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Filmed at dedolight California, this short introduction to dedolight provides an overview of what makes dedolight unique, with a quick look at key products in the dedolight range. Shown and demonstrated is the legendary dedolight “clean beam technology” made possible by double aspheric lenses which work together to create a beautiful even light which can be tightly focussed, or spread wide like no other light on the market. This, combined with accessories such as: imager projector, Beam spreader, and Parallel Beam Intensifier, make the dedolight system unique. “Another element that’s really particular to a dedo light is the fact that because you can focus it down so narrowly and warp it into a clean straight beam and flood it out to a beautiful broad 60 degrees. When you’re doing that you’re now allowing yourself the opportunity to get a dynamic range of light.” Sean Boyriven Presented by Sean Boyriven, from dedolight California. Sean is well-familiar with the advantages and tremendous potential which the dedolight system brings and is always happy to talk about and demo these products in action. Sean can be contacted at dedolight California, in Burbank, CA. More info at dedolightcalifornia.com

The inside of a barn door is black. That's ok, but even this black reflects. Sometimes, this reflex remains unnoticed, sometimes though it can be very annoying. We now created a completely different surface and practically eliminate the reflex. This barn door is called DBD3 and is available for Classic sized light heads as DLED4, DLED7 (both LED's) and DLH4 (tungsten).

For those new to the dedolight system, this film shows what makes the dedolight system special and unique. Dedolight products stand for absolute reliability, quality, with clean beam technology which is unique to dedolight. The beam on a dedolight can be tightly focussed, or spread wide, with a range far greater than other lights on the market. The quality and character of the light is the highest quality, and is even from edge to edge, hence the term dedolight “clean beam technology.” There are many accessories which work in combination with the dedolight system including: imager projector for gobos, patterns, or still images; shutter projector for cutting and controlling light precisely; Parallel Beam Intensifier which enables the light output to be increased up to 500%. “If you’ve got a dedo focussing light and you have not used any of the optical devices like projectors, imagers, beam intensifiers. If you haven’t used simple attachments like the Beam spreader, or the wide angle lens adaptor. All of these features exist for every single model lighthead.” Sean Boyriven Presented by Sean Boyriven, from dedolight California. Sean is well-familiar with the advantages and tremendous potential which the dedolight system brings and is always happy to talk about and demo these products in action. Sean can be contacted at dedolight California, in Burbank, CA. More info at dedolightcalifornia.com

Featuring: camera operators, gaffers, and cinematographers who all use and work with the dedolight system; lighting demonstration by cinematographer, Jonathan Harrison https://www.lightingmatters.tv. The “classic” dedolight DLH4 was first brought to market in the mid-1980s and has become essential equipment for many lighting camera operators, crews, gaffers and cinematographers; in many countries this is standard equipment predominantly used by mobile TV crews. The DLH4 produces a clean beam of light which can be focussed into a tight spot, or spread wide with a 25:1 flood to spot range. If you need wider than is available natively out of the DLH4 a non-spherical wide-angle is available. Further accessories include imager attachment to project gobos, patterns and slides; shutter attachment which enables precise light control; controllable barn doors like no other, light spreaders and the Parallel Beam Intensifier - this enables the DLH4 to be integrated with the dedo Lightstream system. In short, the DLH4 began as a light with the cleanest beam and tremendous flood to spot range, and has grown into a product accompanied by accessories which take this light way beyond what other single lights on the market can do. “The light that changed the world” is a 3 part special featuring commentary from cinematographers and those who have used the DLH4 over many years, for everything from feature films to single operator productions.

The practice is as old as image creation. Everyone of us has used reflectors. The key and the gate opener to the system is obviously light. Could be the sun, but then, with no sun available, the best results can be reached with parallel light. Our particular pride though is in the evolution of dedolight optical systems, which now culminate in the added parallel beam intensifier for all of our 21 different focusing dedolights.

