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Vilmos Zsigmond shot some scenes from "Cinderella Liberty" at our local train station in which he utilized Carbon arcs.  It was a perfect example of taking existing afternoon light and boosting it for (artistic) exposure.  (He used 9-lights behind tracing paper to crosslight through windows in the walkway leading down to the train).  As my reporter and I had to go to a story we could only spend about 15 minutes or so observing.

The 3kW limit is based on the highest rated plugtop fuse, 13A. Before circuit breakers you wouldn't test the house fuses with anything more. So in a house without a modern consumer unit, definitely 3kW.

The use of a far-UVC “disinfecting portal” that someone has to walk through, however, doesn’t hold up. “If the intention is to somehow render the customer less infectious, or to protect them from having been infected on the way out, [it] is — there’s no other word for it — stupid,” Nardell says.

It was enough time to note the smoke, and some noise generated by the arcs, and verify that it required a person standing by to trim the arc rods and be ready to change them.

I feel like it can be comparable to how Digital cameras overtook film and how digital is now at the point where it is superior; other than the aesthetic quality that film produces of course. I think it will be similar in this way

No one is discussing getting rid of a light because LED is "better" It seems as though germany is certainly is looking to eliminate power hungry Tungstens. It certainly is an interesting future.

I think this particular DP was scared there wasn't enough level. I lit the background outside windows with several LED lamps through VS Cyan at 20% intensity.  There was plenty of room to go up.  I am not really sure why that choice was made, but we dealt with it as usual.  As far as I recall, all of the daytime EXT was shot at 800 with internal ND's as needed, and a pretty healthy stop.  I didn't add anything except a bounce for closeup work.

Linden has studied this specific UVC wavelength too — he’s starting a research project investigating different kinds of UVC light to figure out which kinds do the best job of disinfecting surfaces of SARS-CoV-2. But neither Linden nor Bolton are aware of studies that have looked at how humans fare when spending a lot of time under far-UVC light. The only completed research looking for health problems from regular exposure has been in mice. In one of these studies, the rodents sat under the rays periodically for 10 weeks and didn’t develop any tumors.

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Pathogens floating alone in the air, however, lack a barrier of dead cells that can come between the far-UVC and their own precious genetic material. In theory, if a person was breathing out clouds of microbes and stood under a far-UVC light, the beams would mangle the bacterial DNA but wouldn’t get past your nonliving tissues to your healthy skin and eye cells.

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Ed Nardell, an infectious disease researcher with Harvard Medical School who has spent much of his career examining UV sanitation, also thinks far-UVC light is safe enough to use. The light is so easily blocked by dead skin cells or clothing, he says, that it can be a harm-free method for disinfecting the air in front of people’s faces — say, in a nail salon between technician and client.

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Production's are now more wary of their carbon footprint than ever before - with more advice and legislation continuing to come out; aiming to reduce this footprint. The advancement of LED technology brings further questions about the relevance of tungsten lights in the near future. Will tungsten lights have a future in the film and TV industry or are their days numbered?

So long as you liked your light to be a hint of cacky green/grey, "cold arc lamps" which were a form of HMI were okay. Tight-arsed cinemas ran them until they stopped. Carbon arc-lit film projection is the absolute best but if you haven't seen it, you don't miss it. They were no longer practical when large platters and mutts near-to automated the biobox as there remained no opportunity to replace the rods during the changeovers.

3. Maxi Brutes. Yes, the shadow pattern can be a little distracting, but nothing comes close to achieving the same "parallelleness". Single heads never replicate the sun in the same way as a broad multi source. Just used one the other month in Chicago, actually.

But without more research into how humans fare with this kind of light exposure, others think some questions are left unanswered. It’s important to be sure that these lights won’t harm employees who are standing under the bulbs for entire shifts, for example, or to know how people with preexisting skin or eye conditions will fare, Linden says. There are also uncertainties around what types of light installations will kill SARS-CoV-2. So far, research suggests that far-UVC dismantles SARS-CoV-2 RNA, Linden says, and that it can do so very quickly when the virus is floating in air. What UVC wavelengths do it best — and how long they need to target the coronavirus to ruin its RNA — is part of his upcoming research.

