Vera Mijojlić: “All the good Hollywood stories start in the garage… How did you come up with this?”
Frieder Hochheim: “It all starts very simply. As filmmakers, we’re problem solvers. Every time the camera moves, you’re solving the next problem. I was starting a Dennis Hopper picture with Charles Minsky ASC and he says, “You know, it’d be really nice if we could just take a fluorescent and…”
“All of this came together for very practical reasons. I wanted to be able to control light in some way, shape or form.”
FH: “At the time that Steve Jobs and Bill Gates were nosing around in Xerox, I happened to be there at the same time, but in this story, it was a fluorescent ballast for a copy machine, and the fluorescent bal- last had to be a high frequency ballast because it was scanning an image, and you couldn’t have a fluc- tuating light level.
”I got the name of the company that was making the ballast, thinking, ‘High frequency, no flicker? I’ve got to try this’.”
“Lo and behold, the damn thing worked!”
VM: “Can you tell us the progression from from this, from your garage, from figuring out a solution. How did you move from there to more sophisticated solutions?”
FH: “All of this came together between Gary Swink and myself. Gary Swink was my best boy. The very first picture we shot with these was Barfly, with Robby Müller as cinematographer, and Robby was very brave to go ahead and say, ‘We’re going to do it all with these fluorescents.’
“The biggest problem we had initially was that the fluorescent tube was not necessarily color correct. We had to come up with a better solution than just gel. So, this is where Kodak came into the picture. There was a senior scientist at Kodak that I reached out to, telling him: ‘I’m trying to match a spectrum to film stock.’ And he comes back: ‘I’ll tell you what I’ve got. I’ve got this spectrometer that I developed where it has all the spectral response curves of film and I can look at any light source and tell you what you need to do to correct it. This started the back and forth… and put us on the path of having a soft light and a cosmetic light that did not need color correction.”
VM: “That was an exciting time in the late ’70s and ’80s. You were fortunate to work with great people and to test some of the stuff with fantastic filmmakers and artists. How did you see things evolve in cinema?”
FH: “I came to Hollywood in 1983 and at that time, there were some major advances in motion picture technology: lenses were getting very fast (you could now shoot wide open, at f/0.9 aperture settings); you had smaller cameras, a lot more handheld; film stocks were getting much faster. So now you’re going into locations that were much smaller, facilitating a style of shooting that we had not really been able to do before.
”I started Kino Flo in ’87 and the the use of lightweight soft lights – with the idea was that they should be able to replicate a bounce card – freed up a lot of space.
“On a picture like Barfly, which was all location shooting – very small, tight interiors; wide lenses, shoot- ing into windows – trying to balance interior to exterior. Huge, huge challenges to maintain the integrity of light.
”Barfly was a lot of fun, breaking new ground, doing things aesthetically we had never been able to achieve before, and having an integrity of light that was true to Nature.”
“When you have an idea and you see that an industry is responding to it, it motivates you to do more.”
FH: “The latest we’re coming out with next is the Celeb IKON. This is going to be a very, very bright light. And it’s also IP65 – so this is a big deal – the fact that you can go outdoors in the rain with it.
Hit play to enjoy a condensed overview of our Micro Training series designed to show you not only what MIMIK can do, but also how to do it:
Color spectrum and light output: two problems when using RGB panels to light the foreground in LED volumes
The hardware and software components of MIMIK’s fully-synchronized full-spectrum lighting solution
Beyond the Volume: MIMIK’s benefits to traditional film and green screen productions
Mapping, input, and image settings: answering common questions about controlling MIMIK
Along the way, learn how gaffers are using MIMIK to harmonize their on-location shots with studio close-ups and achieving a new level of lighting control by livestreaming images on location.
When Kino Flo set out to develop a new range of slim profile LED panels to complement its popular FreeStyle series, two key design objectives were established early on. Beyond the commercial incentive to offer Kino Flo users easy integration with their existing FreeStyle systems, Kino Flo engineers were challenged to explore potential new benefits created by the latest composite materials technologies, and charged with imagining new ways to build longevity into a lightweight accessory.