Cinematographer, Ian Murray, demonstrates the dedolight DLH400D for traditional use as a small, powerful, versatile HMI light and also shows how this can be used as part of the dedolight Lightstream system. Lightstream uses a Parallel Beam Intensifier to focus the light into reflectors which then direct the light precisely wherever the cinematographer chooses. The result is an organic and realistic quality which is difficult to achieve with conventional lighting equipment. This demonstration shows how the DLH400D is used within the Lightstream system and the results which can achieved. Ian Murray is one of the UK’s top cinematographers, having over 20 years experience working in high-end commercials and global campaigns for clients such as Coca Cola, Nike, Apple and Guinness. Ian’s areas of expertise include food, hair, beauty, high-speed and table top cinematography. Follow Ian on Instagram: #setnotes

4 Cinematographers talk about the mighty dedolight DLH400D HMI. This light represents tremendous power in a small, portable lighting unit, featuring top optical performance, and is compatible with a range of accessories including the dedolight imager system for gobo, pattern or slide projector, dedo shutters for light control, and the new image intensifier, which makes this light an ideal part of the dedo Lightstream system. 4 cinematographers are featured in this piece include: Stuart Harris http://stuartharris.co.uk Stuart Harris has worked on many TV productions before working on films including Stanley Kubrick’s 2001, Ken Russell’s The Boyfriend and Peter Hall’s Three into Two Won’t Go. He has won many awards for his creative work on films, commercials and music videos throughout the world. Stuart is currently the co-head of cinematography at the National Film and Television School (NFTS) and continues to be an active cinematographer. Jason & Jono https://reflectric.net Jason Clare and Jonathan Smith run Reflective, a London based cinematography company who specialise in working with reflected light. Jason and Jono have embraced the philosophy of working with the dedolight Lightstream system. They are fully equipped to light a small TV series, film, or commercial, using the energy efficient Lightstream system. The result is a natural feel with speed and efficiency on-set for changing lighting setups at short notice. Ian Murray http://www.imurray.com Ian Murray is one of the UK’s top cinematographers, having over 20 years experience working in high-end commercials and global campaigns for clients such as Coca Cola, Nike, Apple and Guinness. Ian’s areas of expertise include food, hair, beauty, high-speed and table top cinematography. Follow Ian on Instagram: #setnotes

Jeffrey Weil about his experience with dedolight Lightstream on location.

Short overview of background projection possibilities with our dedolight imagers (projection attachments).

Jason and Jono http://reflectric.net Jason and Jono from Reflectric, a company specialising in working with Reflected Light, demonstrate working with the dedolight DLH400DT HMI light: how this light has been used traditionally and also as part of the dedolight Lightstream system. dedolight Lightstream is system of working with parallel light and reflectors which are used to direct and control the light, however the cinematographer chooses. The dedolight Lightstream system provides a unique quality of light with added flexibility of quick setup, less cabling, stands and accessories, compared to traditional lighting equipment. Jason and Jono talk about and show the DLH400DT and how this can be used to focus the HMI light into reflectors with a Parallel Beam Intensifier - this is a lens specifically designed to focus the light to achieve more than 500% increase in light output. The DLH400DT can be used with other dedolight attachments such as imagers, shutters, wide-angle attachment - enabling light shaping and use of gobos, patterns and slides. The video with Jason and Jono provides a complete overview of the versatility of the dedolight DLH400DT and how this can be used traditionally and within a dedolight Lightstream setup.

From our annual “Agent Meeting” we would like to share some sessions with you. Dedo Weigert, CEO and D.o.P., introduces the dedolight Lightstream series.

