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Aaron Takhar

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  • Occupation
  • Location
    United Kingdom
  • My Gear
    Canon eos C300, Canon eos 700D
  1. Thank you all for your responses they have been very valuable to my report. I would like to especially thank Tyler Purcell for the rigiourious and substantial contribution you have made in asnwering my questions.
  2. Hi All, I am currently writing a business report on media production and distribution specifically focusing on the emergence of technology and online platforms and was wondering if you could answer a few questions relating to this subject area? 1. How significant a role has Alan Horn played in the current shape of tent-pole cinema? 2. How would you evaluate the demise of Blockbuster? 3. How important do you anticipate online funding platforms such as Kickstarter and Indie go-go be in the future of media production and distribution? 4. How significant a role does Netflix have in comparison to other distributors and distribution methods of media content? 5. Will cinema survive the current prominence of consumers being able to downloadable content? 6. Can technological advances work in conjunction with traditional production and distribution methods? 7. Does the employment of single sensor cameras in films mean that tv and movies are now parallel to each other? Thank you for your time.
  3. Sorry John Miguel King, What excatly do you mean by: "They (L.E.D's) allow for setups that are essentially impossible with any other technology". Do you specfically mean beause of their maluable size and excellent portability? Thanks, Aaron.
  4. Thanks guys for your helpful comments on the subject matter. I was also wondering if you could offer your expertise on some additional questions I have contemplated? Does the portability and energy efficiency of L.E.D lights make them worth selecting over Tungsten Halogen lights for this aspect? How far are L.E.D lights from becoming a dominant technology both in high and low budget filmmaking? Is the possible transition from Tungsten Halogen to L.E.D comparable to the transition from Brute (Carbon Arc Lamps) to Incandescent? How far has technology such as Gamma Correction in post-production and accessories with such as Creamsync gone towards eradicating problems such as flickering and the green spike associated with L.E.D lights? Is this argument coming too soon in the world of film and media lighting? Thank you very much for your time
  5. Hi all, I am currently in the process of writing my University dissertation which is a comparative study between L.E.D lighting against traditional lighting fixtures in Hollywood film-making (such as Tungsten Halogen lighting fixtures) and was wondering if anyone could help me answer some questions on the subject. How far a role does colour rendering index play in D.O.P’s choosing Tungsten Halogen lights over L.E.D? With improved sensors able to operate in less light will this be advantageous for less powerful LED lights. Is there still a need in film-making (especially Hollywood film-making) for the bigger lighting fixtures? (e.g lighting fixtures such as the Sunray 24K Fresnel light) Thank you very much for your time.
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