innovative LED lightingsolutions

Gekko provide solutions, solving specific problems

experienced on a daily basis, within the environment

of image capture through the design and manufacture

of cutting edge lighting fixtures and accessories.

Gekko lighting tools are user, function and application

led ensuring:

• colour quality and accuracy of output

• ergonomic design for efficiency of use

• durability to enable a long, reliable and cost

effective working life

• value for money in acquisition

…all of which represent our core values.

1

About us 2

Ringlights 4

Indispensable to my art… – Roberto Shaefer 4

kisslite®

6

lenslite®

8

george™ 12

Accessories and control options 14

Light blocks 16

kicklite®

16

Softlights 18

Afterlife – a BBC documentary 18

karesslite®

family 22

karesslite®

6006 24

karesslite®

6006 DD 25

karesslite®

6012 26

karesslite®

FX 27

Mounts and accessories 28

Project becomes portfolio – Steve Banks 32

kelvin®

TILE 34

Hardlights 36

Up close and personal – The Somnabulists 36

kleer colour™ 40

kezia®

50 & 200 42

Sky News Gherkin studio 44

kedo®

single colour 50

Notices 52

CONTENTS

At the turn of the century, at the dawn of the LED age,

David was shooting a documentary for a UK prime time

TV channel when he conceived a product to solve a

particular problem. Nothing before or since has the

required functionality. Three years later following the

rapid development of the core technology, kisslite®

was born and shortly afterwards Gekko incorporated.

Gekko Technology design and manufacture LED lighting

products specifically for the film, television, photographic

and entertainment industries. Gekko products are

conceived with the user and application foremost in our

minds – solving technical and functional shortcomings

with robust, durable, professional instruments.

Since its incorporation, Gekko products have rapidly

gained a reputation as fixtures of choice in their class.

Gekko continue to broaden its range of products and

accessories developing cutting edge technology.

A range of ring light systems, soft lights, hard lights

and colour tunable fixtures are complimented by a

choice of power and control solutions.

Gekko’s kleer colour™ technology represents the

pinnacle of precision in the production, control and

maintenance

of stable

colour and

white tunable

sources.

Gekko’s

fixtures and

underlying

technology have been acknowledged by leading figures

in the industry, reflected by the many awards received.

We are committed to listen to our peers and image

makers, supporting the industry with tools that meet

changing requirements and respond to environmental

responsibilities.2

ABOUT USGekko Technology was founded in 2004 by British

director/cameraman David Amphlett

3

4

INDISPENSABLE TO MY ART…Roberto Schaefer ASC AIC, tells us why

he can’t live without his kisslite®

One thing is crystal clear looking at

cinematographer Roberto Schaefer’s

career, and that’s his desire to seek

out new tools that are appropriate to

support him in the story telling

process. That has extended right

through the workflow from the

camera platform, ideal image capture

device, post-production work flow,

and to the best lighting tools and

technology for any given task.

“I’ve deployed kisslite® for many

years as part of my armory on

commercial and drama work including projects as

varied as Quantum of Solace, Kite Runner and

Stranger than Fiction (pictured right).

I had one of my AC's ask to rent my kisslite® recently.

It seems that Christina Applegate loves so much the

way that it helps to make her look, that she

specifically requested the DP use a kisslite®. I rented

it for 3 weeks and she was happy.

Recently I used it on my last TV Pilot for ABC,

Hallelujah, and it helped me get through a really

tough schedule in style!

kisslite®, along with my two kicklite®s help me move

smoothly and easily through all kinds of film work

from features to commercials whether I'm shooting

on 16mm, 35mm or HD. There isn't another ringlight

on this planet that compares to the kisslite®.

It is intelligently designed, extremely ergonomic and

produces a beautiful and very adjustable light.

Well constructed and intuitive. No other ringlight

has the output, quality and compact size that the

kisslite® has…

…all of these factors make it indispensable to my art.”

5

There isn't another

ringlight on this planet

that compares to the

kisslite.

ROBERTO SCHAEFER ASC AIC

The kisslite® 3200K and 5600K white light source, is a

versatile and portable LED ringlight system providing

all the benefits of solid-state illumination for drama,

commercial, and documentary shooting with

complimentary filter tray housing.

kisslite® is the perfect tool for Steadicam®, providing a

lightweight beauty light source or fill. It is also ideal

for handheld, dolly and crane shots, where a

lightweight fill is required without compromising the

quality of the dominant light source.

The unit clamps onto the barrel of most popular fixed

barrel lenses and also features an adaptor clamp for

standard Arri 19mm and 15mm bars, lightweight 15mm

bars and Panavision® PV bars. Step down rings are

available for most lenses from 130mm down to 77mm.

kisslite® is powered by a small, lightweight, dedicated

power supply unit that accepts power from any

12 Volt-24 Volt film or video battery.

The control box provides flicker free power and

allows individual switching of four-quarter-sub

sets, top, bottom, left and right and dimming from

100% to 5% without altering colour temperature.