We are challenging everybody, be it professionals, be it students, teachers or beginners, to participate in this competition. The aim of this competition is to further our deep dedication to the educational approach – LET US LEARN FROM EACH OTHER. The "2nd International dedolight Competition" takes place between 1st of January and 30th of April 2020 and we are offering 30 prizes with a total value of Euro 100.000. Many of the winning videos/entries, but also some of the ones that don’t win may become part of our series of lighting tutorials. Good luck with your entry, we are looking forward to it. More details about the competition may be found on our website: https://www.dedoweigertfilm.de/dwf-en/competition/competition-en.php Registration & video entries: competition@dedoweigertfilm.de Further references: https://creativecommons.org/examples

We are challenging everybody, be it professionals, be it students, teachers or beginners, to participate in this competition. The aim of this competition is to further our deep dedication to the educational approach – LET US LEARN FROM EACH OTHER. The "2nd International dedolight Competition" takes place between 1st of January and 30th of April 2020 and we are offering 30 prizes with a total value of Euro 100.000. More details about the competition may be found on our website: https://www.dedoweigertfilm.de/dwf-en/competition/competition-en.php An example video will be published soon.

From our annual “Agent Meeting” we would like to share some sessions with you. Daniel Norton, photographer, about using continuous light in photography.

From our annual “Agent Meeting” we would like to share some sessions with you. Ian Murray, D.o.P., about using dedolights on location and Instagram “set notes” social media series.

From our annual “Agent Meeting” we would like to share some sessions with you. Ian Murray, D.o.P., explains some of his projects lit with dedolight Lightstream.

From our annual “Agent Meeting” we would like to share some sessions with you. Julio Gomez, D.o.P., about Lightstream.

From our annual “Agent Meeting” we would like to share some sessions with you. Philip Gassmann, director and author, reports about “green production” possibilities.

From our annual “Agent Meeting” we would like to share some sessions with you. Achim Dunker, film maker and author, explains how he lit an ice cave.

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time in a student apartment w Equipment used in this video: Key light: "DLH4" 150W focusing tungsten light head SFX light (table): "DLH4" 150W focusing tungsten light head SFX light (lamp): "DLH4" 150W focusing tungsten light head with DP1.1 imager/projection attachment and iris. Backlight: "DLH400DT" 575W focusing daylight light head with gel filter. Background light (right window): "DLED4-BI" 40W focusing LED bicolor light head.

Pete Burns, lighting cameraman from the UK, introduces and explains his interview lighting kit, which is based on parallel light intensifiers and handy dedolight Lightstream reflectors.

Im 3. Teil der FORENSIK Reihe gehen wir genauer auf polarisiertes Licht und deren Vorteile bei der Spurensuche ein. (with subtitles in different languages) Teil 1 - Einführung: https://youtu.be/SEo2EfRl3pQ Teil 2 - Nah-Infrarot: https://youtu.be/nRyI42lGDOg

Im 2. Teil der FORENSIK Reihe zeigen wir die Einsatzmöglichkeiten von Nah-Infrarotlicht bei der gerichtsmedizinischen Spurensuche. (with subtitles in different languages) Teil 1 - Einführung: https://youtu.be/SEo2EfRl3pQ Teil 3 - Polarisiertes Licht: https://youtu.be/QJlYzk4QdQk

A short overview of the TOP30 winners of the international dedolight lighting competition in 2015.

Diplom Biologe Dr. Martin Schulz vom Institut der Rechtsmedizin der LMU München hat in Zusammenarbeit mit der Dedo Weigert Film einen speziellen Lichtkoffer für die forensische Spurensuche erarbeitet. Welche Leuchten in diesem Koffer sind, welche Ergebnisse sich in der Spurensuche damit erzielen lassen und weitere Informationen in unserem neuen Mehrteiler. (with subtitles) Teil 2 - Nah-Infrarot: https://youtu.be/nRyI42lGDOg Teil 3 - Polarisiertes Licht: https://youtu.be/QJlYzk4QdQk

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time he turns a clean hotel room into a chaotic living room for a "Family Life" portrait. Equipment used in this video: Key light on her: 2x "DLH4" 150W focusing tungsten light head and a "DLH1x150S" 150W tungsten soft light with mini soft box Key light on him: "DLH4" 150W focusing tungsten light head TV screen imitating light: "DLED4-BI" 40W focusing bicolor LED light head with blue glass filter Background light (outer reflections): "DLH400DT" 575W focusing daylight light head Background light (reflection): "DLH650" 650W focusing tungsten light head

