NEWS

the gaffer Ernesto Giolitti used our FLAME on SENECA, photography by Benoit Debie, SBC

FLAME from Softlights was a helpful tool to Marcel Zyskind, DOP, on set of The Ugly Stepsister (2025)

https://motorproductions.dk/the-ugly-stepsister/#group

https://motorproductions.dk/the-ugly-stepsister/

At the director of photography Nicolas Massart’s request and for the film Under Paris,
Softlights designed and created a 3-piece set that fits into the divers mask

 

a light source with 3 temperatures of kelvin (2700, 4000 et 6000K) which allows fine control of the light and managed by our miniature Casambi controller and its stand alone function
– arrangement usable underwater up to 10m deep

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Another issue for the DOP was to creat un underwater distress rocket
activated by actors and self containing object : lights – battery – stand alone animation by Casambi

◦ custom-made and designed
◦ the only light source on the stage, waterproof, autonomous (battery) and activated by an actor (trigger button)
◦ several animated light sequences (colour change, pulsation) using 8 Casambi circuits and a mechanical, waterproof trigger
◦ the same Casambi dimmer as used in the FLAME

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Nicolas Massart, AFC, talks about the technical challenges of filming “Under Paris”, by Xavier Gens (french)

JCR : As it’s a period film, the available light sources were candles, possibly outdoor torches, or kerosene lamps – but only once they arrive in United States. Indeed, throughout the first part in flashback which takes place in Sweden, the protagonists do not at all have the means to have kerosene lamps, and their little house is lit with simple candles. It was also interesting to visually regulate the night lighting setup, beginning with as much restraint as possible, such as a single candle lighting the entire room, and then beginning to multiply the sources (such as on the boat, where many people are together) and then in the interiors in the New World, where you feel more comfort, more depth in the image thanks to the growing number of sources. Continue reading “JCR speaking about Flame”

John Christian Rosenlund about IMITATING FLAMES for IMAGO

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John Christian Rosenlund, norwegian cinematographer, talks about his experience with the new Softlights’s LED product « FLAME » :

“Director Erik Poppe and I have planned to shoot every scene in pure natural light. Our goal is to try and give the project a strong naturalistic and authentic look. The film takes place in Sweden and USA, set between the years 1850-60. The only light-source available for poor people at the time was daylight, candles, wood fire and oil lamps. In the search for practicals, because of safety issues with fire and oil, we realized that in some important scenes, we could not use real oil/paraffin lamps.
We started looking at the possibility to replace the light-source with LED. But creating a” fire LED” was more complicated than I could ever have imagined!”

Softlights decided to develop a completely new PCB with a blend of 4 different types of LED; Softlights own 2200K, deep red, amber and Lime. Our focus in the development of a new LED was to get the best possible skin tone on the digital “camera negative”.

We asked Christian if he could describe how he experience the new LED; “The colors of traditional very warm LEDS gives skin-tones with a limited hue, giving the appearance of one flat and dull tone. They often have a green or magenta cast and none of the color definition you would need to render good skin-tone. I have never seen a LED that performs this well in 1800-2000K as the the new Flame LED from Softlights .It matches candle and paraffin light perfectly. The new Flame LED is a LED revolution”.

see more on : https://www.jcr.no/post/the-emigrant-light

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