The power supply features instant start, at preset dim

level, at full colour temperature.

The standard integral filter tray housing accepts filter

trays for both 4" and 4" x 5.65" filters with one rotating

and one fixed stage. Top and bottom geared flags are

also available. The unique kisslite® wireless remote unit

features dimming and sector controls up to 200m.

6

kisslite®

LED RINGLIGHT SYSTEMa lightweight, versatile, high output ringlight system designed in the field

kisslite is one of the most flattering

of light sources, especially when added

into a conventional lighting setup - it offers

greater subtlety and choice, particularly

when tracking with Steadicam.

MIKE SPRAGG, DOP

PHOTOMETRIC TABLE

Foot candles Lux

1ft 860

2ft 460

3ft 240

1m 2600

4ft 160

5ft 120

6ft 84

Values may vary.Based on daylight balanced head.

7

A beautifully conceived,

well designed and extremely flexible

piece of equipment.

DAF HOBSON, BSC

The lenslite® 5600K white light source, is a versatile

and portable LED ringlight system which provides all

the benefits of solid-state illumination for drama and

documentary shooting.

lenslite® is the perfect tool for operators of HDV, DSLR

and smaller generations of film and video cameras,

providing a lightweight and controllable beauty source

or fill, with an integral filter tray housing. The dimmer

puts the operator in control as ambient lighting

conditions change.

There are two ballast control options. Off-camera the

flying ballast is most appropriate for use with DSLR’s,

whilst the integrated DV ballast can be mounted on

the base of an HDV camera. Both accept input from

any 12 Volt-24 Volt film or video battery and provide

flicker free power. Individual switching is facilitated

with four quarter sub-sets,

top, bottom, left and right

and the lamp can be

dimmed from 100% to 5%

without altering colour

temperature. Other

operational benefits

include: instant start, at preset dim level, at full colour

temperature.

The unit clamps onto lightweight 15mm bars. In the

case of the DSLR, if not running on a rig, a mounting

accessory is available which fixes directly to the base

of the camera to support the lamp. The integrated

DV ballast accepts 15mm bars to which lenslite® can

be attached. Step down rings are available for most

lenses from 110mm down to 77mm.

The integral filter tray housing accepts filter trays for

both 4" and 4" x 5.65" filters with one rotating and

one fixed stage. A French flag is also available.

The unique wireless dimmer

unit, which features remote

dimming, on/off and sector

controls up to 200m can be

used to control lenslite®.

8

lenslite®

LED RINGLIGHT SYSTEMa lightweight, versatile, high output beauty ringlight system

PHOTOMETRIC TABLE

Foot candles Lux

1ft 920

2ft 480

3ft 260

1m 2700

4ft 160

5ft 120

6ft 90

2m 860

Values may vary.Based on daylight balanced head.

9

The DSLR has introduced a new dynamic into the

world of image capture and lenslite® adapts well to

this evolving environment because of its size,

versatility and range of control.

With a mounting accessory designed specifically

for the DSLR, as well as the ability to fix directly to

most rigs, lenslite® provides all the benefits of a

colour accurate lighting tool, to enhance images.

The ability to light the immediate subject in a

flattering manner, or to provide even fill without the

need to increase ambient light with a small

footprint source, is unparalleled.

A matte box is integral to lenslite®, which provides

a level of additional functionality to the DSLR,

which is more ordinarily found in much larger

camera set ups.

10

lenslite®

LED RINGLIGHT SYSTEMoptimised for the new generation DSLR cameras

11

george™ is ideal where an on axis fill is required,

from a controllable source and larger diameter zooms

or primes are being used.

The unique clamping system, on george™, makes

mounting quick and simple.

Powered by a lightweight, dedicated ballast that accepts

input from any 12 Volt to 24 Volt film or video battery,

providing flicker free power and individual switching

of four-quarter-sub-sets, top, bottom, left and right

and dimming from 100% to 5% without altering

colour temperature. The ballast features instant start,

at preset dim level, at full colour temperature.

george™ features the unique and robust Gekko

accessory mounting method for alternative lenses,

colour correction and diffusion ensuring no time is

lost on set.

george™ can be controlled by Gekko’s range of

remotes including; wired dimmer, wireless dimmer

and switcher, DMX interface and keyframe

camera synchronisation unit.

12

george™

“NOT JUST A BEAUTY LIGHT”accommodates large front element lenses

PHOTOMETRIC TABLE

Foot candles Lux

1ft 1100

2ft 600

3ft 320

1m 3800

4ft 200

5ft 160

6ft 110

Values may vary.Based on daylight balanced head.

13

14

ACCESSORIES AND CONTROLSfully compatible with kisslite®, lenslite® and george™

Wireless remote control option

Gekko Wireless remote can be used to control its

range of ring light products including kisslite®,

lenslite® and george™.