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time with a "Film Noir" setup for a portrait. Equipment used in this video: Key light: “DLH4” 150W focusing tungsten light head Hand light: "DLH4" 150W focusing tungsten light head SFX light: “DLH4” 150W focusing tungsten light head with DP2.1 imager/projection attachment

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time with a "Horror Lighting" setup for a portrait. Equipment used in this video: Key light: “DLH4” 150W focusing tungsten light head, shining through a translucent reflector. Backlight: “DLH4” 150W focusing tungsten light head SFX light: “DLH4” 150W focusing tungsten light head with DP1.1 imager/projection attachment and steel gobos

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time with a "Film Noir" portrait. Key light: DLH4, 150W focusing light head with translucent diffuser Fill light: DLH4, 150W focusing light head with SunBounce reflector Backlight: DLH4, 150W focusing light Kicker: DLH4, 150W focusing light

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time two different kinds of photos with a big window as main light source. SCENE 1 Key light: Felloni bicolor LED panel, DLED4-BI, 40W focusing bicolor LED light head Fill light: 3x DLED4-BI, 40W focusing bicolor LED light head Backlight: big window SCENE 2 Key light: DLED4-BI, 40W focusing bicolor LED light head with DP1.1 imager projection attachment Backlight: big window Background light: 4x DLED4-BI, 40W focusing bicolor LED light head

The renowned Cinematographer, Inventor, and Manufacturer Dedo Weigert is presented with the 2019 DCS Cinema Lighting Service Award for innovation and dedication to educating future generations of Lighting professionals. He also tells about his latest products and gives a live lighting demo at the 2019 DCS Cinema Lighting Expo. Video courtesy of DIGITAL CINEMA SOCIETY (link to original video): https://vimeo.com/320515609

Adam Chambers, Gaffer in Hollywood, about his experience with the dedolight parallel beam light "DPB70" on location

Ilya Rashap, Russian photographer and lighting expert, shows and explains his interesting and in-depth "painting with light" set-ups in a catching series of 10 tutorial videos. This time: a lighting set-up in a large room, with lighting set-ups separately dedicated for actor and background. Key light: DLH4, 150W focusing tungsten light head and glass bottle Fill light: DLH4, 150W focusing tungsten light head with translucent diffuser Backlight: 2x DLED4-BI, 40W focusing bicolor LED light head. One with wide-angle attachment Background light: DLED4-BI, 40W focusing bicolor LED light head and glass bottle, DLED4-BI, 40W focusing bicolor LED light head with translucent reflector Background light (floor): DLH650, 650W focusing tungsten light head

Angel Penchev, Bulgarian photpgrapher, demonstrates precision lighting with the help of a Bugatti model car.

Ilya Rashap, Russian photographer and lighting expert, shows and explains his "painting with light" set-ups in a little 10 part tutorial series. This time with two completely different lighting set-ups in one location. SCENE 1 Key light: DLED4-BI, 40W focusing bicolor LED light head and yellow glass filter Fill light: DLED4-BI, 40W focusing bicolor LED light head, DLH1x150S, 150W tungsten soft light SFX light: DLH4, 150W focusing tungsten light head and disco ball Backlight: DLH650, 650W focusing tungsten light head Background light: DLED4-BI, 40W focusing bicolor LED light head SCENE 2 Key light: DLH650, 650W focusing tungsten light head with bounce card Backlight: DLH400DT, 400W focusing daylight light head Background light: DLED4-BI, 40W focusing bicolor LED light head with mirror-like reflectors

Interview with Dedo Weigert and Marc Ludwig at the Foto-TV live studio about reflected light and the PHOTOKINA Wedding Zone studio which was exclusively lit with the dedolight lightstream system in a combination of DPB70 parallel beam light head, reflectors and Ledraptor5 LED soft light

Interview mit Dedo Weigert und Marc Ludwig im Foto-TV Live Studio über reflektiertes Licht. Das PHOTOKINA WEDDING ZONE Studio wurde mit dem dedolight Lightstream geleuchtet, einer Kombination aus DPB70 Parallelstrahler, Reflektoren und dem Ledraptor5 LED Softlicht.

