Colour, control & the future of film lighting round rable
Posted on Apr 22, 2026 by Admin
Experts from Aputure, Universal Production Services, LCA & Creamsource weigh in on the latest lighting developments, biggest friction points, dynamics between departments on-set & more
The panel
Tim Kang
Principal engineer for imaging applications, Aputure
Rob Garvie
Vice president, Universal Production Services UK
Dan Walters
Technical manager, LCA Lights Camera Action
Jim Amorosino
Creamsource technical director, Americas
Definition: From your perspective, what recent developments in lighting technology have had the most meaningful impact on productions?
Tim Kang: Technology exists due to high creative standards and solutions to meet those standards. To match the lighting standards upon which all photography technology rests, the last decade has seen the introduction of the AMPAS Spectral Similarity Index (SSI) and ASC White Point to significantly improve the spectral identity and colour calibration of LED lights.
Before these developments, productions faced colour confusion on- set and in post because LED fixtures did not have these technology design guides. As proof, in 2024, Aputure released its first BLAIR LED engine fixture, the STORM 1200x, to satisfy both of these spectral matching criteria (SSI) and spectral design target (ASC White Point) requirements.
Since then, many productions have reported to us that this foundation has delivered both psychological and technical results. Filling in a significant spectral gap with the indigo diode improves SSI scores to match daylight and incandescence has meant the expected consistency in colour rendition can be achieved – cinematographers and colourists have reported less issues with colour shifts in post from creative expectations on-set.
What we did not expect was for it to also get universally elicited, positive emotional responses from non-lighting professionals such as directors, actors, costume designers and production designers. They all point to a certain natural ‘brilliance’ or ‘presence’ once missing from LED lighting. They more closely match the true energy identity of natural light, which, as a design standard, will always have the most meaningful impact in lighting technology.
Jim Amorosino: I see control technology, intelligence and the high-power large format LED lighting sources as having the biggest impact. As with most things in the modern era, set lights in 2026 are as much computer as they are lighting fixtures. While this adds complexity compared to the days of bulbs and dimmers, it also allows for more creative freedom and control. Think about how we are able to control lights via an app versus a lighting desk, or sample video or virtual environments in real time and instantly communicate that sampling data to your fixtures.
We aren’t just lighting sets anymore; we’re crafting entire worlds motivated by immersion and realism. And the type of fixtures we can use to achieve this are evolving by the day. We are finally seeing LED lights that are starting to give tungsten and HMI a run for their money! When LEDs first hit sets over a decade ago, it was all about colour and flicker, but now, we’ve mostly solved those issues and manufacturers can focus on developing more efficient, large format lighting sources that allow crews to be more flexible when on-set demands are constantly changing.
Rob Garvie: We are seeing exciting developments in LED and battery technology annually, and these are offering sustainability opportunities for productions continuing to improve their carbon footprints.
Dan Walters: The almost unanimous adoption of LumenRadio’s CRMXchip set in modern LED lighting fixtures has given instant and near unlimited creative control of the lighting fixtures used around the camera to gaffers, cinematographers and directors.
The speed at which a set lighting team can rig (particularly battery-powered) fixtures and dial in a colour temperature, intensity or gel swatch has paved the way for a range of app-based lighting controllers to be developed. This has sped up work around the camera and within close proximity to the talent such as setting up a fixture or making refinements remotely from the monitor, creating more space for the director and actors to do their thing.
DEF: When you’re speaking directly with working professionals, what recurring frustrations or wish lists are shaping your development or investment priorities?
RG: We are always listening to industry professionals to make sure we’re always investing in the best, new equipment, so that we continue to satisfy the technological demands of every production, large or small.
TK: The most cited desired priorities stated by working professionals I’ve personally heard and seen are: LED analogues of aging HMI fixtures; reliability and ability to fix device problems in the field; colour mismatches and confusion between different fixtures and fixture brands; and creating true matches of incandescent and daylight light energy, not just colour, within camera without sacrificing output efficiency.
