer can decide if he needs to <\/strong>do the film test a less than perfect score would demand. That\u2019s one of the goals of this study.\u201d The golden rule is, of course: always test!<\/p>\n

While some manufacturers jumped into the LED market<\/strong> to take advantage of the lights\u2019 energy efficiency and other positive qualities, they did so without first making certain the products could deliver on the \u201cjust like tungsten\u201d promise.<\/p>\n

\"\"
Litepanels LED Sola 6 Fresnel<\/figcaption><\/figure>\n

Others took a more balanced approach.<\/p>\n

Litepanels\u00ae<\/sup>, founded in 2000, had a product ready to go into production in 2002, but co-founder Kevin Baxter says the company still couldn\u2019t find a manufacturer who could produce LEDs of sufficient color quality for several more years.<\/p>\n

\u201cYou really had one choice and one choice only, and if you didn\u2019t like it, well, you went home,\u201d Baxter recalls. The focus from many manufacturers, he says, was on voltage and brightness, not on color. \u201cThe manufacturers\u2019 products were simply too unstable for our industry. We had something ready to go, and we just said, \u2018We can\u2019t sell this.\u2019\u201d<\/p>\n

A few years later, Baxter was able to find mid-level manufacturers to develop LEDs that would hopefully meet the specifications of cinematographers.<\/p>\n

\u201cI told them, \u2018I\u2019ll give you a purchase order, and I\u2019ll go to your factory, and we\u2019ll re-work the phosphors,\u201d adds Baxter. \u201cBut if you don\u2019t make the spec, I don\u2019t pay you.\u2019 That\u2019s how Litepanels really became a commercially viable company.\u201d<\/p>\n

Baxter says the company\u2019s new Sola\u2122<\/sup> series are focusable Fresnel-like LED fixtures, with their Sola 6 unit drawing just 75W, with an output equivalent to a 650W tungsten Fresnel.<\/p>\n

Film lighting icon Mole-Richardson had a similar experience to Baxter\u2019s journey with Litepanels. Mole-Richardson president Michael Parker says his firm waited 15 years until \u201cwe felt the core technology was mature enough for us to grab onto.\u201d<\/p>\n

In development of its MoleLED\u00ae<\/sup> light, the Hollywood company chose the best quality of blue LED from its supplier through a process known as \u201cbinning,\u201d which separates lower quality LEDs from those used in professional applications.<\/p>\n

Mole then worked with supplier Osram to develop its Remote Phosphor Technology, a combination of 27 different phosphors with a light output closer to tungsten than regular mass-produced white LEDs. Osram then designed for Mole a silicone dome cap containing the phosphors, which Parker says helps emit the light more evenly from the LED.<\/p>\n

\"\"
MoleLED Board with close-up of Phosphor Dome technology<\/figcaption><\/figure>\n

The company also worked with Shelly Johnson, ASC, to test the formulations.\u00a0 Among other things, Johnson notes, \u201cAt one point, they had the light looking absolutely beautiful on film, but it had a pink appearance to the eye that did not photograph,\u201d and made blending lights on set difficult. Mole and Osram were able to eliminate the issue.<\/p>\n

Still other manufacturers are going the route of \u201ctunable\u201d multi-emitter systems. ARRI introduced such a light 18 months ago (available in a tunable configuration or fixed to replicate either tungsten or daylight). This year at NAB, ARRI unveiled its new L-Series \u201cTrue LED Fresnel\u201d series, which are among the first units to market to provide a controllable spotlight source that emulates traditional stage lighting techniques for the film and television industry.<\/p>\n

\u201cWe pick the LEDs and create algorithms for the driver to give the best color we can from those LEDs,\u201d describes John Gersh, ARRI\u2019s Vice President of Lighting Products.<\/p>\n

ARRI president Glenn Kennel says the company is also building cameras to work as a system alongside its lights to best capture tungsten-like light.<\/p>\n

\u201cOur approach is to make sure our cameras have a broad spectral response, to make them less susceptible to problems from narrow band light sources, like LEDs,\u201d Kennel states.<\/p>\n

British newcomer Gekko has also developed a multi-emitter product, having spent five years in development to make certain it has a light that rivals tungsten.<\/p>\n

\u201cIt produces a broader spectrum than we can with just white LEDs,\u201d company founder David Amphlett says. \u201cThat\u2019s needed to reflect all of the colors on the set \u2014 fleshtones, garments, etc. We need a broader, and, more importantly, a more controllable spectrum.\u201d<\/p>\n

Gary Einhaus, CTO for Kodak Entertainment Imaging, says there has been a clear evolution in the design of LED lighting units.<\/p>\n

\u201cThe improvements we\u2019ve seen in the designs, from early to current, suggests they\u2019re moving in the right direction,\u201d Einhaus remarks.<\/p>\n

And the man at the heart of the matter, Erland, notes that the Sci Tech Council\u2019s goal \u201cis to encourage the development of lights that simulate tungsten. Many of us believe that the results of this work will actually be beneficial across the board,\u201d he concludes. \u201cIt\u2019s essential to do this for photography, but I think most people would find that tungsten-simulating light that might have been developed for photography will also be more comfortable for them in their home.\u201d<\/p>\n

The Academy will, of course, continue to study LED and other types of sources as they appear on the market.<\/p>\n","protected":false},"excerpt":{"rendered":"

Matt Hurwitz goes in search of the color science of LED lighting<\/p>\n","protected":false},"author":1,"featured_media":3967,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1476","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nIt\u2019s a Phosphorous World - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/its-a-phosphorous-world\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"It\u2019s a Phosphorous World - 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