Working with the TECPRO LITEFLEX: bicolor, flexible, battery or mains powered, LED lighting The TECPRO LITEFLEX is one of the most useful lights on the market for the single camera person or anyone who needs portable lighting. Key Features: • High output • Low power consumption • Incredibly light and portable • Dimmable • Bicolor - daylight or tungsten at the turn of a knob • Runs on Sony BPU batteries or V-lock batteries with adapter • Detachable power stick which enables the LITEFLEX to be mounted to any flat surface • Can easily be angled down when fitted to a light stand - many lights cannot do this • Can be bent to the appropriate shape you need - you can effectively create a tube of light With a variable color temperature of 3200K (tungsten) to 5600K (daylight), the TECPRO Liteflex Bicolor flexible LED Panel is a durable, rugged LED panel, that is equipped with a Velcro surface, so it can be attached to almost any surface. It comes with a Power-Stick, which can be powered by a 14.4V battery or via 12-20V DC, and which contains the controls for dimming and color temperature. Optional Accessories: * 2 soft boxes are available for the LITEFLEX: 50 x 50CM TECPRO TP-SBX50 60 x 60CM TECPRO TP-SBX60 * A grid is also available for each of the soft boxes * Adapter for V-lock batteries Overall, this is an incredibly useful and easy to use light with a good range of accessories. The LITEFLEX provides light at a moments notice, with good output and excellent color rendition. It is easy to use on a stand or hand-held. The LITEFLEX is powered by small Sony BPU batteries; for extended power, V-lock batteries can be attached with optional adapter. Optional soft boxes, in 2 sizes, and grids for the soft boxes, are available.

Review by Pete Burns, lighting cameraman in the UK

Photographer Angel Penchev demonstrating a lighting setup for a little, real-sized medal, called "Jesus Christ"*. A lighting setup with 1 light only, a semi-transparent mirror and photo camera.

Interview with Dedo Weigert @NAB 2018 about new dedolight products. Video courtesy of DIGITAL CINEMA SOCIETY: https://vimeo.com/264769894

Jennifer Tanksley-Coss and Roman Zenz present the latest from Dedolight as part of the Digital Cinema Society's 2018 Cinema Lighting Expo held February 24th at the IATSE Local 80 stage in Burbank, CA.

Classic portraiture from Leonardo da Vinci to Rembrandt, Looking at specific, traditional lighting styles, using a single light, and then developing onto classic Hollywood and beauty lighting. This is the final part of the series, Lighting the Human Face, by cinematographer, Ian Murray. “Let’s not forget the beauty of just using one soft light and seeing how a human face responding to soft light, graduating from the highlights, softening into the shadows. Let’s not forget how beautiful that is. Many artists base their whole careers on just studying that one phenomenon. They sit their models next to a window, and all they’d do is they do is paint their models from day to day, painting them, endlessly fascinated by what that light would bring. A North soft light coming from a window with a model sat next to it - I mean that’s, arguably some of the most beautiful lighting you’re ever going to see: very very simple.” Ian Murray, Cinematographer Lights used for this tutorial: DLED4-BI, 40W focusing bicolor LED light head with mini soft box DLH1000SPLUS, 1kW tungsten soft light with Panaura5 soft box White, silver and soft-gold reflectors

Understand the ways in which one can create light in the eyes. Eye lighting can come from direct lighting, with filters designed to blend the light invisibly with the rest of the face, or the light can be gentle reflections in the eyes, or a hard point - as a cinematographer you need to know how to control the eye light with regards to size, shape and intensity. Eye lighting will, inevitably, be a major influence in creating the portrait. “The Eye light provides a limited area of fill or highlight when the key or fill leave one or both eyes in darkness. So the eyesight is really a remedial light, it's what you use to remedy a problem. The eyesight is used when you can’t see enough life in the eyes and need to introduce a sparkle into the eye.” Ian Murray, Cinematographer Lights used for this tutorial: DLED4-BI, 40W focusing bicolor LED light head DP2.1 imager projection attachment with DPEYE filters DLH1000SPLUS, 1kW tungsten soft light with Panaura5 soft box White, silver and soft-gold reflectors

