Nike – Roll Bounce

Director: Hiro Murai
Cinematographer: Larkin Seiple
Lighting Designer: Matt Ardine

A normal NFL game is being played at Century Field with the Sea Hawks. As the Alpha Menace plants into the turf, the lighting changes at the moment of impact into a disco roller rink. The defense turns suddenly has roller skates on and Russell Wilson jukes them out, running down the field. To accomplish this, we added 350 lights into the stadium in 1 day for a 2 day shoot.

Click here for the tech notes. 

Nike – Roll Bounce – Tech Lighting Notes



Production Company: Doomsday
Director: Hiro Murai
Cinematographer: Larkin Seiple
Lighting Designer: Matt Ardine
Lighting Console Programmer: Eric Androvich
Rigging Gaffer: Ted Barnes
DMX Tech: Paul Sartain

Lighting gear provided by: Volt Lites
Electrical Gear Provided by: Blackline Rigging and Lighting
Lighting Balloons Provided: One Light Balloons

Equipment

Lights

8 – 20k balloons, 20’x8′
145 – Martin Rushpars
50 – Colorado Tripars
75 – Sunstrips
10 – Clay Paky Scenius
30 – Clay Paky Sharpys
12 – Arri Skypanel S-60
4 – ETC Source 4 Lustre
2 – Brite Box Flame follow spot
2- Arrimax 18k

Control

2 – GrandMA2 Full
4 – GrandMA2 NPU
4 – TMB Proplex Fiber Switches
4 – 750′ Fiber
1 – WDMX 2 Universe Transmitter
8 – Innovative Dimmers Cinetennas
8 – Optisplitters

Lighting Plot PDF

Lighting Patch

IP Spreadsheet

 

Desperados – Bass Drop – Tech Notes

img_3421

Click here to play the commercial

Director: Ralf Scherenberg
Producer: Melissa Murphy
Producer: Ben Schneider
Lighting Designer: Matt Ardine
Best Boy Electric: Harold Lacuesta
LED Tech: Michael Beckman

Lighting gear provided by: Volt Lites

 

 

Desperados created a commercial in zero gravity to find the ultimate Bass Drop. This commercial featured a light show on the Zero G airplane that had to withstand the G forces associated with this famous plane. The plane does maneuvers that allow the passengers to have 24 seconds of no gravity.  Each flight has 15 of these moments.

A design using pixel tape was chosen for it’s low power, low weight, and small size.  Everything had to be safe for the dancers to bounce into. We scouted the plane 4 months before the shoot day because every plan of equipment selection, equipment securing, cabling, and power had to be approved in advance by the FAA. Previz videos were created using GrandMA2 3D so that everyone could approve the programming before we in flight.  The load in to the plane had to be done in 6 hours with a small crew. We did 4 flights over the course of 2 days and the results of a lighting show in a space that had no up or down was transcending.

All 48 strands of pixel tape in the ceiling were pixel mapped in the v4 of PRG Mbox.  The Mbox was controlled by GrandMA2.  The DJ booth had 8 strands of pixel tape that were controlled directly by GrandMA2 using fixture control and the new bitmap engine.  Also in the booth were a white light strip to light the logo and a RGB pad to light the DJ’s face. The console was operated live to the music by Matt Ardine with the console and Matt strapped to bolts in the floor.

Equipment

Lights

48 – GLP Pixel Tape 60/meter (in ceiling)
8 – GLP Pixel Tape 60/meter (in DJ booth)
1 – Litegear RGB x6 pad
1 – Litegear Literibbon x1 3200
1 – Litepanel 1×1 Bicolor

Control

1 – GrandMA2 Command Wing
1 – PRG Mbox V4
4 – GLP Scenex PP16
2 – Ratpac Cinetenna RX
1 – LumenRadio Transmitter
1 – 24 port gigabit switch

 

Network Diagram

Network Diagram

cabling-diagram_page_02

cabling-diagram_page_06

DJ Booth

Desperados – Bassdrop

img_3421

 

Director: Ralf Scherenberg
Lighting Designer: Matt Ardine

Desperados created a commercial in zero gravity to find the ultimate Bass Drop. This commercial featured a light show on the Zero G airplane that had to withstand the G forces associated with this famous plane.

Click here to play the commercial

Click here for the tech notes. 

Clinique – Tech Notes

Click here to play the interactive music video

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

 

 

Clinique – Play With Pop ft/ Zara Larsson

 

Director: Hiro Murai
Cinematographer: Larkin Seiple
Lighting Director: Matt Ardine

 

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.

Click here to play the interactive music video

Click here for the tech notes. 

The Pound Hole – Tech Notes

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.