DW: RGB, RGBW, RGBACL – each fixture has its own diodes, with each manufacturer claiming advantages over the choices it made. This provides a headache when trying to match multiple brands, or sometimes even different fixtures within a brand together.
The industry has been slow to adopt CIE xy, which on paper solves all these issues, by defining a colour, not the RGB recipe on how to mix that colour. Sadly, the reality is that there are still some variances between different manufacturers and how they calibrate their fixtures. The constant evolution of lighting technology has also unfortunately meant that some brands release very incremental hardware revisions, often eroding the perceived value of their previous model.
DEF: As productions become more technically complex, how is the relationship between lighting, camera, colour and post evolving on-set?
TK: The virtual production boom ushered in by the pandemic led to the adoption of Image Based Lighting (IBL), a CGI lighting concept by the professional motion picture lighting community. Although enthusiasm for VP has recently waned in favour of the current AI boom, IBL continues to endure and now mature as a philosophy and practice. It’s not just pixel mapping, which has existed for a while – IBL introduced post-production colorimetry concepts and technology to control lighting fixtures on-set, so lighting technicians now must learn a whole new skillset and lexicon for their work. For example, the colorimetry concept of ‘CIE 1931 xy chromaticities’ (or ‘xy’ for short) forms the basis of all colour language in contemporary camera and post-production technology.
Tech savvy lighting technicians have now adopted ‘xy’ chromaticity values to specify lighting colours instead of gel numbers, RGB values or Colour Temperature readings. Although xy values in lighting do not necessarily match xy values in post-production, learning about this concept has started to pull lighting professionals into even closer collaboration with camera and post departments. Soon, lighting crews will use colour Look Up Tables (LUTs) and other fixture device colour management ideas from camera and post-production colour departments.
DW: Gaffers and cinematographers lean on DITs more than ever to ensure the continuity of the colour pipeline from start to finish. With much of the shoot being graded in real time before being sent across to a director’s monitor or to video village, the notes and LUTs developed during the shoot have become an integral part of the post-production grading process.
JA: As these filmmaking technologies continue to converge, it’s important to understand not just how they affect one another, but also to respect the unique work and contributions from each department. We’ve been empowered by every piece of the pipeline being computerised, with cameras, lighting systems and colour workflows now operating as interconnected, data-driven tools, and it’s great to see how manufacturers and productions are beginning to tie all the pieces together.
At Creamsource, we’ve put a great focus on colour and camera sync technology. Our Vortex fixtures can shift their colour space to better match virtual environments or the colour space of a camera’s sensor and to help streamline the workload for the post-production team. We’re also very transparent about the colour parameters and profiles around our fixtures as we believe honesty is essential when it comes to lighting, and especially colour. With our FrameSync technology, we are encouraging the camera and lighting teams to
work together towards advancing the workflows between the two departments. In its most basic form, FrameSync lets us eliminate artifacts and torn frames when shooting with a rolling shutter camera. On the more advanced side, FrameSync unlocks the ability for frame remapping workflows – think being able to achieve multiple lighting states in a single take. This allows for multi-track lighting and the ability to capture day/night looks in one take. The lights know exactly when the camera’s shutter is open or closed, and we enable crews to take advantage of that for the benefit of the art.
DEF: Where are the biggest friction points when integrating fixtures, control systems and colour pipelines on-set? How might these be made smoother?
TK: Matching multiple fixtures to output even the same value of white light on camera is a massive roadblock to productions of any budget size for a few reasons.
First and foremost, different and outdated spectral approaches in LED engine designs between companies sits at the heart of the problem. Most lighting companies have used the perception colour concept of mixing red, green and blue to create colour, but cameras expect the physics of reflected illuminants to create colour signals, not these RGB light analogues. As a result, colour mismatches often occur between how filmmakers and cameras perceive the same light.
