Silky and smooth Christina Fox takes a look at the new Silk 220 LED light from Rosco
osco has a new addition to its Silk range of LED lights aimed at filmmakers and broadcast DoPs. The Silk 220 is particularly well-suited for use in broadcast studios, on film sets or for (indoor) location lighting. It is the fifth light (and the largest so far) in the range, which includes the portable 110 and slightly larger 210, along with the slimmer-profile 205 and 305 lamps (ideal for low ceilinged studios). It really does seem that LEDs have now found their place in the lighting grid. It wasn’t that long ago that LED lights were launched as the bright new thing. Compared to tungsten lighting they had a lower power consumption, didn’t change
colour when dimmed and produced less heat than tungsten lamps.
This is a be eautifully soft light that willl ﬂattter anyon ne liit by it u popula ar with th he - making you people e you sh hoot But there were also problems. To the human eye LED lights looked fine, but when put on a test bench they were sadly lacking - quite literally, in terms of colour spectrum. This was most noticeable when it came to skin tones, which is what we shoot most often. Graders were also
finding it difficult to match shots lit with LED lights to those lit with conventional instruments. It also didn’t help that the common metric at the time, CRI (Colour Rendition Index) quoted by most lighting manufacturers, was created in 1964, but had not kept up with changing colour science and was not even designed for TV but for architectural lighting. Indeed, lamps with the same CRI score can produce totally different colours. We needed a new metric, designed to tell us what light actually looks like when seen by a camera sensor - as well as an improvement in LED technology. Thanks to work by colour scientist Alan Roberts and the backing of the EBU, a new metric was