60 seconds of my favorite projects where I had the opportunity to design the performance lighting:
Emily Osment - Love Sick
Burger King commercial
Death Cab for Cutie - You Are a Tourist
Kia Christmas commercial
Freakier Friday
Music - The Sia Movie
Nike commercial
The High Note
Transparent the Musical
iHeart Radio Festival 2020 - Miley Cyrus
Daisy Jones & the Six
iHeartRadio - Macklemore
iHeartRadio - Maroon 5
iHeart Radio Festival 2020 - Alicia Keys
#lightingdesign #filmlighting #cinematography
Vinyl day/night translight for the win. This custom translight printed perfectly. The blacks are opaque, which is always a struggle when the light shines through where it’s not supposed to. Used some Source 4 Lustres and Vortex 8 to backlight the backing for night. Then used Vortex 8 to front light it for day.
#filmmaking #filmlighting
Freakier Friday is out this weekend!
We worked with Dp matthew clark to create the lighting design for the concert scenes. It was a ton of fun and we’re super proud of how the movie came out.
DP: Matt Clark
Gaffer: @gregdoi
Concert lighting designer: @mattardine
Concert lighting programmer: @davidkaneld
Concert systems tech: @brodwarrior
Lighting gear supplied by: @voltlites
133 - Acme Pulsar S2
80 - Martin VDO Atomic Bold
29 - Elation Artiste Monet
10 - Aryton Diablo
32 - GLP X5
16 - GLP X4 Bar 20
4 - Robe T1 FS
4 - Robe ROBOspot basestations
32 - Arena Zoom par
10 - Colorforce 72
6 - DTW Blinder
16 - Elation KL Cyc
8 - Astera Titan Tubes
12 - Digital Sputnik DS3
The legendary lighting designer, Curry Grant, passed away last week. His Fleetwood Mac designs were the inspiration for Daisy Jones. He spent several hours speaking with us and sending us his lighting plots. You can see his orignal gel choices in the show.
Step 1️⃣: Do your research ✍️
When working on a period piece, gaffer @mattardine takes that step very seriously.
His team even went so far as finding the actual lighting designer from Fleetwood Mac’s 1969 tour to guide their work on “Daisy Jones & The Six.”
Talk about commitment!
Want more behind-the-scenes insight from the Matt? Comment “ARDINE” below to watch the full video.
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#behindthescenes #filmbts #howilitthis #gaffer #cinematography
How we simulated a barrage of muzzle flashes for the film Wolfs. Used Fiilex Q5 and some awesome lighting technicians to add movement. Flashes operated by DP Larkin and Programmer David Kane using a Grandma3 lighting console.
DP: @larksss
Gaffer: @mattardine
Rig Gaffer: @einsteinqrockafeller
Programmer: @davidkaneld
LA best boy: @jfelix728
LA key grip: @criv4c
LA key rig grip: @jason_selsor
#cinematography #lighting #filmlighting @ma_lighting_international
Catch Wolfs on Apple TV+
SPOILER: All the car interiors were shot on a stage in LA. We used LED walls as the background, reflections and lighting. Led wall design was done by Gaffer and DP, drafted in Vectorworks. We discussed using mobile walls vs a LED volume and decided that mobile walls allowed us more flexibility to get them at the right angle and still have room for lights.
Monolith was hired to supply the equipment and run the content. Rigging key grip designed and built the XYZ rig and rolling decks for the LED walls.
Next week I’ll be dropping a video that breaks down the lighting that we used to create the chaotic NYC lighting in this “rich-man’s process.”
DP: @larksss
Gaffer: @mattardine
Rig Gaffer: @einsteinqrockafeller
Programmer: @davidkaneld
LA best boy: @jfelix728
LA key grip: @criv4c
LA key rig grip: @jason_selsor
LED tiles and processing supplied by: Monolith
Truss and Motors supplied by: @stage13riggingrentals
#filmmakersworld
Wolfs comes out in theater tonight!
Filming a stunt in blue screen at 1000fps for the movie Wolfs. We filmed the scene in NYC except for the kid flipping. Then we needed the kid flipping as a foreground element that we later filmed on blue screen in Los Angeles.
We tested lighting the blue screen for 1000fps, which needed 6 times the normal amount of light. We tried 20k tungsten but it would have been a massive amount of power and cable needed. Then we tried 4 @creamsource Vortex 8 and put them in fully saturated blue. They actually came up to a higher IRE video level than the 20k tungsten. So we did two rows on a truss; one focused at the top with the diffuser and one focused far without the diffuser.
DP: @larksss
Gaffer: @mattardine
Rig Gaffer: @einsteinqrockafeller
Programmer: @davidkaneld
NYC best boy: @hectorherrera
LA best boy: @jfelix728
LA key grip: @criv4c
LA rig grip: @jason_selsor@litegear@asteraofficial@creamsource@iatselocal728@iclsociety@arri