The unique wireless remote option keeps the DOP or

Gaffer in control, particularly useful when used in

conjunction with crane, dolly and Steadicam® shots

and features: remote control of dimming, on/off,

sector switching, master on/off,

selectable address and global

response options, a range of up to

200 metres and UK and US licence

free frequencies

Wired remote dimmer

The Gekko wired dimmer can be used to

control its range of ringlight products

including; kisslite®, lenslite® and

george™.

The compact hand held dimmer

can be used at a distance of up

to 30 feet’.

DMX interface

Gekko DMX interface allows control of all ring light

products including, kisslite®, lenslite® and george™.

The DMX remote option keeps the DOP or Gaffer

in control, via a lighting desk, and features:

• remote control of dimming

• on/off

• sector switching master on/off

15

keyframe™

Gekko has developed keyframe™ as an intelligent

interface between a film or video camera and Gekko

ring lights.

keyframe™ accepts CVBS from a video camera, or

alternatively a sync pulse from a film camera.

In conjunction with shutter and speed settings it

modifies the light output

dynamically to

provide

significant

power

savings.

Power is

paramount for

ENG, documentary and location filmmakers, and

lighting is often the greatest consumer of this limited

resource.

Typically, lenslite® will draw around 28W when

running at full output. But using a 1⁄60 shutter and

keyframe™ it consumes just 20W with no loss of

output as perceived by the camera

lenslite® DSLR mount

With versions

designed to work

with the Canon

5D and other

popular DSLRs,

the lenslite® DSLR

adaptor fixes

directly to the base plate of the camera body. The

lenslite® can then be mounted on axis with the

camera lens on 15mm bars attached to the DSLR

mount itself.

The device is also designed to be fixed to a tripod,

centred to compensate for the weight of the ringlight,

keeping the entire set up in balance.

The kicklite® series of 3200K and 5600K white light

luminaires are unique in their ability to handle lighting

in restricted areas. Designed to be versatile, compact

and portable, their battery powered option allows for

more creative lighting possibilities.

The kicklite® system provides all the benefits of

solid-state illumination for drama, commercial and

documentary shooting: minimal power requirements,

minimal heat generated and small footprint.

More energy efficient than incandescent and most

halogen lamps, they generate considerably less heat

than conventional lighting sources giving numerous

additional benefits.

Running on a low-voltage DC supply allows for

extremely small distribution cables

increasing the potential to hide supply

cables out of sight.

kicklite® ballast accepts power from any

12 Volt-24 Volt film or video battery or

mains adapter, and can be mounted on a

number of accessories including Ultrapod®,

Ultraclamp or Magic arm.

kicklite® is adaptable enough to be hidden amongst

or built into sets, props and vehicles, yet powerful

enough to make a real creative difference.

kicklite® key attributes of portability and adaptability,

make them an essential part of every DOP, Gaffer and

documentary maker’s kitbag.

16

kicklite®

LED LIGHTING BLOCKSdesigned for situations where space is at a premium

PHOTOMETRIC TABLE

Foot candles

1ft 220

2ft 73

3ft 40

4ft 37

5ft 23

5ft 14

Values are for kicklite 106 and mayvary. Based on daylight balanced head.

17

This is the future of in-car

lighting. To be so powerful and so

compact makes it infinitely useful.

MICKY REEVES, GAFFER

18

19

BBC Scotland camera crews had

become aware of Gekko

products having originally trialed

them on the drama, ‘Lip Service’.

As a result when they had a

lighting problem with a new

programme concept they

approached Gekko with what

resulted in one of the most

unusual challenges.

The unique programme concept

was to explore the science of

decomposition, using cutting-

edge technology – time-lapse,

hi-speed cameras, Image Heat

Intensifiers, and 3-D imaging - all aiming to reveal

the exotic beauty of Nature’s hidden miracle.

Picture the scene – the kids play in the garden; Mum

and Dad prepare a barbeque for friends. Mysteriously

they fade from the scene. In the kitchen everything

is laid out for guests – burgers, chicken, salads, bread

and a large gateau. The fridge and cupboards are

well-stocked, flowers on the windowsill and a dead

mouse under the cupboard - already there are flies in

the fruit bowl. Over two months, in this life sized

experiment, an extraordinarily ordered process that

happens when the agents of decay are given their

head is documented. Shot in unprecedented detail

the film shows the familiar turn into something so

fantastically alien it’s hard to believe we share the

same world.

Pulling out we reveal a kitchen and garden encased in

a glass box...20

AfterlifeA BBC DOCUMENTARY

what happens in your kitchen if you walk out – and never come back?

21

The lighting challenge

The 95 cubic metre glass box being used as “the set”

would require a temperature controlled environment

to ensure that decomposition processes were truly

captured. The enormous amount of heat generated

by traditional film and TV lighting, approaching

unbearable in most small sets, would have had a

detrimental effect on the process.

The balance between the interior kitchen set and the

outside, lit with Gekko lights, would have been skewed

considerably if a traditional tungsten source was

positioned above one the ‘subjects’, cooking it up.

Gekko LED lights don’t project heat in the beam,

whereas a traditional fixture converts around 95% of

its energy to heat.