The first challenge was met when FreeStyle Air product developers landed on a multicellular composite that exceeded expectations in all regards. This new material provided not only the rigidity needed to protect the fixture’s internal components during its intended production use, along with thermal properties that enhanced the passively-cooled design, but also came rated for use in hurricane conditions. For both ethical and legal reasons, Kino Flo discourages any of its customers from attempting to duplicate hurricane testing in the field, but does welcome their users to confidently enjoy the sun with FreeStyle Air, as these fixtures feature not only exceptionally strong structural components, but also UV stabilized LED covers that prevent risk of discoloration.
“We’ve built an established legacy of award-winning advancements in color science, so to now also receive recognition for our structural design innovations makes this FreeStyle Air patent particularly gratifying for us.” –Frieder Hochheim, Kino Flo founder
The now-patented answer to the second challenge – how to build longevity into a lightweight LED panel – came in the form of a new approach that addressed the need for a rigid, lightweight LED light panel that is easy to repair. FreeStyle Air’s new design makes maintenance and repair of the LEDs easier by improving and simplifying access to its multiple LED platens. These removable LED platens share a common edge for electrical connection at one end, such that power can be supplied to each individual LED platen in a FreeStyle Air fixture in a way that allows for protection of the wired connections while offering an important advancement in service-friendly design.
“The challenge in film is always simple solutions for good ideas.” – Antonio Riestra, ASC, AEC, ACK
In practical terms, FreeStyle Air features a removable upper rail and quick access to pull-out LED platens that are easily replaced or repaired. A simple solution in pursuit of a good idea. The patent awarded for achieving a new level of easy maintenance and service with FreeStyle Air marks the latest in a long line of awards recognizing Kino Flo’s technical contributions.
“When Kino Flo comes out with something, it fits really well and does exactly what you want it to do. Down the road, it’s nice to know that FreeStyle Air’s easily-serviced LED platens can be individually replaced in the field if needed. It gives these units longevity.” –Luke Seerveld, “Meet The Gaffer”
Noah is the Virtual Production Editor at American Cinematographer magazine, author of the Virtual Production Field Guide series for Epic Games, and a writer/director who provides training and workflow presentations for moviemakers at all levels.
Introduction
Color science on a movie set is critical to achieving visual fidelity and impactful storytelling. It encompasses the methods and technologies used to ensure that the colors captured on camera match the creative vision. The process involves understanding how cameras perceive color, the role of lighting, the phenomenon of metamerism, and the techniques for controlling the final output.
How Cameras See Color
Cameras interpret color through their sensors, which differ significantly from the human eye’s rods and cones. Human eyes have three types of photoreceptor cones—S-cones (short-wavelength), M-cones (medium-wavelength), and L-cones (long-wavelength). These cones work together to perceive a broad spectrum of colors.
Cameras rely on sensors with a color filter array (CFA) that captures color information through different filters, typically red, green, and blue. The most common CFA is the Bayer filter, which places twice as many green filters as red and blue to mimic human vision’s sensitivity to green light. Each pixel on the sensor records a specific color based on the filter, and the camera’s image processor combines this information to create a full-color image.
This fundamental difference means that what a camera sees differs significantly from human perception. For instance, cameras can be more sensitive to specific wavelengths, leading to variations in color reproduction. This discrepancy necessitates the use of color charts and calibration tools on set to ensure the colors captured align with the intended look.
Color Space Standards Color space encompasses the color gamut, transfer function, and additional details of the video signal. Common color spaces include:
ACES: supports an even wider color gamut and higher dynamic range than Rec. 2020, providing consistent color management across all production and post-production stages.
Rec. 709: Used for HD content, covering a relatively narrow color gamut suitable for standard dynamic range (SDR) content.