Since someone is trying to resurrect the dodo bird,  maybe interest in arcs could be rekindled, but like a movie theater dedicated to reruns a decade ago found out, good rods are hard to find.  (Bad ones sputter and flicker abominably). Arcs consume a lot of power also.

I believe that they will exist but I don't think that there will be a use for them on modern film sets, as LED technology continues to advance and become better and better.

Always useful but less of an issue outside the US (OP is in the UK) as we have 230V. You can easily run two blondes and a set of redheads off a modern domestic ring main.

The second thing is camera sensitivity.  A lot of lower budget shows, even shooting on the Venice, choose to shoot at 4000 iso.  I cannot tell you the number of problems this creates for the gaffer.  I constantly ask DP's not to do this.  On set yesterday, I had 4 litemats, a few tubes, a few other fixtures, and nothing was above 8% on the dial.  The levels were so low the actors were complaining they couldn't see where they were going.  On camera, it looked like bright daytime.  I asked the DP if they wanted to raise the level in the room, and close down a stop for the sake of talent, and was denied.  I am 100% sure closing down from 1.8 would have made no difference in the quality of this film.  I had enough light in the room to raise the whole thing 2 stops, but that's the way young DP's have been cultured to shoot.

According to reporting by the New York Post, Magnolia Bakery plans to install lightbulbs that emit “far-UVC” light. For now, the bakery will place a metal detector-like arch — or “portal” — above their doorway that douses patrons in the UV rays. And the bakery told the Post it will replace lightbulbs inside its stores with these special varieties.

6. Mole Zip soft lights. My favorite is the 2K, but also the 4K. They're just delicious when dimmed down slightly, and so quick to use. Somehow the hood makes them spread less, without feeling "egg crated" like the SkyPanels do when you try to contain them.

Research has found that UVC degrades genetic material like DNA so severely, microbes or viruses hit by the rays can’t multiply. “It doesn’t kill the virus — it renders it unable to reproduce,” says Jim Bolton, an environmental engineer at the University of Alberta. The pandemic has made UVC light disinfection much more popular, with hospitals and even the New York City subway system buying into the technology.

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“Far-UVC” light is supposed to be the exception to this rule, according to the Columbia University research team that came up with the concept. The term “far-UVC” refers to a specific subset of UVC wavelengths. Light that falls within this narrow range appears to get absorbed by superficial and nonliving layers of the eyes and skin. On the latter, for example, the top two layers are always dead skin cells, Bolton says. By taking in all the UV light, dead cells shield living cells beneath them from harm.

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“I was quite shocked to see this portal come out,” says Karl Linden, an environmental engineer at the University of Colorado Boulder. Linden has spent decades studying UV light as a way to disinfect surfaces and water, and says that it’s exciting to see increased interest in the sanitation technology. But without long-term studies showing “far-UVC” doesn’t harm people, “my excitement [is] tempered with the concern that it could be an application that could have some dangerous side effects or direct effects.”

I don't work in the rarefied circles that most of the other respondants here do so I have little to no experience with high dollar fixtures.  But I ponied up for some LED fixtures during the past couple of years.  The lower power draw is the biggest plus for me.  I generally don't have to worry about tripping breakers.  Modifiers that don't have to have high levels of heat resistance are cheaper too and I can easily use the same soft boxes etc for still photography.

I think tungsten will still be used until the lamp manufacturers stop making the lamps honestly, same goes for HMI's. There just isn't an LED solution which is that bright. The convenience of LED's is difficult to pass up these days, with on the fly color balance, low power consumption and nearly no heat. But in terms of quality of light, I'm gonna still argue that tungsten has that beat to this day. If you can afford to light with them power wise and heat wise, I'd go 100% tungsten. I do on my personal shoots to this day outside of odd light placement where I use LED.