With a few traditional sources in the ‘hot box’, the

experiment would have been dramatically accelerated

and over in a few days rather than a few weeks,

interrupting the delicate temporal balance and

skewing the life cycles of insects and 1800 species

of air-bound bacteria.

The clock starts: Day 1, 00:00:01… in the fridge, on

the table, or in the cupboards, whole new

ecosystems of life invade, each more bizarre, richer

and more complex than you’d ever expect. The

kitchen set lit with karesslite® and kicklite® 106

accent lights allows us to see the processes at work in

real time.

A glass of milk on the table starts to ferment the moment

it is exposed to the air. Thousands of bacteria descend,

and rapidly start to breed at room temperature.

Without the cool light provided by karesslite®, the

box would rapidly increase to 50 C and above.

Decomposition continues through day and night.

To capture this, the BBC used time-lapse photography,

to ensure that the developing organisms faced the

familiar pattern of light and dark, Gekko’s fixtures were

controlled via DMX, to turn on in synchronization

with the time lapse cameras through the night. With

the lights turned on permanently during the day and

on and off sporadically throughout the night, the

environmental balance was maintained.

Critical to capturing consistency of image, was the need

for low power and instant start capability of the lighting

source. These attributes of Gekko LED lights ensured

the consistency of images without colour drift or huge

power spikes that would be expected when switching

the heavy current of a traditional light source. Gaseous

explosions of milk cartons or the release of fungal

spores were shot with hi-speed Phantom cameras to

observe what the naked eye can’t.

Gekko karesslite® are used by Vision Research when

demonstrating their products at tradeshows. The

volume of light, the consistency of light across the

beam, and the fact that Gekko products have been

tested with Phantom cameras shooting at up to

7,500 fps, ensure they are a good choice.

The karesslite® family encompasses a range of

fixtures equally at home in the studio or on location,

powered by AC or batteries to produce broad soft

light. Available in a number of formats, karesslite®s

have been installed at major broadcast studios across

the world and used on location for dramas and

documentaries.

karesslite® is a passively cooled LED lighting unit

ensuring silent operation throughout the whole

product range; all units can be operated under local

control from the lamp, connected to a remote

dimmer or controlled via DMX.

The karesslite® 6012 unit is the largest of the karesslite®

family, and is available in a variety of formats, single

colour, blendable between 3200K & 5600K and IR.

The karesslite® FX produces blue/green switching for

chroma key applications.

The karesslite® 6006 is half the size of the 6012 allowing

additional flexibility when shooting on or off location.

22

karesslite®

“FLEXIBLITY” flexibility from a range of formats and accessories

23

Models providing single colour temperatures or

blendable between 3200K and 5600K are available.

The karesslite® 6006 DD (Double Density) produces

twice the output of the standard 6006. The Double

Density is available in either tungsten or daylight

colour temperatures.

All units in the karesslite® family can be ordered with

an industry standard V-mount to allow battery

powered operation. These LED based fixtures operate

with a fraction of the power required by traditional

professional lighting, with little to no heat emission.

Available with a

range of mounting

and accessory

options, the

karesslite®

performance and

versatility is

impressive

throughout a

range of

applications.

karesslite® 6006 is the smallest format fixture in the

range, with a foot print measuring 361mm by

314mm. As a professional lighting unit developed

for video and film applications, it utilises high

quality Tungsten or Daylight balanced LEDs

creating a broad spectrum of white light.

The optics of the karesslite® 6006 (as with all

karesslite®) actually modify the beam from each of

its 36 LED’s, as opposed to restricting it, making the

panel extremely versatile. This versatility facilitates

use in a range of applications, as a single unit or

as multiples.

The karesslite® series of fixtures can be ordered

with an industry standard V-mount to allow

battery powered operation, or as a studio unit.

Models available:

• Tungsten

• Daylight

• Dual (Blendable 3200K – 5600k)

24

karesslite®

6006“PORTABILITY”

quality portable white light for location and studio shooting

PHOTOMETRIC TABLE

Lux

1m 900

2m 150

3m 60

Values may vary.Based on daylight balanced head.

25

karesslite® 6006 Double Density (DD) is the same

size as the standard karesslite® 6006, but with

twice the number of LEDs, it produces twice the

volume of light.

Equally at home in the studio or on location (running

on V-Lock batteries), the karesslite® 6006 DD can

be used as a soft source, or in conjunction with

Gekko’s innovative louvre accessory, made more

directional.

As with all karesslite®, power consumption is low at

85 watts and the heat produced is minimal. Colour

temperature is stable across the dimming range,

achieved with Pulse Width Modulation (PWM).

Couple this with a truly single source of output,

enabled by the lamps integral diffusion, the result is

a fixture with a quality of light and output superior

to comparable fixtures in the market place.

