VELVET is a company with a long experience in the development of products specifically designed, produced and directed to cinematographic, HD and digital photography lighting, so that both the quality of its light and the precise calibration of its chromaticity guarantee the perfect chromatic reproduction according to the international standards of colour space for production shoot with professional cameras.
We chat with Toni Hernandez, Director of Photography and co-founder of Velvet:
Tell us a little bit about the history of Velvet.
The story of VELVET began in 2008 when two experienced cinematographers decided to create the lights we dreamed of back in the film school where we met.
Robust luminaires that could withstand the harsh conditions of production shoots, autonomous because they can be battery-powered, versatile to make up for the increasing lack of time and personnel on a production shoot, lightweight for easy handling, with almost instantaneous colour temperature variation and white point adjustment in the green-magenta channel.
And we developed new LED-based lighting technology.
Both pioneers travelled the world presenting our innovative articulated LED panels.
After this adventure, we soon released VELVET panels, now known around the world. These quickly became iconic products in the industry due to the soft texture of natural light and easy usability, combined with a unique IP54 weatherproof protection for outdoor shooting.
What is your goal in your work?
Our objective has always been and will always be to offer lighting solutions to the complex situations of production shoots on location, without ever losing the point of view and the specific needs of studio shoots as well.
What is your relationship with advertising cinema?
We don’t think there is currently a noticeable difference between the needs of advertising and conventional cinema.
Maybe before the shots per day that were needed in an advertising film production was usually higher, but nowadays the times in production shoots with actors have shortened a lot as well as, sometimes, in advertising films it can take many hours to get a shot of extremely short duration compared to the conventional cinema…
On a technical level, the two worlds have also come very close and there is a flow that enriches both worlds, both on a technical and human level.
What are the most demanded materials when producing advertising films?
This question could be answered, with more knowledge, by a person in charge of a lighting rental company or, better yet, by an advertising gaffer.
From our point of view, what is most in demand now in the advertising cinema are RGB equipment, light, versatile, autonomous, resistant and wireless connectivity.
What would you highlight from your human team of Velvet?
Our commitment is to always listen to the technical personnel on production shoots and, when we hear a complaint or suggestion from different parts of the world, to work to meet their demands because that will become a trend.
In addition, we try to apply to our equipment and manufacturing processes everything we would like to find in those of others:
– developing the domestic industry to reduce dependence on foreign countries, creating synergies with other domestic manufacturers
– to promote networks of local suppliers and collaborators, which generates expertise for the industry itself
– care for the environment, both in the design and manufacturing processes, as well as in storage, packaging and transportation; trying to reduce our carbon footprint as much as possible.
Tell us how was your experience participating at the Commercial Film Workshop:
It was very surprising because when Adriana got me involved I didn’t really know what I was getting into.
I was surprised by the large number of activities programmed and the quality of the talks.
It was very nice to meet again with friends with whom I had worked some time ago and to see that they were very well positioned in the world of advertising films.
Also, with the awards, I liked to see that they valued tasks within the production shoot that usually do not have visibility and I was able to recognize and meet more people I had worked with…
Finally, a special mention for the setting where the conference takes place, the Teatro Zorrilla is a jewel!
