JULY 2017
Dedo Weigert Discusses Before you start writing in saying “Is this mag sponsored by Dedolight?” the answer is “no” but I do take the opportunity to talk with clever people and Dedo Weigert is one of the best, so we are here at the NAB stand of Dedolight with Mr Weigert himself, to continue our long discussion about the nature of light. I attended the morning’s presentation to the worldwide Dedolight dealer networks where I learnt further truths and came up with some questions that I would like Dedo himself to answer. Ed: Dedo, one of the first things you talked about was a way of ensuring that the light you were delivering was parallel, and you gave an example of an addition to your lights where you are using the double lens lights to produce a parallel beam. Later on in the presentation, you introduced a very large light which is producing parallel light to be used in a reflected sense. But then I thought, "hang on, way back in the early days, one of your very first lights was a 12 Volt light and it was parallel light" – you could adjust it to flood or parallel, and at that time, that was pretty much the only parallel light that was available for camera lighting. Parallel light is important? Dedo: No. Since we’ve started to find excellence in optical design of focusing lights, I was proud that our lights had a better focusing range and, also by our unique double non-spherical system, were able to do even light distribution, be it in the flood perfectly smooth and even, no hot spot, no hot shoulders, all the way to the extreme, the nearly parallel 4 degree beam that we call a “clean beam.” Now that was already quite remarkable because it allowed us to reach far away subjects at the end of the set without causing unwanted shadows and so on – precision light. Yes, that’s what we’ve always been about. But what we’re now talking about is an additional side branch of lighting practice that is not new. Reflected light has always been used in many different ways and for the application in drama productions, the Austrian cameraman Christian Berger, who was also a director and producer, developed a
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