Models available:

• Tungsten

• Daylight

karesslite®

6006 DD“VOLUMINOSITY”

a portable large volume of quality white light

PHOTOMETRIC TABLE

Lux

1m 4500

2m 1300

3m 560

Values may vary.Based on daylight balanced head.

karesslite® 6012 is a broad

soft panel which stands

above similar solutions as a

consequence of its greater

projected output and beam

modifying optics. The lenses

provide high levels of

punch, which when

combined with diffusion,

projects a single source of

high quality even light.

Measuring 300mm by 600mm karesslite® 6012’s

optics optimise the beam from each of its 72 LED’s,

making the panel extremely versatile for use in a

range of applications, as a single unit or as multiples.

Running on non proprietary V-Lock batteries,

karesslite® 6012 will provide full output for around

3 hours. This allows it to be deployed quickly and

easily in any situation. In its studio format (without

battery holsters), karesslite® 6012 can be flown as a

power efficient fixture requiring only 85watts, with

low levels of heat output.

The original fixture in the karesslite® range, karesslite®

6012 has become a staple of many energy conscious

studio fit outs where quality of light is not to be

compromised.

Models available:

• Tungsten

• Daylight

• Dual (Blendable

3200k-5600k)

• Infra Red26

karesslite®

6012“VERSATILITY”

high quality broad light source in the studio or on location

PHOTOMETRIC TABLE

Lux

1m 2600

2m 740

3m 370

Values may vary.Based on daylight balanced head.

27

The karesslite® FX is

switchable between outputs

of blue (440 nanometre) and

green (525 nanometre).

The precise nature of the

wavelengths produced ensures

that output is all usable by the

camera in chroma key

applications. Traditional

sources utilised for chroma

key can waste light output

because a relatively small

element of the green or blue

is at the required wavelength.

With power consumption at

85 watts energy consumption is low, especially

relevant in broadcast studios where power supply is

often supported by UPS. Running on the standard

karesslite® V-Lock battery option, continuous output

at full intensity can be maintained for up to two hours.

As with all fixtures in the karesslite® range, the lamp

can also be run (via XLR4 connection), from any 12

to 40 volt DC source.

Models available:

• FX Switchable Blue/Green

karesslite®

FX“PRECISION”

low energy chroma key fixture, light at the optimum wavelength

Mounts

Mounts are supplied with fixing kit and are specified

when ordering:

• Articulated mount accepts 16mm spigot

• Avenger mount inserts into 16mm receiver

• Yoke Available with 28mm

or 16mm spigot

Louvre

karesslite® can be supplied with two types of louvre,

which reduce the beam spread from the lamp to 45

or 60 degrees respectively.

Use of a proprietary high impact plastic, encased in a

rigid aluminium extrusion, Gekko louvres are more

resilient to knocks and bumps than the more

traditional alloy types.

28

MOUNTS AND ACCESSORIESkaresslite® family of lamps are complimented by

an extensive range of accessories

29

Encapsulated Gel Sets

The single colour variants of karesslite® (Tungsten or

Daylight), can be colour corrected using Gekko’s

encapsulated Gel sets. The gel, laminated to ensure a

long life, is available as; Colour Temperature Orange,

Full, Half and Quarter Colour Temperature Blue, Full,

Half and Quarter

Remote Dimmer

A wired remote dimmer is

available that facilitates

intensity control from a

distance of up to 30 feet

(9 metres).

Carry Cases

Padded carry cases are available for both formats of

karesslite® – 6006 and 6012. The bags have space for

a single lamp and a number of pockets for accessories

and other items that need to be carried.

The cases are light enough to minimise issues such as

excess baggage charges, but sufficiently resilient to

protect the lamp and withstand the rigours of

location shooting.

30

31

When Gekko approached photographer Steve Banks

to evaluate their acclaimed kelvinTILE® product, as a

controllable soft source for pack shot work and food

photography, neither party knew where the project

would lead.

A few weeks later, a new portfolio of exquisite food

shots resulted.

Low heat emission, a continuous source, along with the

tuneable colour of the light, were key factors in making

kelvinTILE® unique for this application.

32

PROJECT BECOMES PORTFOLIO…true-white light for beautiful cool colours

33

Quality and colourmanagement that is second tonone. A major leap forward foranyone creating with a lens.STEVE BANKS, PHOTOGRAPHER

The kelvinTILE® Series LED-based lighting system

provides variable colour temperature, creating a new

level of flexibility in lighting control.

kelvinTILE® has a mix of 6 LEDs resulting in a high-

quality, broad spectrum white light specifically

developed for film and video applications.

Unlike traditional lighting products, colour temperature

remains consistent throughout the full range of intensity

variation.

The kelvinTILE®

is a professional

lighting unit

developed to

adapt

specifically to

the dynamic

requirements of

film, video and photographic shoots. The TILE can be

ordered with an industry standard V-lock mount to

allow battery powered operation. These fixtures

operate with a fraction of the power required by

traditional professional lighting and with little to no

heat emission.

Control methods:

• Local control for easy, standalone operation.

• Full DMX implementation.

