Award winning cinematographer Greig Fraser, ASC, ACS, of Rogue One: A Star Wars Story speaks about his use of Creamsource LEDs on the latest hit of the epic series.
Though they started out as a cheaper alternative to tungsten lights, recently Gaffers, Grips and D.P.’s have been seeing LED’s more and more on film sets. Multi-award winning DP Greig Fraser (Rogue One: A Star Wars Story, Lion) sheds some light on using LEDs on his recent work:
“Creamsource Sky is just so flexible and renders colours amazingly,” said Greig Fraser, “I am obsessed with the technical, and Creamsource Sky produces really great skin tones. That can be a benefit and a curse when having to mix Sky with lights from other manufacturers, so I use a single brand of lighting for each source — one for skylight, one for a window, and another for facial lighting.”
For Rogue One the lights were hung for weeks at a time and were able to take the rain and weather conditions easily. Having such durable and adjustable lights are a benefit for any set. So beneficial that Greg Fraser himself has added multiple lights to his own personal kit. So where did his initial experience with LED’s come from? A commercial for old navy.
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— Multiple award-winning cinematographer also owns his own Creamsource kit for complete lighting control on other projects—
Sydney, Australia – February 09, 2017 – Greig Fraser, ASC, ACS, the cinematographer of films including Lion, Zero Dark Thirty, Foxcatcher, Snow White and the Huntsman, and Mary Magdalene (currently in post-production), and numerous commercials, relied on the Creamsource Sky, a water resistant five colour 1200W LED light system from Outsight, for Lucasfilm’s Rogue One: A Star Wars Story.
“Creamsource Sky is just so flexible and renders colours amazingly,” said multi-award winning DP Greig Fraser, ASC, ACS. “I am obsessed with the technical, and Creamsource Sky produces really great skintones. That can be a benefit and a curse when having to mix Sky with lights from other manufacturers, so I use a single brand of lighting for each source — one for skylight, one for a window, and another for facial lighting.”
For Rogue One, Fraser relied on Sky’s ability to be used in all weather conditions, finding it especially useful for the raining stage shots depicting Eadu, a storm-stricken world and Imperial terraforming operation in the Outer Rim Territories. “We had Sky rigged in the ceiling for weeks while it was ‘raining’. It’s just amazing that we can do that,” said Fraser. In addition, Creamsource Sky delivers high power output with full creative control and repeatable, calibrated colour that helps users craft emotion.
Fraser first discovered Outsight LED lighting many years ago while in Sydney doing a US television commercial for Old Navy, during the very early days of LED lighting. “My gaffer brought in an original 2×1 Creamsource, and we were amazed by how much power they had,” said Fraser. “We were so impressed that we both bought one head each. Fast forward to more jobs and I saw the technology evolve to portable battery power, making lights faster and more powerful, and lights I could gel.
“I now have four 2×1 and two 1×1 Creamsource lights in my kit that have just been upgraded to the fourth generation with new LED boards for better colour, more output and higher CRI,” added Fraser. “Being able to buy these lights as a younger DP meant that I could own and have control of my lighting, without relying on whatever a rental house could provide.”
In addition to his film work, Fraser just completed a commercial for Budweiser and is scheduled to shoot a Ford spot this month, using his own Outsight kit for both.
What really impresses Fraser is the amount of freedom and flexibility he gets with Outsight LEDs. “They allow you to decide on the cover seconds before shooting, which is fantastic if you can’t prelight,” said Fraser. “You save time and money, going quickly from creative to a stage full of hung lights, knowing how much colour and correction you need. With tungsten, if you dim it, you need to know exactly what stops for the colour you want to capture. On big films, you can do testing and prelight a week in advance. With Outsight LEDs, I can prelight in an hour with flexibility and control of all parameters — plus do instant trial and error for warmth. You just can’t do that with tungsten — it takes days and weeks. Now it’s just flicking a switch — it’s game changing.”
“As a pioneer in film and television lighting, we’ve designed our LED lights to be both beautiful and tough,” said Tama Berkeljon, Managing Director, Outsight. “DPs around the world are discovering that our Creamsource lights are built for the creativity that is needed on set or on location, with repeatable results.”