Secondly, lighting technicians and DOPs confuse an ideal colour control interface concept with an ideal colour communication language to lights. Lighting technicians have arbitrarily sent RGB or Hue/Saturation/Brightness (HSB) values as ‘colour information’ protocols, but these concepts differ in definition and execution wildly between companies.
Many savvy lighting technicians now try to solve the colour language confusion with communication protocols that employ CIE 1931 xy values coupled with brightness information as a unified colour communication control. Many caveats exist for relying only on CIE 1931 xy to solve these colour confusion issues. It throws out the spectral identity of lights, so it cannot unify the true differences between two different LED technologies. It unevenly distributes colours within its entire colour range, so it does not work well for transition effects between colours. And, biggest of all, most people do not find this coordinate system intuitive to know and use.
DW: RGB colour spaces can be problematic. Take RGB values intended for Rec709 and send them to a fixture that supports Rec2020 and you’ll get a wildly different result to what you intended. As mentioned above, the colour pipeline flows through at least three different departments, involving a dozen players and countless pieces of kit. When things don’t align perfectly (and they don’t always!), identifying where hang-ups lie can be a difficult and time-consuming challenge. On larger projects, adequate prep and on-camera lighting tests can be performed, solving a lot of the colour pipeline problems before talent steps in front of the camera.
The real challenge is to document a pipeline that works for a project from start to finish and to ensure the continuity of these parameters, especially on shoot days when you bring additional cameras, lighting or even crew members.
JA: I genuinely believe it starts with honesty and transparency. In a world where many of these elements aren’t standardised yet, there’s an even greater importance around being honest about your technology and the product. For so many reasons, setting lighting fixtures from two different brands to 5600k may not give you the exact same colour. It might be close, and should be very close, but you’re likely to get some variation. Every company bins their LEDs differently. They use a different colour mix, have a slightly different approach to colour science and might handle calibration differently. Factor in how the sensors for cameras also differ from one another and you can see how there’s a lot of room for disparity.
It’s crucial to be mindful of colour management way before the picture gets to post-production. I think tools that help with colour management in prep and production will continue to gain traction until hardline standards form across the industry. I really do appreciate the work being done by the ACES, ASC and SMPTE and look forward to seeing how their findings and recommendations continue to shape production and make this all less of a friction point in the future.
DEF: Many crews now work across traditional stages, locations and virtual environments. How is lighting technology adapting to support that?
TK: All the colour technology discussions mentioned above exist due to situations like these. LED engines have started to improve their spectral matching of both white light standards and the saturated colour light created by objects lit by these light energy standards. LED fixtures have started to rely on robust Ethernet-based control signal transmission instead of low bandwidth DMX lighting control signals. And LED fixtures have started to better match legacy fixtures.
DW: Using camera tracking and VP screen/green-screen technology, directors and camera operators get instant composition feedback to aid the actors and camera work. Using these same plate shots or virtual environments, it’s possible to map modern lighting fixtures into the composition so the light, shadows and reflections hitting the props or talent match the virtual environment’s.
RG: Recent developments in waterproof LED/IP65 and IP68 lighting fixtures are providing productions with the versatility to shoot across all environments.
JA: Lighting technology is adapting by becoming more versatile, precise and responsive to context. Whether lighting a traditional stage, real location or virtual environment, the desired output is still the same: something realistic, immersive and grounded. The fundamentals of good lighting have not changed.
What changes is the input required to achieve that output. Each environment asks something different of the fixture and workflow. On location, the input may be speed, portability, battery operation and weatherproofing. On a traditional stage, it may be repeatability, rigging flexibility and control. And in a VP environment, that input shifts again towards colour accuracy, spectral quality, sync-ability and how the light interacts with both the camera and the LED wall. Fixtures are no longer expected to live in just one lane. The better tools must now support multiple production environments without compromise.
That doesn’t mean they are used in the same way everywhere. In many cases, the same fixture can work across all three, but it will be used very differently depending on the application. We see that with Vortex all the time. It can be a rugged workhorse on location, a highly controlled source on stage or a precise, camera-conscious tool in VP.
