Director: Hiro Murai

Cinematographer: Larkin Seiple
Lighting Director: Matt Ardine
Best Boy Electric: Derek Hofman

Automated lights provided by: Volt Lites
Conventionals and distro provided by: Cinelease
Control Equipment provided by: Controllable Lighting Solutions

Clinique created this interactive commercial/music video to show off their new line of lipstick. In this piece, Zara Larsson created 4 versions of her song, Lush Life. The genres are acoustic, dance, pop, and country. For each version of the song, we used the same set with different dressing and the camera did the same exact moves on the Milo motion control rig.  Larkin and I created 4 distinct looks to go with the different genres.

We only had one day to rig and prelight then 2 days to shoot all 4 versions.  So we had to come up with fixtures that could be versatile in being able to achieve all the looks and play them in spots that could serve multiple purposes.

Equipment

Lights

6 – Arri Sky Panels
4 – Martin Viper Profiles
8 – Source 4 Lustr Series 2
16 – Pixel Tubes
4 – Mattypad 2’x4′ Hybrid LED pads
10 – GLP Impression X4 Bars
2 – Baby 10k
4 – Baby 5k
12 – Cineo HS
2 – Projectors, 4000 lumens, 1080p

Control

1 – GrandMA2 Command Wing
1 – GrandMA2 NPU
1 – GrandMA2 OnPC acting as master
1 – PRG MBOX Studio
1 – WDMX Transmitter, 2 Univers
12 – Various WDMX receivers
2 – Leprecon 6 Channel Dimmer Packs
1 – Doug Fleenor 24 channel Dimmer Pack

Click here to watch the 9 minute pilot
The pilot for Adult Swim’s Pound Hole had us take an empty warehouse and turn it into a night club. This was done in one day. The filming occurred over 3 days.

Equipment

Lights

2 – Chauvet Geyser RGB

Control



The main focus of the club is the DJ booth.  Behind him are 20 of the high definition pixel tubes.  They are being pixel mapped by an output on the MBOX then merged back into the console. See the picture below for the screen shot of the pixel map.  The data is sent out from the MBox as sACN universe 109 thru 113 then merged in the GrandMA2 into universes 9 thru 13 using HTP. This allows me to use the effects engine in the MA2 or pixel mapping from the MBOX. Then the data is sent out Artnet from the MA. The pixel tubes’ controller takes Artnet directly in, which is nice since they take up 4.5 universes. On the face of the DJ booth are 8 of the Eurolite pixel tubes, which are also part of the same pixel map.  I used the align rectangles effect to send one layer to the HD tubes and another layer to the Eurolite Tubes. On the truss behind him, there were 4 sharpies hanging behind him and 3 on the ground. He also had a source 4 lustre backlight and 3 litesitx RGB front lights on his desk.

In the club, there were sharpies around the building perimeter and K10’s around the dance floor perimeter. Over the center of the dance floor was the 5′ Octodome as downlight. Source 4 LED’s were downlights for the different tables and bars.  The bar had RGB ribbon installed in it.  There were pillars of iColor Accents in the background to provide a sense of space for the club.

There were 3 projection surfaces in the back of the club. They were each fed a discrete output. Both MBOX’s were in dual panoramic mode. On MBOX 1, output 1 went to projector 1 and output 2 went to projector 2. On MBOX 2, output 1 went to projector 3 and output 2 went to pixel mapping.  The media servers were left in dimmer beach while the console and a laptop running MBOX remote sat on my console cart and rolled around set for each shot.

In dimmer beach, there was a PC running the GrandMA2 OnPC software. It is acting as the master. This is nice because it allows the roaming console to disconnect, move and reconnect without the lights hiccuping. It’s also convenient because it allows the roaming console to only need 1 cat5 cable running to it instead of 2 (MANET2 and Artnet). The master in a MA2 Network is the only one that outputs Artnet and any other protocol besides MANET2.