As the film production shifts towards more sustainable practices, do high-energy consumption lights still have a place in the future of the industry?

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A desperate need for sanitizers has driven people to look for options beyond the spray nozzle. For a couple of bakeries in New York, that means installing experimental lighting in their entryways that is supposed to disinfect pathogens without harming humans.

Of course, for independents, LED fixtures are a boon, particularly for practicals. Who puts a hot photoflood in a lampshade anymore?

This is something I run into more often with inexperienced DP's.  High iso shooting means they don't need so much level in the room, but it causes more problems than it solves, in my opinion.

But the installation of far-UVC lights in the real world has surprised some experts. In March, the FDA released a document allowing UVC disinfectant devices to be used in health care settings during the COVID-19 emergency. However, there doesn’t appear to be any published research on how far-UVC may or may not impact humans exposed for long periods of time — an important step, seeing as other kinds of UV light damage skin and eyes.

I'm thinking LED's will be the future. CA has already banned small gas generators at some date. CA is the model for all of America. I don't know if production crews will get a pass with gas gens. But if you have to use a battery generator on set (aka a bank of batteries) then LED's will draw less power on the batteries.

Love tungsten still. And on a few projects each year, where it fits, I try to use only tungsten lights, to stay sharp in the discipline. But admittedly, it is very hard sometimes to forego a SkyPanel or the mega-useful Astera tubes etc.

If they are just shooting at ISO 4000 for the look, not to balance with a dim background, then why not put an ND on the camera, like an ND6 and get back to ISO 1000? Even at ISO 800, I often am using a Litemat 8 at 10% indoors at night, which is a problem because you cannot do a smooth dimmer adjustment on-camera at those low levels, a single point drop or rise is a visible pop, unlike if using the light at 50% or higher.  Sometimes for that reason I have to put ND gels on the Litemats.

5. Mole "Big Eye" 10K. With its oversized fresnel lens, this is a lovely beauty light. Used to hang it right above lens, swap the bulb out for a 2K or a 5K globe, dim it slightly. Used it on tons of cosmetic commercials and music videos.

Used by the US Army and NASA the VisionX Light Cannon shines an amazing 1000 foot of usable light from a single LED - truly the next evolution in lighting.

In short it wasn't as dim as some of the horror stories here, but it wasn't that bright. 1200 total watts of LED sounds like at least a moderate amount, but it wasn't all at full power and putting in colours robs it is of energy.

I still don't much care for LED"s, I'm forced to use them because I don't get to decide my G&E kit quite often. The Gaffers have been switching over and rarely have much Tungsten on the truck anymore. Usually just small lights like an Arri kit or something. I really like the Arri LED's, the Skypanel and Orbiter have been my "go-to" recently and they're the only LED's I've used that appear to have some sort of compensation for the missing wavelengths. I feel the look in camera, is so similar to tungsten, I don't think anyone would notice. However, many of the cheaper LED's with companies like Lightpanels and Ikan, they're nowhere close to that of Arri. I find consistency between lights to be an issue AND you can see they're missing wavelengths. The almost smooth look of the Arri lights, just doesn't exist.

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But Linden thinks the data available on far-UVC is promising so far, and it’s encouraging to see other applications of UVC disinfecting become more popular, as it can be effective and doesn’t involve introducing new and potentially harmful chemicals into an environment. But with far-UVC, the almost sci-fi fantasy of passing through sanitizing lights seems to be materializing quickly. “I think it makes a lot of people uncomfortable. Whether or not it’s safe or not, we’ll need to find out and see what the evidence says,” Linden says.

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The volumes of production, and consumption, are very different when comparing consumer and media lighting. Tungsten will continue to be popular to some DPs for its unique qualities. Unlike the consumer market, where tungsten bulbs are now too expensive to buy and run where they are even still available, the price of lamps, and of running them, just isn't that significant in the context of a film budget. It will continue to be worth someone's while to produce them IMO.