Directors: Daniels
Cinematographer: Larkin Seiple
Production Designer: Jason Kisvarday
Lighting Designer: Matt Ardine
Best Boy Electric: Mike Beckman
Moving Light Tech: Harold LaCuesta
Electrics: Steve Brody & Koby Poulton

Equipment

Lights

16 – Clay Paky Sharpy Beams
8 – Clay Paky K10 Wash
8 – ETC Source 4 Lustre Series 2
2 – ETC Source 4 Series 2 Tungsten
2 – ETC Source 4 Series 2 Daylight
12 – Rolls of RGB Tape
3 – Litegear RGB Litestixs, 1 Meter
1  – Octodome, Hybrid LED
4 – Litegear 2’x4′ LED Hybrid Panel
3  – 4000 Lumen 1080p Projectors
1 – Litepanel 1×1 Bicolor

2 – Chauvet Geyser RGB

Control

1 – GrandMA2 Command Wing
1 – GrandMA2 OnPC computer
1 – GrandMA NPU
2 – Artnet Nodes
1 – Artnet Pixel Tube Controller
1 – MBOX Studio on a MacPro
1 – MBOX Studio on a MacBook Pro
1- MBOX Remote on a MacBook Pro
1 – 24 Port Gigabit Switch
1 – 8 Port Gigabit Switch
8 – Optosplitters


Pound Hole PlotPound Hole DJ Booth Plot

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.


MBox Remote Screenshot
Click here for the patch sheet

The Pound Hole

Director: Daniels
Cinematographer: Larkin Seiple
Lighting Designer: Matt Ardine

 

The Pound Hole is a pilot create for Adult Swim. It is Adult Swim’s first ever late night dance party, where DJ Douggpound remixes both the audio and visuals of this club into surreal, and sometimes violent, but always danceable situation. We transformed an empty warehouse into a night club in one day.

Click here to watch the 9 minute pilot

Click here for the tech notes. 

iHeart Media Broadcast Concerts

Nickelback, November 18, 2014

Click here for videos
Director: Bryan Olinger
Lighting, Scenic & Video Designer: Matt Ardine
Nickelback Lighting Designer: Christopher Maeder
Master Electrician: Gern Trowbridge

 

 

TI, October 23, 2014


Director: Bryan Olinger
Lighting & Scenic Designer: Matt Ardine
Lighting Director: Matt Shimamoto
Master Electrician: Gern Trowbridge

Rascal Flatts, May 12, 2014

Click here for videos
Director: Bryan Olinger
Lighting Designer: Matt Ardine
Lighting Director: Willy McLaighlan
Master Electrician: Gern Trowbridge

Arctic Monkeys, June 11, 2014

Director: Bryan Olinger
Lighting Designer: Matt Ardine
Arctic Monkey’s Lighting Designer: Sam MacLaren
Master Electrician: Gern Trowbridge

Kenny Chesney, September 12, 2014

Click here for videos
Director: Bryan Olinger
Lighting & Scenic Designer: Matt Ardine
Lighting Director: Jeff Barco
Master Electrician: Gern Trowbridge

Death Cab for Cutie – You Are A Tourist (Tech Notes)

The first live, scripted, one-take music video shoot. On April 5th, 2011, it aired live on several websites as the first event of its type. The lighting is some of the most technical and creative around. Utilizing LEDs to display video and wireless LED costumes, this video has a unique art-deco meets Tron look.

Director: Tim Nackashi
Lighting Designer: Matt Ardine
Lighting Console Programmer: David Kane
Stage: Line 204
Equipment
Lights
14 – ETC Seledor 1ft & 6ft
4 – Varilite VL3500 Profile
96 – 2.4kw Dimmers
6 – 12kw dimmers
4 – Color Kinetics Color Blaze 72
20 – Color Kinetics iColor Flex String
24 – Color Kinetics Color Blasts
4 – illuminate LED Suits
40 – Source 4
2 – Mole 5k Babys w/ Chimeras
4 – Twinspins
2 – 4’ 4 Bank Kinos w/ DMXControlETC Eos
ETC Ion
Madrix Media Server
2 – ETC Gateways
ETC Show Control Gateway
Wireless Router
Netgear 8 Port Gigabit Switch, Unmanaged
Tablet PC & iPhones as Remotes

The whole music video is live switched and live to air. In the design of the control network, I knew that there needed to be backups. We used an ETC Eos as the main console and an ETC Ion as the backup. The DMX was output from two seperate gateways. There were five universes of lights programmed from the console. The console was also controlling the Madrix media server using Artnet. Madrix was pixelmapping 16 universes of iColor Flex pixel strings for the cloud tunnel in the opening shot. The Color Kinetics Powersupply was controlled via ethernet from the Madrix using the KiNet protocol.

The console used LTC timecode to stay insync with projection and sound. Sound playback gave us an XLR feed that was input into an ETC show control gateway and sent through ETCNet3 into the console.

DCFC Network Diagram