Click here for the patch sheet

Directors: Bryan Olinger
Lighting Designer: Matt Ardine
Lighting Rentals: Volt Lites

Lighting Gear

36 – GLP Impression X4
12 – Phillips SL660
8 – Phillips SL640
6 – 6 Light Cyc Strips
2 – PRG Best Boys
8 – Source 4 19 degree
1 – Alphaspot 1500HPE
1 – 4’x2′ Hyrbid LED Panel

GrandMA2 Full
GrandMA2 OnPC
GrandMA2 Command Wing
1 – GrandMA2 NPU
2 – PRG MBOX Studio
3 – Optosplitter

We filmed this promo at the iHeartRadio Los Angeles Theater. We used some parts of the house plot but most of the shots consisted mainly of the X4’s and Philips Showlines. The in house LED screens were also programmed using MBOX’s but those shots didn’t make it in the edit. The hallway set used the source fours for the legacy fly rail, an alphaspot for the back wall, and we hung a Controllable Lighting Solutions LED panel overhead to create soft top light for Ryan. All was programmed using a GrandMA2 full with a Command Wing as backup and tech console.

Click here for the interactive video.

Directors: Radical Friends
Director of Photography: Matthias Montero
Lighting Designer: Matt Ardine
Lighting Console Programmer: Derek Hoffman
Best Boy Electric: Tyler Anderson
DMX Tech: Heather Newson
Lighting Rentals: Cinlease
Lighting Rentals: Volt

Lighting Gear

2 – 30w Lasers
2 – 22w Lasers
8 – 24×2.4 kw dimmer packs
12 – Source 4 Lustre
12 – Colorforce 72
4 – Colorforce 12
4 – Sharpys
3 – Atomic 3000s
50 – Pixel Nodes
12 – Pixel Tubes
2 – Arri L7
1 – Arrimax 18k
3 – Arri M40
10 – Litegear Litestix

GrandMA2 Full
GrandMA2 OnPC
GrandMA2 Command Wing
2 – GrandMA2 NPU
2 – TMB Proplex Fiber Switches
750′ Multimode Fiber
1 – Wireless Router
10 – Optosplitter
2 – RC4 Wireless Dimmers/Receivers
7 – WDMX Transeivers

The challenging part of this video was getting all 16 sets lit and that every light can be controlled and cued from anywhere in the huge building. We decided on using 2 GrandMA2 desks and a seperate computer running OnPC software. The OnPC computer acted as the master and the 2 desks could connect and disconnect anywhere within the building without any interruption in DMX output. The two racks of NPU’s were connected with fiber since their distance exceeded ethernet’s limit of 100 meters.

Another challenge with the large space was getting WDMX to be able to be received throughout the building. There was an onboard camera light that was a Litegear Hydrid Pad and a Jem Ball with 5 meters of Litegear Hybrid ribbon inside. Both were operated on batteries and used RC4 dimmers/receivers. Since RC4 only has a 200′ range, an electrician used a backpack as a roaming repeating station with a WDMX receiver sending data to the RC4 transmitter. This controlled allowed Matthias to be able to dim and change the color of the camera lights from anywhere in the building.

Director: Mark Romanek
Lighting Designer: Michael Keeling
Lighting Console Programmer: Matt Ardine
Lighting Console Programmer: Breckenridge Haggerty
DMX Tech: Geoff Knight

Lighting Gear

280 – Colorforce 72
50 – Colorforce 48
50 – Colorforce 12
10 – Elation Pixel Tape
50 – Litegear RGB Litepads
12 – Colorblasts TRX
24 – PRG Ohm Spacelights

GrandMA2 Full
GrandMA2 Light
GrandMA2 Command Wing
4 – GrandMA2 NPU
3 –  GrandMA2 VPU Media Server
4 – Gigabit Switches
1 – Wireless Router
1 – Tablet PC
2 – Laptops running FCP
36 – Optosplitter

4,316 pixels
16,588 DMX channels of LED lights
20,792 DMX channels total
92,088 Diodes

After Michael Keeling came out with the design that involved 280 Colorforce 72, we were trying to figure out the best way to control these.  They would be in 12 group RGB magic amber mode.  We decided that using a media server to pixel map them would give us the most options. We brought on Breckenridge Haggerty to be the media server programmer.  Breckenridge’s media server of choice is the GrandMA VPU.  Here is an article about him and the VPU.  I still wanted to be able to control them through the console as regular fixtures because sometimes it is easier to turn on a single light through selecting the fixture than it is using the media server to squeeze down a layer to exactly that size.  To do this, we merged the Artnet output from the VPU back into the GrandMA2.  From there, all the DMX data went out MA-Net2 to (4) GrandMA NPU’s.