DCI-P3: Developed for digital cinema, offering a broader gamut that approximates human vision under well-lit conditions.
Rec. 2020: For UHD content, supporting a wider color gamut and higher bit depth.
Rec. 2100: Incorporates Rec. 2020 primaries with HDR capabilities, using PQ or HLG transfer functions.
How Lighting Contributes to On-Set Color Lighting is crucial in defining the color and mood of a scene. Different light sources emit light with varying color temperatures and spectral distributions, significantly impacting how colors appear on camera.
Tungsten vs. LED Tungsten lights have a consistent color temperature (around 3200K) and a full spectral output, making them reliable for accurate color rendering. However, they consume a lot of power and generate substantial heat. On the other hand, LEDs are more energy-efficient and produce less heat, but early versions often had limited spectral output, leading to less accurate color rendition.
Early LED vs. Full-Spectrum LEDs Early LED lights, which relied primarily on RGB emitters, often failed to reproduce certain colors accurately, causing inaccuracies with skin tones and set design colors. Full-spectrum LEDs, like those used in Kino Flo’s MIMIK 120, include additional warm and cool white emitters to fill in the spectral gaps. This results in more accurate and natural-looking colors on camera.
Metamerism and Color Matching
Metamerism occurs when two colors that appear identical to the human eye look different under various lighting conditions or when viewed by different devices. This can be a significant issue on set, as colors of sets or wardrobe that appear correct under one lighting condition might look inconsistent when viewed on camera or in post-production.
Addressing metamerism involves calibration and color management. Ensuring all devices in the production pipeline—from cameras and monitors to LED panels—are calibrated to the same color standards (like Rec. 709 or Rec. 2020) helps maintain color consistency. Tools like spectroradiometers and colorimeters are used to accurately measure and adjust color to the desired look.
How Final Output Color is Controlled
Controlling the final output color starts from pre-production and continues through post-production. This includes:
Selecting Appropriate Color Spaces: Standards like Rec. 709 for HD content and Rec. 2020 for UHD content define the range of colors that can be displayed. Using the right color space ensures compatibility across devices.
Color Management Systems: Tools and software that maintain color consistency across different stages of production. They help in adjusting and matching colors from the initial capture to the final edit.
Color Grading: The post-production process where colorists adjust the colors to achieve a desired aesthetic. This step can correct any technical discrepancies and enhance the visual narrative.
Use of LED Virtual Production Panels for Lighting
LED panels display virtual environments in virtual production and provide dynamic, controllable lighting. However, relying solely on RGB LED panels can introduce issues like metamerism and inaccurate color rendering. Visual examples include mismatched skin tones and set colors compared to the intended look.
How MIMIK Solves the Issue
How MIMIK Solves the Issue Provides Full-Spectrum Lighting Kino Flo’s MIMIK 120 hybrid video tile addresses these challenges by providing full-spectrum lighting. It combines RGB and white emitters, offering a broader and more accurate color spectrum that more closely mimics natural light.
More Accurate Skin Tone The additional warm and cool white emitters in MIMIK 120 ensure more accurate skin tones. This is critical for maintaining the natural appearance of actors, which is often a significant challenge with traditional RGB LEDs.
More Accurate Costume/Set Design Color Full-spectrum lighting also enhances the accuracy of costume and set design colors. This ensures that the colors on camera are true to the original design, reducing the need for extensive color correction in post-production.
HELIOS LED Processing Platform The HELIOS LED processing platform from Megapixel VR supports multiple color spaces and provides real-time reporting on the achievable color gamut of LED tiles. This ensures that the LED panels used on set can reproduce the intended colors accurately, enhancing the overall visual fidelity.
Higher Cost-Efficiency in Post-Production Accurate on-set lighting reduces the time and cost associated with color correction in post-production. With MIMIK 120, the lighting captured during filming is closer to the final intended look, streamlining the post-production/finishing workflow and allowing for more efficient resource use.