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David Brenner, the director of the Center for Radiological Research at Columbia University’s Irving Medical Center, leads the university’s research with far-UVC light. His team isn’t affiliated with the installation of this technology in New York stores, he writes via email, but he says that after nearly a decade of studying far-UVC light on mice and human skin cells, “the evidence we have acquired to date, even at these much higher doses than one would use in the real world, are all reassuring.”

Adam, those are all valid lighting points but the question really is, as Alex mentioned, will going "green" eliminate Tungsten?

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I dont know how things are going in terms of "green producing" overseas, but here in Germany and Austria it has become such an important part of the entire filmmaking process that I feel the days of using tungsten on narrative features are kind of numbered. Here, almost all features are state funded, so they want the money spend in a resource responsible way. Sure it pains my heart, as an M40 does something entirely different then a T12 (aside from the obvious fresnel par difference). As there even is special funding to receive for fullfilling certain green producing criteria, a local rental has let me know that during the most recent talks with the national funding agency the idea to ban all tungsten entirely for all state funded movies was discussed in the room, but ultimately stopped (for now).

I shot some stuff last week which was pretty dingy, working at around f/4 on an 800 ISO camera. I could have gone to 400 and opened up for lower noise, but I was pulling focus myself and even then it was restricting the amount I could really follow people around without it all going soft, and that leads to a rather student film look in which nobody ever walks anywhere during a shot. I'd much rather have had another two stops of light. It was an area about twenty by forty feet with a big greenish night-time backlight on it, keyed with a simple pop up softbox on a stand (which should really have been overhead, but I didn't have the rigging facilities to do it). Both lights were 600W LEDs and could easily have been twice or four times that. I'd have happily put a 2.5K HMI in the background, at least, as the key was deliberately rather underexposed. The problem with doing that would have been that we just didn't have the power for it, or at least it would have been a case of running cables all over the (quite large) location in order to keep things on different breakers.

The light is brilliant, sharp, hard, crisp, and very crystal clean. It has a wrapping quality to it, but with a quick fall-off to shadow on the unlit side.

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On larger budgets or studio shoots where there is a green mandate, we might be asked to run as much as 70% led.  This is problematic because even above $10m, that get expensive really fast.  Zips still go in the perms because soft panels can't be ordered in sufficient quantity to meet the budget requirements.  Productions can either meet their green mandate, or their budget line costs, not both.  At some point, this will change and I have no doubt that LED's will get cheaper.

So far, the evidence maybe isn’t where it should be. “If I was a regulator,” Bolton adds, “I’d certainly want to see more research and would not allow the use of this technology in a practical application.”

I'm all for technology that lowers negative environmental impact but, like Joerg, I'm suspicious that these more complex lights that wear out faster and go to the landfill in a few years are not actually "greener".

On the electromagnetic spectrum, UV light sits between visible light and X-rays. We can’t see it ourselves, though it is present in sunlight and pretty good at damaging our DNA. This light is why you slather on sunscreen — the lotion protects you from two kinds of UV light, UVA and UVB, which are responsible for premature skin wrinkling, sunburns and skin cancers. The third kind, called UVC, has too short a wavelength to cut through Earth’s atmosphere and reach our skin, so it’s not a threat to sunbathers. But it can be re-created in a lightbulb.

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UVC light doesn’t discriminate when it comes to ruining genetic material, though, and can damage human skin and eye cells. Some particular UVC wavelengths have been associated with skin cancer or cataracts, Bolton says. Sanitation procedures that use the light, like the robots wheeled into hospitals, operate when no one is around to get hit by the harmful wavelengths.