• The kelvinPAINTBOX™

kelvinPaintbox™

kelvinPAINTBOX™ is a remote control system that

accesses the fixture’s full range of capabilities. In

addition to complete calibrated control of white light,

the PAINTBOX offers Digital Gelling™ capabilities and

plus/minus green biasing. In RGB mode, the PAINTBOX

offers access to a wide palette of coloured lighting

effects for washes, sweeps and strobes. One PAINTBOX

can control up to eight individual kelvinTILE®s, allowing

lighting parameters to be saved, recalled, and cloned.

34

kelvinTILE®

TRUE WHITE LIGHTvariable colour temperature a new level of flexibility in lighting

35

Quiet, intuitive,

cool running, immediate

and instinctive, with

flexible colour control –

kelvinTILE is limitless light

creation for photographers

everywhere.

STEVE BANKS, PHOTOGRAPHER

add to that the complication of shooting 15 actors in

the same setup and all with varying skin tones and

things start to get challenging.

I should also mention that the actors will be performing

5-8 minute monologues shot on a variety of different

focal lengths as both static and dolly shots.

Just some of the challenges I faced in shooting the new

feature film for Richard Jobson, The Somnambulists.

A hot source is out of the question because actors

don’t like to be melted and makeup artists have yet to

invent makeup with built in sun block 2000. Fortunately

I knew that the guys at Gekko Technology had made

huge advances in LED development and thought they

might be able to help us out.

“Enter the Kezia200. The first time I powered this

beauty up I couldn’t believe it was actually an LED

fixture. It is a lightweight hard source that is fully

dimmable in increments, instantly tunable to your

desired colour temp and only draws about as much

power as it takes to charge my phone.

It had absolutely no discernible colour shift, which is

a problem we often face with traditional light

sources, you can even dial in any colour you like…

It was perfectly suited to our needs on this project.

The light stayed cool to the touch and in terms of

output it felt more like an 800W-1K tungsten source.

The ability to dial the power up and down so precisely

was a huge advantage and allowed us to make minimal

adjustments in between takes, which meant we spent

more time rolling cameras. Time is always the most

precious resource on set and when a product gives you

this much flexibility it definitely gets my seal of approval.

36

UP CLOSE AND PERSONALwhat do you do when you have limited space and you need to light your

actor from above with a hard source, asks JAMES STONELEY DOP,

Richard Jobson's new film The Somnambulists

takes its central focus from 15 testimonies from

British servicemen and women who were involved in

the Iraq conflict in Basra.

The story was heavily influenced by the work of

photographer Joanna Kane, whose death masks

exhibition ‘The Somnambulists’ at the Scottish National

Portrait Gallery left Jobson deeply impressed by its

haunting vision of the space between life and death.

The film uses a cast of unknown actors and is an

imagined response to real-life eye-witness accounts

of the impact of war on the front line and back home.

In the film although it appears that the speakers are

the ghostly presence, it is in fact we the audience who

are the Somnambulists, it is we who were sleep walking

in the build up to the war and its tragic aftermath.

37

THE SOMNAMBULISTS

Produced by RichardJobson and Alan McKennafor No Bad Films.

38

39

kleer colour™ is at the heart of the Gekko kezia and

kedo range of lamps, but how did it come about?

kleer colour™ technology is the result of years of

Research and Development, technical collaboration

and an exhaustive testing regime. Motion picture film

stock, still and digital image capture devices have all

been used during ongoing evaluation of the unique

recipes and control algorithms.

Gekko’s proprietary arrays and

drivers create broad spectrum

white light specifically developed

for film, video and photographic

applications.

Operating with a fraction of the power required by

traditional professional lighting kleer colour™

powered sources are high quality tools.

Unlike most LED products, multiple closed loop

feedback channels provide constant monitoring

allowing colour temperature presets to remain

consistent across a wide range of ambient temperatures.

This ensures fixtures, however orientated, at floor or

perm level will output identical colour despite

temperature differential.

Colour is accurate to four decimal places in both x

and y values on the CIE curve and has been verified

through extensive thermal chamber testing.

The LED array matrix contains a range of multiple dies

and phosphors, individually controlled to achieve a

broad spectrum which emulates traditional daylight

and tungsten sources.

Two formulations have been

produced; a white optimised array

for power and a colour array with

a wider saturated colour range,

suited to entertainment.40

kleer colour™

QUALITY AND CONSISTENCYif it’s not in the source it can’t be captured

QUESTION: What do a helicopter pilot, racedriving instructor, small holder, steam enginebuilder, church organist, dingy racer, soldier,poet, three PhD physicists and BAFTA nominateddirector and cameraman have in common?

ANSWER: During working hours, they joined

forces to produce one of the most precise and

cutting edge lighting fixtures ever developed.