Real-World Examples
Virtual Production Environments MIMIK 120 has demonstrated significant improvements in color accuracy and lighting consistency in virtual production environments, such as those using LED volumes. This technology enables more realistic and immersive scenes, as seen in recent high-profile projects.
Enhanced Visual Fidelity MIMIK 120’s real-world applications in various film and television productions have shown its effectiveness in enhancing visual fidelity. These include improved skin tones, more accurate color rendition of props and costumes, and better virtual and practical elements integration.
Conclusion
Understanding and controlling cinematic color fidelity is essential for achieving the desired visual aesthetics in film production. Advanced lighting technologies like Kino Flo’s MIMIK 120 provide the tools to overcome traditional color challenges, offering full-spectrum lighting and ensuring accurate color reproduction from set to screen. By incorporating these technologies, filmmakers can enhance their creative vision and streamline production, resulting in visually stunning and color-accurate films.
Full-Spectrum, Image-Based Video Lighting Tile Delivers Unprecedented Realism for Renowned Virtual Production Producer
BURBANK, Calif. — March 8, 2024 — Kino Flo Lighting Systems is proud to share that its MIMIK 120 full-spectrum, image-based video lighting tile has been chosen by creative producer and virtual production specialist J.T. Rooney, a well-known pioneer in immersive technology for entertainment. Working in conjunction with wild walls — LED side panels used to create effects such as reflections — Rooney and his creative team utilize multiple MIMIKs to light talent and foreground subjects with full-spectrum color.
Optimized for virtual production environments, the MIMIK 120 mirrors video content, delivering extended spectral bandwidth and cinematic color fidelity when lighting talent and set elements. The patented Kino Flo Matchmakker algorithm converts the incoming RGB video wall signal into four or more individual emitters generating synchronized foreground lighting that delivers the utmost realism on virtual sets.
“As more and more productions utilize LED walls to light talent and other subjects in the foreground, there has been a growing need for a solution to work hand in hand with wild walls to add full-spectrum white light and deliver a more realistic look,” explained Rooney. “Furthermore, it can be difficult to achieve natural skin tones with wild walls alone, and their price tag can make them cost-prohibitive to use only for reflections. The MIMIK 120 was created as a complementary solution to LED volumes and walls that meets all of these needs. My teams have used the MIMIK on many industry-acclaimed projects, such as music videos for will.i.am and J Balvin’s ‘Let’s Go,’ and ABC/Disney’s Dancing With The Stars Season 32 open. In addition, it’s unique in its ability to genlock to the volume, which is important when synchronizing lighting effects with the volume image on the camera.”
Controlled by the Megapixel VR Helios LED processor, the MIMIK 120 integrates seamlessly with LED volumes in a Megapixel infrastructure, making it simple for gaffers, DPs, and lighting directors to use. In addition, the versatile tile offers optional control from a lighting desk, providing workflow flexibility. With their lightweight carbon fiber frame, MIMIK 120s can be used in a number of configurations — individually, stacked like a video wall, flown as a ceiling, or put on traditional lighting rigs. And with their high brightness of 10,000 nits, the tiles are also an efficient solution, especially when stacked together — allowing Rooney to do more with fewer units.
Virtual production stages worldwide are known for embracing the very latest in immersive technology for entertainment,” said Frieder Hochheim, president of Kino Flo. “So, it’s an honor to have our MIMIK 120 being utilized by technology professionals like Rooney — who are on the leading edge of virtual production — to create unique and color-accurate images. This close collaboration is exactly what inspires Kino Flo to continuously innovate and provide the best possible lighting solutions.”
“Since I began using the MIMIK 120, there hasn’t been a project in which I haven’t utilized Kino Flo’s lighting tile,” added Rooney. “And not only have my clients been blown away by the realism they deliver, but crew members find them very easy to use, while talent reports that they improve their experience filming takes. They play a key role in delivering the best possible end product for some of the biggest brands in the world.”