Certainly tungsten light looks the best, but similar comments were made when HMI's came along about the superiority of carbon arc lighting in terms of color and sharpness, but that didn't save the carbon arc. Same thing for when Eastmancolor replaced 3-strip Technicolor, or when Kodachrome disappeared. Things don't always get better with new technology but the convenience, efficiency, time savings, cost, etc. become overriding factors.

The Columbia University lab that first pitched the term “far-UVC” has shown its effectiveness at disinfecting at least the H1N1 virus and the bacteria known as MRSA, and the team is working to crowdfund research on the virus causing our pandemic: SARS-CoV-2.

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So, while whatever problems HMI's have, they are more convenient...  but they do not project the quality of light that a Carbon Arc does. Not even close. They just do not move through the air and cause it to vibrate the way an arc does. (And put it on the screen to be seen).

The funny thing is: When using electricity generated by wind/water/solar power, then Tungsten/incandescent lights are more friendly to the environment! (That’s because you don’t have to throw away the old devices and new LED lights don’t have to be produced.)

2. Covered Wagons. If you have to do soft under lights and soft stuff from below/ground level, nothing even comes close. It's just an amazing look.

Suddenly, tiny sources contaminate the scene, and I have to cover status LED's on control panels!  800iso is fine, but I feel we really need to get away from pushing camera technology in this particular direction.  If we shoot everything at 10,000 iso, we won't need to solve the 10k problem.....

Having so little of someone’s body, like their face and hands, exposed to the light before entering a business wouldn’t disinfect much of a virus. Besides, if someone is infectious, they will still be breathing out the pathogen after passing through a far-UVC light and releasing the particles near whoever they are interacting with. “It is a bad application of a really good technology,” he says.

Off a single wall outlet, yes, but our 1991 ring main has 32A breakers, so 7kW. Minimum for an individual leg is supposed to be 20A. So you'd connect the others in a different room. If not, the breaker wouldn't trip, but you'd be over-running the room wiring a bit.

I suppose if 3-strip Technicolor never went away it would be using T-grain b&w emulsions and maybe have gotten up into the 320 ASA range... but it was doomed once single color negative became a viable option.

The glow cast on bakery customers is the product of years of research at Columbia University. So far, studies show this light does a good job of ruining the genetic material inside some pathogens, such as the H1N1 virus or the bacteria known as MRSA, all while leaving mammal skin cells relatively unharmed.

However, on a recent job, I started setting up my lights and one of them just shut down.  Less than a year old (but fortunately still under warranty).  Turned out to be an overheating issue now known to be common to that fixture. What saved the day?  The Arri 650 I brought as a back up.  I wound up using a Tota as well.   The LEDs kind of make me nervous now.  I don't really expect them to last more than a few years.  My Arris are probably 20 years old.  Tungstens have their drawbacks but they basically just work and they're simplier to diagnose and repair if there is an issue.

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Again this is why I often carry a mixture of small LED fixtures, and small tungsten fixtures.  But David reminds us of something I talk with Aputure about often, the 10k problem. Making a big soft source out of LED's is easy.  Making a 20k point source is not.  There are several manufacturers working on the issue, but the technology does not exist yet.

Certainly tungsten light looks the best, but similar comments were made when HMI's came along about the superiority of carbon arc lighting in terms of color and sharpness, but that didn't save the carbon arc. Same thing for when Eastmancolor replaced 3-strip Technicolor, or when Kodachrome disappeared. Things don't always get better with new technology but the convenience, efficiency, time savings, cost, etc. become overriding factors.

Always useful but less of an issue outside the US (OP is in the UK) as we have 230V. You can easily run two blondes and a set of redheads off a modern domestic ring main.

I have been a tungsten fan for a long time.  I always carry tungsten on the truck.  However, I see two things happening from  my experience that will color the future.

On the one hand, depending on budget, small independent features may not be able to afford led lighting packages, however I have shifted small fixtures over to led because I can now get a good enough 650 replacement.  That color science will get better, and I believe can replace tungsten lamps up through 2000w of output.  Beam patterns are getting better, as is color accuracy.