41

Each kleer colour™ package of array and driver is

created with a unique DNA, which ensures that the

output is consistent with other kleer colour™

packages. This allows Gekko to guarantee colour stability

between lamps and over the life of the fixture.

kleer colour™ LED arrays and drivers are optimised

for image capture, with colour temperatures presets

calibrated at 2900K, 3200K, 3600K, 4300K, 5000K,

5600K, and 6500K.

kleer colour™ arrays and driver packages form the

heart of Gekko Technology’s kezia® and kedo® range

of lamps and PRG’s OHM Light.

kleer colour™ it really is rocket science!

kezia® uses Gekko’s high quality kleer colour™ LED

array optimised for image capture, with colour

temperature presets calibrated at 2900K, 3200K,

4300K, 5600K and 6500K.

Gekko’s proprietary arrays create broad spectrum white

light specifically developed for film and video applications.

Unlike traditional lighting products, colour temperature

remains consistent throughout the full range of

intensity, ambient temperature and life of the unit.

The fixture can be ordered with a white optimised

array or a wider saturated colour range suited to

theatre and entertainment.

Operating with a fraction of the power required by

traditional professional lighting, kezia® also produces

significantly less heat and has no requirement for

ongoing consumables.

Available with a range of Honeycomb louvres, barn door

accessories; kezia® provides unrivalled colour quality.

Portable and light weight with studio and location

versions, onboard control option and DMX on all

units; kezia provides unparalleled versatility.

Accessories:

• 45 or 60 louvre options

• Diffusion options

• Removable barn doors

• Multiple power

supply options

• 60-80 degree

optics.

42

kezia® 50 & 200LED SPOT LAMPS

quality, single source LED spot lamps

kezia®

50PHOTOMETRIC TABLE

Foot candles Lux

3ft 400

1m 4000

4ft 270

5ft 190

6ft 150

2m 1100

9ft 64

10ft 55

12ft 42

3m 560

kezia®

200PHOTOMETRIC TABLE

Foot candles Lux

3ft 900

1m 8300

4ft 500

5ft 320

6ft 240

2m 1900

9ft 100

10ft 84

12ft 60

3m 900

Values may vary. Based on daylight balanced head.

43

‘Jeff Randall Live’ is a flagship daily business update on

the Sky News channel, broadcast from Sky’s Gherkin

studio in the City of London. The Gherkin is a recent

addition to the London skyline, located at 30 St Mary

Axe. Its modern design includes a secondary exterior

skin which gives the building its characteristic shape and

is said to reduce its energy requirement by some 50%.

The Sky studio is located on an upper floor and has,

as its backdrop, a view directly through the exterior

glass wall. The vista from the camera viewpoint

includes St Paul’s Cathedral and the Natwest Tower.

The view, which includes some iconic buildings, is not

without its technical issues from a broadcast

perspective. With a west facing backdrop, the 7:30

weekday airing provides some challenges when

contending with the setting sun.

The design of the set has the presenter and guests

sitting with their backs to the window, to take advantage

of the skyline. Some care was taken to try and position

buildings between the sun and the camera shot, but

this can be hard to achieve consistently as the sun

sets. To combat this, a much higher volume of light

than normal was required in the studio.

The initial solution to the problem was thought to lie

in a number of HMI fixtures running through DMX-

controlled dimmer shutters, into soft boxes. This

would bathe the set and presenter in sufficient light

to combat ambient light streaming in through the

windows.

This solution was not without its issues; specifically

the ability to control the light precisely, the likely

power draw, and the large amounts of heat that

multiple HMIs produce especially when hung in a

confined space. This also put the solution in direct

conflict with the building’s energy-efficient design

characteristics.

Given these issues, Sky approached Gekko to

investigate a lighting solution.

Sky is no stranger to LED lighting, but previous

experience had led to a degree of scepticism with

regard to the ability of the technology to address this

particular challenge.

The technical developments achieved by Gekko

backed up by physical demonstration and hard

evidence overcame these reservations.

44

Sky News Gherkin studioTHE CHALLENGES

45

When approached, Gekko had no hesitation in

specifying a solution based on a range of fixtures

powered by kleer colour™.

The fixture best suited to the task was kezia®, a hard

source deliverable with a choice of optics.

As well as the requirement for colour temperature

accuracy, the light levels needed in the studio were

extremely high as a result of the west-facing

backdrop. In real terms the requirement was for a

maximum of 10,000 lux on the presenter when the

sun is on axis with the camera.

To achieve this, Gekko recommended a combination

of kezia® 50 and 200 fixtures installed as key, fill and

back lights.

kezia® 200 fixtures were hung as key lights orientated

directly to cover both the presenter and guests.

To avoid hotspots and increase the overall ambient

light level, kezia® 200s were also hung as fill lights

directly above the set. Finally the smallest lamp in the

range, the kezia® 50, were deployed as back lights.

Employing a 50 Watt light engine, each kezia® 50 has an

output which equates to a 250 watt tungsten source.

Power supplies for the lights are contained in separately

integrated units, each with the capability to drive up to

four lamps. This made rigging a relatively straightforward

process with no undue loading on the ceiling-hung

grid. As well as the high light output requirement, in

winter, the lux levels were specified to be as low as

100 lux, creating a 100:1 dimming ratio, with no shift

in colour. Gekko’s solution was able to meet this

challenge without the requirement for dimmer

shutters, consumable neutral-density gels or scrims.