Lighting technology is adapting by giving crews more flexible inputs with which to achieve a consistent output.
The end goal remains the same, but the tools now need to be versatile enough to lend themselves to a wider range of shooting environments.
DEF: How do you see the skills required in the lighting department evolving over the next five years?
TK: All lighting technicians – young and old, gaffers, sparks and everything in between – must understand: basic colour control theories such as hue, saturation and brightness/value/intensity; how to build and run Ethernet networks dedicated to lighting control signal transmission; how light spectrum corresponds to the specific colours they desire on-set, not just abstract colour control language; how to use lighting control software to control full lighting set-ups instead of direct manual controls; and how to control colour fixtures with video plates and other computer-based colour interfaces.
RG: As lighting infrastructure becomes more integrated to wireless technology, the needs for crews to be more literate in technological advancements will continue to evolve.
DW: With DMX over IP networks becoming common place, often all the way to the fixture itself, lighting crews need to double down on their data and connectivity knowledge. Most of the fixtures we now use on-set are computers that conveniently emit light out of the front. IP Addresses, dimmer curves and low end modes are all a far cry from a conventional tungsten fresnel.
JA: Lighting crews are continually being asked to do more with less: less budget, less crew and less time. I think the skills required over the next five years will evolve in response to that reality.
The good news is knowledge is becoming more democratised through the internet, social media and to some extent, AI. That is already helping crews become more nimble and better equipped to adapt under real production pressure. At the same time, technology is only helpful if it’s applied in a way that truly supports the crew. If it adds complexity without solving a real problem, it becomes a burden instead of a benefit. That is why it is so important for technology developers to stay close to the lighting department, keep their finger on the pulse and build around actual on-set needs rather than innovating for the sake of innovating.
I also think that technical literacy will become a much bigger part of the job. Understanding light will always be the foundation, but pairing that with a working knowledge of IT, signal flow, data and emerging tools such as image-based lighting will make smaller crews far more effective. People who can think creatively, solve problems quickly and bridge traditional lighting skills with newer technical advancements are going to be the ones who feel most comfortable on-set five or ten years from now.
DEF: Looking ahead, what feels like the next genuine frontier for film lighting, and what would need to happen to unlock it?
DW: As electrical efficiency increases, we will soon reach a point where we can run almost every fixture from a domestic wall outlet. This changes everything. We can shoot anywhere, without the constraints of needing generators and heavy mains.
TK: As the entertainment industry at large has started to converge between motion picture, broadcast, social media and live entertainment, I believe we will see more cross pollination of lighting instruments and styles between these different sectors of the lighting industry. Live entertainment such as concerts and sporting events all have broadcast-style video productions, but social media also comes into play within these events. So, all the advances of spectrum quality and standardised colour control from the motion picture industry will start to apply to these other industries, and tools from live entertainment like projection mapping and new fixture types will influence the motion picture industry.
JA: A more philosophical way to look at the next frontier is by keeping the human at the centre. The goal is not automation for the sake of automation, but using technology to reduce friction, improve efficiency and give crews more time and headspace for creative decision-making.
On-set, innovation only matters if it helps teams move faster, work more intuitively and achieve better results under pressure. If a new fixture or system adds complexity without solving a real problem, that innovation just becomes a burden. It pulls time and attention away from creative work, which is where the real human value lies. That is the part of the process that should be protected.
To unlock the next frontier, manufacturers and developers should stay close to crew needs and prioritise making intuitive, reliable tools over adding unnecessary complexity.
Emerging technologies like AI should be used to take care of repetitive work and streamline workflows, creating more space for human judgment and creative intent. The future of film lighting won’t be unlocked by replacing the human element, but by strengthening it.
For more insights into the industry, read Round table: Aerial Filming
This story appears in the April/May 2026 issue of Definition