Where to place the lights in relation to the subject is crucial to achieving results. Here we look at several different lighting setups - from classic 3 point lighting to alternative 3 point lighting technique; ear side key; far side key; how to use fill light effectively; and achieving the classic Hollywood beauty and glamour look. “The classic beauty lighting technique is diffusing an on nose key position just above the lens. This minimises wrinkles, double chins, large noses, jowls, and emphasises cheek bones. It’s the classic technique.” Ian Murray, Cinematographer Lights used for this tutorial: DLED4-BI, 40W focusing bicolor LED light head (with mini soft box) DLH1000SPLUS, 1kW tungsten soft light with Panaura5 soft box White, silver and soft-gold reflectors

A lighting tutorial by Ian Murray from England. Learn more about key light positioning and its effects. (Part 2of5) It is important to understand the structure of the human face in order to effectively light it. The face can be defined by 5 distinct points: nose, chin, the 2 cheeks and forehead. The face can also be divided into 4 distinct facets, made up of ear to jaw and cheek to nose, on both sides of the face. By arcing a light around the face we can see how the different facets react to the light from different angles. This is also affected by whether the light is soft or hard, or a combination of these. This gets more complicated in a multi light setup. “In reality you tend to work with varying degrees of hard and soft, often in combination. In most situations a face is lit with a variety of lighting textures. Understanding and replicating these produces the most complex and richest images." Ian Murray, Cinematographer Lights used for this tutorial: DLH1000SPLUS, 1kW tungsten soft light with Panaura5 soft box DLED4-BI, 40W focusing bicolor LED light head (with mini soft box)

A lighting tutorial by Ian Murray from England. Learn more about hard and soft key light and its effects. (part 1of5) Part 1: understanding the difference between hard and soft light; how to distinguish between hard and soft light and how to evaluate hard and soft light; the characteristics these different types of light bring to the image. The primary goal of this video is to introduce some of the principals of cinematography through the act of portrait lighting, or the act of lighting the face. We will show practically how this is achieved. “We often look to nature for lighting inspiration. As cinematographers our job is to notice the light that inspires us and to be able to recreate it. The tools I’m showing you here allow you to evaluate the light and better understand the physics of it and, in turn, how to apply it to cinematography." “We start seeing light. It’s really very craftsman light. What you do is you just start studying the subject and in that process of studying it you become more sensitive to it and by being more sensitive to it you can start manipulating it in ways that you’re aware of that other people aren’t. But what happens with studying light from a photography point of view, a cinematography point of view - is your relationship with it changes a little bit, you become more intimately involved with it. And that’s what I realised is that the beauty of this process is you start seeing light…” Ian Murray, Cinematographer Lights used for this tutorial: DLH1000SPLUS, 1kW tungsten soft light with Panaura5 soft box DLED4-BI, 40W focusing bicolor LED light head (with mini soft box) White, silver and soft-gold reflectors

Even with the utmost care there are some common misunderstandings and some minute divergences that may need to be taken care of. Learn more about: - Color temperatures and DELTA UV color coordinates on the Planck Curve - Lumen maintance on LED fixtures We take extreme care to have all of our LED light sources as close to matching each other as possible, still, some minute differences are so far unavoidable.

Introducing the GIZMO-PRIME 360° remote head at IBC 2017.

VOCAS latest introduction of new camera accessories at IBC 2017. Introduction of Follow-Focus MFC-3(F) and Rail-Plate Type P, as well as camera accessory packages for Panasonc EVA1, Canon C200, SONY FS5 and more.

        
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