In addition to the technical aspects of the installation,

aesthetically the presenter and set needed to be lit in

a sympathetic style which enhanced the image. The

quality of light that kezia® produces, in conjunction with

the 60 and 80 degree optic options facilitated this,

and consequently the images render extremely well.46

Sky News Gherkin studioTHE SOLUTION

47

The ability of kezias to produce such a volume of light makes them a

viable alternative to traditional light sources, especially in technically challenging

environments such as Sky News’ new City studio.

GEORGE DAVIES, SKY NEWS HEAD OF CAMERAS

Economical gains

Other benefits of the installation relate to the

infrastructure required to support the lighting grid. For

the volume of light produced, significantly less power

is consumed negating the need for 16 Amp circuits etc,

and the temperature in the studio is easily maintained

by the standard office air-conditioning plant. As a

solid-state technology, kezia® also has no requirement

for any other ongoing consumables. Using DMX control

from a PC, as with the cameras, the lighting can be

controlled remotely by operators at Osterly (Sky’s main

operational centre 15 miles from the studio) thus

minimising the need for on-site technical expertise.

Quality products

The ability to tune the colour of the fixtures proved

invaluable, especially when confronted by an issue with

a camera which refused to white-

balance correctly. In this instance,

the lights where tuned to the

faulty camera and the remaining

properly-functioning cameras

re-white balanced accordingly.

Sky News Head of Cameras,

George Davies, who was

responsible for overseeing the project, was impressed

by the capability and power of the solution provided:

“The ability of the kezia to produce such a volume of

light makes them a viable alternative to traditional

light sources, especially in technically challenging

environments such as Sky News’ new City studio in the

‘Gherkin’. An ability to change the colour temperature

also adds a whole new dimension which can enhance

the images produced, as well as complementing the

other technologies we use. Sky News’ studio provides

a stunning backdrop for the Jeff Randall Live

programme on Sky News HD. This would not have been

possible without this new LED lighting technology”.

The project represents a milestone in studio lighting

technology. Visually the outcome is entirely

comparable to a traditional install which may include

fluorescent, HMI and tungsten technology, but with the

additional benefits of reduced

power consumption, heat levels

and no change in colour

temperature when dimming.

Combined with the high quality

of tunable light kleer colour® is

capable of producing, it is evident

the future of LED studio lighting

has arrived. 48

Sky News Gherkin studioADDITIONAL BENEFITS

49

kedo® SK is a single colour, focusable

hard source comparable to a

traditional tungsten Fresnel.

Drawing just 180 W it has a similar

output to a 1KW traditional source, and

generates just a fraction of the heat.

Available with either Tungsten

3200K or Daylight 5600K colour

temperature, the intensity and throw

of the light extends the boundaries of

what can be achieved with LED

lighting.

Dimming is either on-board or via

DMX, which also incorporates RDM (Reverse DMX),

allowing the remote allocation of an address.

State of the art LED technology is built into fixtures

constructed using familiar and resilient materials,

designed to work at an ambient temperature of up to

50 degrees Centigrade without upgrade. kedo® SK

has a choice of two optics, a traditional Fresnel with a

focusing ratio of 6-1, or a much harder edged beam,

with similar characteristics.

kedo® SK also compliments other Gekko products

such as karesslite® and kelvinTILE®. As a

combination of both hard and soft sources, they can

collectively form viable studio lighting solutions,

rendering excellent results.50

kedo®

QUALITY, HARD WHITE FOCUSABLE LIGHT

extending the boundaries of the achievable.

51

Affiliations andsponsorships

Industry awards Patents, trademarks and designs

Gekko Products are protected under

a range of intellectual property

including; US, EU and UK patents,

trademarks and designs.

Trademarks

UK: UK 2365068; UK 2366924; UK 2372230;

UK 2373570; UK 2450532; UK 2452032

EU: EU 0844689, EU 0849894; EU 0856157;

EU 08267502; EU 09180291;

EU 6312805; EU 01162135

US: US 3,992,788; US 3,875,853;

US 3,684,881; US 3,270,544;

US 3,654,823

Patents

UK: GB 2 412 960; GB 2 412 961;

GB 2 434 198

US: US 7290893; US 7303308; D552272;

US 3513291; US 3654823; US 7690801

Design registrations

EU: 385356; 582184; 006312805

Other trademarks, patents and designs

pending.52

NOTICES

Cinematography Mailing List

some of the movie titles that have benefited from

Gekko’s range of innovative LED lighting products:

United Kingdom office:

Units 3-5 Cotton Drive, Dalehouse Lane, Kenilworth CV8 2UE

Telephone: +44 (0) 1926 340500 or +44 (0) 7005 942686

email: info@gekkotechnology.com

www.gekkotechnology.com

sales and rental worldwide

A full list of suppliers can be found on our website.

For further information on any of our products,

please contact Gekko Technology Ltd.

© 2011 Gekko Technology Ltd

Issue 6