Dedolight Parallel Beam

Shooting at more than 1,000 frames per second (shutter at 180 degres) is a headache for the light, especially when filming flying insects and other butterflies : it is impossible to use powerful HMI sources without burning the insects and no Led source is powerful enough. We have tested with Eli Lévé, at Next Shot rental company, Dedolight Lightstream projectors and this technique has solved the difficulties.

La prise de vues à plus de 1 000 images par seconde (shutter à 180 °) est un casse-tête pour la lumière, surtout lorsque l’on filme des insectes volants et autres papillons : impossible d’utiliser des sources HMI puissantes sans brûler les insectes, et aucune source LED n’est assez puissante. Nous avons testé avec Eli Lévé, chez Next Shot, les projecteurs Dedolight Lightstream et cette technique a permis de résoudre les difficultés.

Next Shot étoffe son parc de location d’un nouveau produit lumière innovant, le projecteur Parallel Beam DPB70 de Dedolight.

Pour le tournage de la série de 6 x 52 minutes "Germinal", le directeur de la photo Xavier Dolléans a testé les "intensifieurs de faisceaux" Parallel Beam de Dedolight et les réflecteurs Lightstream chez Next Shot.

Creamsource importer Eurolight introduces the new Vortex2 and Vortex2S. The two 160W LED fixtures share the same technological platform but have been designed for different lighting requirements : a directional, high-impact beam from the Vortex2 and broad, even illumination from the Vortex2S.

After The Past, starring Bérénice Bejo and Tahar Rahim in 2013, Iranian director Asghar Farhadi returns to France with Parallel Tales, his 10th feature film. For this multi-layered narrative script, he has assembled a top-class French cast. Cinematographer Guillaume Deffontaines AFC gives us a behind-the-scenes look at its making. Parallel Tales is screening in the Official Competition at the 79th Cannes Film Festival. (BB)

Cinematographer Marine Atlan directs her first feature film without leaving the camera, in partnership with her longtime collaborator, Pierre Mazoyer, cinematographer and colorist. Together, they recreate the imagery textured with noise, chromatic aberrations, and glare that characterizes their previous collaborations, filming these faces and locations with such raw intensity that we feel as if we’ve always-already seen them. To imbue these images with the fervor and fragility demanded by the characters, they reinvented their collaboration, both amongst themselves and with their crew. La Gradiva xas presented in the Feature Film Competition at Critics’ Week and won the Grand Prix AMI Paris from its jury. (HdR)

Aputure announces two new Nova panel fixtures and a Nova 3-panel array, alongside new modifiers and accessories for the Nova ecosystem. The Nova 9° 2x1 is a powerful hyper narrow beam panel ideal for a concentrated light over a long distance. The Nova II1x1 is a portable panel more powerful than most 2x1 units when used both direct and diffused.

The 82nd Venice International Film Festival will be held at the Lido di Venezia from August 27 to September 6, 2025. With the aim of raising awareness and promoting international cinema in all its forms, as art, entertainment, and industry, in a spirit of freedom and dialogue, the Festival dedicates a section to showcasing the restoration of classic films in order to contribute to a better understanding of the history of cinema. Across all selections – official and parallel sections – it is worth noting that eight of the selected films were photographed by AFC members.

Rosco OPTI-SCULPT lenses deliver precise angular beam control, enabling lighting professionals to accurately and affordably control the shape of their light. Available in eleven different patterns, OPTI-SCULPT lenses are ideal for a wide range of applications, including theatrical productions, theme parks, architectural installations, and broadcast studios. Continue reading to discover how this versatile tool effectively solves common lighting challenges faced by designers across diverse settings.

A classic reborn : the iconic Fuji EBC (Electron Beam Coated) lenses, originally introduced in 1971, are making a triumphant return—now fully rehoused and re-engineered to meet the rigorous standards of contemporary cinematography. Revered for their fast apertures, remarkable low-light performance, and distinctive vintage character, these lenses have been meticulously brought into the modern era by the expert team at TLS (True Lens Services).

La renaissance d’un classique : les emblématiques objectifs Fujifilm EBC (Electron Beam Coated), lancés initialement en 1971, font un retour triomphal – Il sont été entièrement repensés et dotés d’un nouveau boîtier pour répondre aux normes rigoureuses de la cinématographie contemporaine. Réputés pour leur ouverture rapide, leurs remarquables performances dans les environnements à faible luminosité et leur caractère vintage distinctif, ces objectifs ont été méticuleusement remis au goût du jour par l’équipe d’experts de True Lens Services (TLS).

