Kia – “Light Up The Holidays”

 

Director: Damian Kulash
Producer: Kelli Abraham
Lighting Designer: Matt Ardine
Production Designer: Brian Branstetter
Cinematographer: Chris Soos

 

A Kia dealership is transformed into a large scale lighting display set to “CHRISTMAS EVE IN SARAJEVO” BY THE TRANS SIBERIAN ORCHESTRA.  We see the headlights of the cars light up. Behind the cars, the dealership, and the lot, also being to come to life with lights. Suddenly, we interrupt into a rocking visual of holiday lights.

 

CLICK HERE FOR THE TECH NOTES

Kia “Light Up the Holidays” TECH NOTES

Director: Damian Kulash
Producer: Kelli Abraham
Lighting Designer: Matt Ardine
Production Designer: Brian Branstetter
Cinematographer: Chris Soos

Programmers: Michelle Sarrat, Cat West, Matt Ardine
Gaffer: Danny Golzalez
Data Tech: Paul Sartain
LED Tech: Dustin Gardner
Car Light Tech: Mike Beckman

Lighting Equipment provided by:

Volt Lites
RGB Lights, Chicago
Controllable Lighting Solutions
Litegear
Cinelease

A Kia dealership is transformed into a large scale lighting display set to “CHRISTMAS EVE IN SARAJEVO” BY THE TRANS SIBERIAN ORCHESTRA.  We see the headlights of the cars light up. Behind the cars, the dealership, and the lot, also being to come to life with lights. Suddenly, we interrupt into a rocking visual of holiday lights.

 

Equipment

Lights

280 – Color Kinetics iColor Flex LMX
31 – Color Kinetics PDS-60 PSU
14 – Clay Paky Mythos
10 – Arri Skypanel S-60
28 – SGM P1
60 – Pixel Strands, 50 per strands
8 – Sparkulators
28 – Litegear 6×6 12v Dimmers and PSU’s
7 – RGB Geysers

Control

2 – GrandMA2 Full
1 – GrandMA2 Command Wing
1 – GrandMA2 3D Computer
4 – PRG Mbox Studio V4
6 – GrandMA2 NPU
4 – TMB Proplex EZLan Switches
4 – 24 port Netgear Unmanaged Switches
1 – WDMX 2 Universe Transmitter
2 – Innovative Dimmers PDB10
4 – Optisplitters
1 – Leprecon 6 channel dimmer w/ WDMX

We did  previz in GrandMA2 3D at the Volt Lites Previz suites. We created 2 versions of the :30 commercial and one version of a :72. The previz videos are below. I used 2 MBOX’s to pixel map the lights on the walls and the bushes then sent that data into GrandMA2 to do a HTP merge so that we can visualize on the model of the building that I created in Vectorworks. Matt Ardine programmed the first :30, Cat West programmed the second :30 and Michelle Sarrat pulled a 27 hour programming session to pull off the massive :72.

MBOX is unique in that it can send Kinet2 straight out of it. Using this simple protocol, instead of sACN, it made addressing and setting up much faster in prep. With Kinet2, you only need an IP address and a port number instead of IP address, Universe, DMX address, and port number.  This allowed Paul Sartain to create easy to read charts and plots with simplified numbers on them for the install. After the prep and the previz, the install took 3 days on site lead by Gaffer, Danny Gonzalez. Mike Beckman did tests early on with the Litegear 6×6 dimmers to check if we can use them to control the headlights, directionals, and daytime running lights through DMX control. We realized that they pull a total of 30 amps and that we would need large power supplies to accomplish the 84 channels of dimmers required for the whole row of cars.

During the first and second day of the install, Michelle Sarrat, was still in previz, hammering away on the :72. It has thousands of cues in the timecode file. In the previz suite, we had a GrandMA2 full, 2 MBOX’s and a GrandMA2 3D computer. On the location, we had a duplicate system plus a command wing and 6 NPU’s to unlock parameters and distribute DMX.

There were a total of 65,000 DMX channels that had to be pushed over the network. One MBOX had the 2 main pixel maps. One map was for the perimeters of the building and the other was for the insides of the walls. Both of these output sACN during previz and Kinet2 on site. The second MBOX had a map of the hedge that sent out sACN to the Holiday Couro controllers. The second MBOX was also used to convert sACN to Kinet2 to get data to the strands on the pillars, since the MA2 FX engine would be much easier than pixel mapping for the spirals. The MA2 output sACN directly to the trees, bushes, snowflakes, and wreath.  We used MANet2 and NPU’s to get DMX to all the other non-pixel lights and FX units. We opted to keep the MANet2 and the sACN separate from the Kinet2 traffic. To do so, each MBOX had 2 network cards. One for the control from GrandMA2 via sACN, and one to output to Kinet2. We used the TMB Proplex EZLan switches to allow us to create a VLAN for each but have the capability to only run 1 trunk lines for the various segments.

Kia :72 previz from Matthew Ardine on Vimeo.

Kia :30 previz, Version 2 from Matthew Ardine on Vimeo.

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

 

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. 

Desperados – Bass Drop – Tech Notes

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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

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 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.