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LIGHTING

As the tenth series of Dancing on Ice makes its way back to our screens, Rotolight has announced it has supplied its Anova PRO 2 location and studio lights to help create a dramatic new look for the production. The lights, 30 in total, were provided in five custom-designed rigs for the filming of the TV idents, glamour and profile shots. The unique rigs each featured six lights mounted in a large ringlight configuration.

The Rotolight Anova PRO 2 is a pioneering continuous light and High Speed Sync (HSS) flash for creative image-makers — one of the brightest LEDs ever launched in its class. The light includes a customisable suite of Rotolight’s award winning CineSFX™ (Fire, Lightning, TV, Gunshot, Paparazzi, etc) which eliminates the need for expensive, time consuming legacy ‘flicker-box’ workflows. The LED provides the best power to consumption ratio in the industry, with a mere 72W consumption. The light also delivers outstanding colour reproduction (CRI>96, TLCI 91) eliminating the need for expensive post production — something that was important for Yacoubian and Sutton during the shoot.

The custom-designed hex rings were controlled via a lighting desk and five-pin DMX connection, that also enabled operators to use the built-in CineSFX™ suite of effects, such as flash and pulse lights for added drama. The Anova PRO 2s are sold separately, and Rotolight will be offering the unique hex ring mounting system as part of its product portfolio later in the year. “The newly launched Rotolight Anova PRO 2s have performed amazingly well. In a studio literally made of ice, we constantly pushed them to their limits and they haven’t let us down. They are a seriously versatile tool for your kit. Apart from the great functionality, the lights are really energy efficient, which was vital for us as we were running so many at the same time. They are also safe and generate no heat that we had to worry about, while drawing hardly any power — unlike traditional lighting,” Yacoubian says.

“We wanted something new, fresh and original for the relaunch of Dancing on Ice, something that was visually different and interesting. What we were looking for was obviously the performance and functionality of the lights, but I also wanted to incorporate them into the actual shot to make it unique,” says Sutton.

Chris Yacoubian (The Voice UK and Strictly Come Dancing), director of photography for the glamour and profile shots for the show sought out the Rotolight team. “I saw the Anova PRO 2 clustered together and that just sparked my creativity. The lights are powerful, portable and beautiful in terms of their colour rendition and skin tones. They are a fantastic tool and deliver and perform perfectly. I’m thrilled with the result,” he says.

“The lights are amazing. You can create a number of effects, like firelight or paparazzi, which we used on set, and quickly switch between them and the continuous light with just a flick of a button or go from soft tungsten to punchy daylight in a heartbeat,” says Yacoubian.

“Everyone is really pleased with the end result. The Anova PRO 2s have been absolutely amazing. They look stunning and have the ability to flash, pulse and change. They gave us that edge over other TV shows, and provided the cherry on the cake for the glamour shots. I really love them,” concludes Sutton.

The Dodger Stadium press box received a lighting upgrade with ARRI SkyPanels to achieve optimum color rendering to easily match the ambient light anytime of the day. With the addition of the ARRI SkyPanels, it now allows for pre-game broadcasts as well as cut-ins to the booth during games or after game recap segments, with a very natural and quality image that sets the bar.

Typically, lighting designers prefer to hang the lights in a position to maximise depth of field, but this location was a challenge, due to the size of the booth and its low ceiling.

A mix of ARRI’s SkyPanel S-60C’s and S-30C’s, with their narrow profile, variable colour temperature and finite controls, incorporates the flexibility to shoot the talent from most any angle that may be requested by the director. Whether the camera is shooting toward the announcers, from the stadium’s POV or into the booth or when the announcers turn their backs to the stadium, the SkyPanels easily transition to the correct colour balance by programming from one look to another. The SkyPanels are tuned to match the desired ambient light in the booth with the push of a button.

Controlling the press box lighting is an ETC Nomad 512, PC-based system giving the control room the flexibility to remotely maintain creative colour control and white balance and to adjust on the fly.

Additionally, ETC Desire D22’s and Colorsource, are being used as colour wash and background around the press box.