Sophie Letourneur will open ACID 2025 (Association du Cinéma Indépendant pour sa Diffusion), one of the youngest parallel sections of the Cannes Film Festival. For L’Aventura, as in her previous film Voyages en Italie, the director shares the screen with Philippe Katerine. This sweet and sometimes rough comedy, in the vein of a family road trip, is filmed by Jonathan Ricquebourg, AFC, who previously worked with Sophie Letourneur on Voyage en Italie. Immersing herself in reality, the director creates a narrative that blurs the lines between fact and fiction, giving the film a very personal and intimate tone. Jonathan Ricquebourg shares his experience of a shoot that worked "ike a theater troupe". (BB)

78th Cannes film festival announce its official selection. Its three parallel sections - 64th Critic’s Week - 57th Directors’ Fortnight - 33rd ACID Cannes -did reveal their programs and screening too.

FilmGear, distribué en France par le Groupe Zebra, propose une nouvelle approche avec sa gamme Power Beam. Ces projecteurs permettent d’alterner entre les technologies HMI et tungstène, offrant aux chefs opérateurs plus de flexibilité en tournage.

Le secteur de l’éclairage professionnel connaît une évolution majeure avec l’arrivée du Ruby 1200B de Filmgear, un projecteur LED bicolore de 1 200 watts qui se positionne comme le digne successeur du Tungstène Super Beam 1200. Disponible en avant-première chez Groupe Zebra avant sa sortie officielle en avril, ce projecteur marque un tournant pour l’éclairage cinéma.

Gilles Porte, AFC, is currently filming Lady Nazca in Peru, a film directed by Damien Dorsaz. As in 2014 on 3000 Night, by Mai Nasri, and 2015 on Dans les forêts de Sibérie, by Safy Nebbou, Gilles once again offers us two images per day, taken by him (unless otherwise stated) along with his commentary. A sort of diary of things seen or felt, moments captured on the camera or smartphone.
Here is the diary of the fifth week.

Gilles Porte, AFC, est actuellement en tournage au Pérou sur Lady Nazca, un film réalisé par Damien Dorsaz. Comme il l’avait déjà fait en 2014 avec 3000 Night, de Mai Nasri, et en 2015 avec Dans les forêts de Sibérie, de Safy Nebbou, Gilles nous propose de nouveau deux images par jour, dont il est l’auteur, sauf mention contraire, commentées par lui. Une sorte de journal de choses vues ou ressenties, instants saisis avec l’appareil photo ou le smartphone.
Voici le journal de la cinquième semaine.

Gilles Porte, AFC, is currently shooting Lady Nazca in Peru, a film directed by Damien Dorsaz. As he did previously in 2014 with Mai Nasri’s 3000 Night and in 2015 with Safe Nebbou’s Dans les forêts de Sibérie, Gilles once again offers us two images a day, photos that he has taken himself (unless mention to the contrary), with a comment. A sort of journal of things seen or felt, instants captured with the camera or smartphone.
Here is the journal from the first week… From July 28 - August 5.

Shooting at more than 1,000 frames per second (shutter at 180 degres) is a headache for the light, especially when filming flying insects and other butterflies : it is impossible to use powerful HMI sources without burning the insects and no Led source is powerful enough. We have tested with Eli Lévé, at Next Shot rental company, Dedolight Lightstream projectors and this technique has solved the difficulties.

La prise de vues à plus de 1 000 images par seconde (shutter à 180 °) est un casse-tête pour la lumière, surtout lorsque l’on filme des insectes volants et autres papillons : impossible d’utiliser des sources HMI puissantes sans brûler les insectes, et aucune source LED n’est assez puissante. Nous avons testé avec Eli Lévé, chez Next Shot, les projecteurs Dedolight Lightstream et cette technique a permis de résoudre les difficultés.

Next Shot étoffe son parc de location d’un nouveau produit lumière innovant, le projecteur Parallel Beam DPB70 de Dedolight.

Pour le tournage de la série de 6 x 52 minutes "Germinal", le directeur de la photo Xavier Dolléans a testé les "intensifieurs de faisceaux" Parallel Beam de Dedolight et les réflecteurs Lightstream chez Next Shot.