American Cinematographer - April 2017 - 78
With the camera on a Steadicam, cast and crew work through a scene in Jefferies' office.
blew my mind over and over again," says
Wiegand. "There is so much flexibility
built into them, and they draw such a
small amount of power."
Wiegand first saw Digital
Sputnik's new line of modular LED
lights onscreen in The Neon Demon, shot
by Natasha Braier, ADF (AC July '16).
She then visited Digital Sputnik's showroom in Sherman Oaks to see the units
in person, and she ultimately selected
the DS 1, DS 3 and DS 6 for use on
"The Sputniks were always with
us everywhere we went," Wiegand says.
"And we always had a Sputnik sitting
right off set with a battery mounted on
it so if we didn't want to run cable or we
needed something really fast, a single
person could fly that sucker in on a
stand, and it was ready to go and had a
lot of punch to it."
Using his 12.9" iPad Pro, gaffer
Ronald Dragosh controlled the Digital
Sputniks via the company's app, which
allowed him to adjust the intensity and
color. "Ronald had the biggest iPad
you've ever seen," jokes Wiegand. "His
iPad could be a coffee table. He would
sit there with that giant thing and be like
a conductor with all the lights."
Wiegand and Dragosh began the
show with a single Mole-Richardson
Tener LED, but they were so taken with
the light's performance they quickly
ordered a second. "We could put them
up in condors for night exteriors or we
could take them in and use them on
stage," the cinematographer notes. "We