American Cinematographer - May 2013 - 70
◗
The ABCs of DMX
Near right:
Yann Blitte
with Robe’s
Wash 575 XT
moving light.
Far right: Three
3x5K dimmer
racks.
“In the planning and rigging
stage, we’ll always over-spec, so DMX
is literally everywhere on the set,” notes
Mathie. He adds that some cinematographers will prelight every set, which
makes for a very fast shooting day.
The desk operator has to keep
track of thousands of channels, and to
be able to quickly identify and adjust a
fixture that the cinematographer or
gaffer indicates on the set. “When the
cinematographer or gaffer points at
something, you have to know exactly
what it is. It has to do with the way you
put it into the desk. It’s like the
Photoshop concept of a layer: I have a
layer of dimmers, layers of 10Ks, 5Ks
and 2Ks; a layer of LEDs; and a layer of
media. I use simple theater numbering
to map it out. I always assign north on a
stage and then read left to right, top to
bottom. I cross patch to create a sensible
number. For example, I might assign
DMX universe 5 channel 126 to input
11 on the lighting desk. You need the
ability to create number patterns.”
Higgins uses automated lights for
a variety of applications, including
lighting effects (such as gun flashes) and
backlight. “We keep finding new uses
for them,” he says. “The only instance
where I probably wouldn’t use them a
lot is for a period film.”
He notes that the optics of automated lights enables them to deliver
70
May 2013
more illumination than expected. He
cites as examples the tiny Sharpy from
Clay Paky, which outputs “a very
narrow, condensed beam” that belies its
190-watt bulb, and the 1,600-watt VariLite 3500 with the Beam Blast option,
which has “an amazing output.”
Higgins adds that the major drawback
of automated lights is fan and motor
noise, “so we keep them far from
camera.”
Automated lights can have 30odd channels, including vertical and
horizontal positions, color-filter intensities and shutter. Higgins adds that
custom gobos can be easily fitted inside
the units, allowing for lighting effects
unique to the production.
Mathie comments that he has
used dozens of automated lights on
recent films. “You wouldn’t key anyone
with it, but it gives you endless possibilities for fill and backlighting.” He
observes that cinematographers seem
less strict about color variations among
sources since digital cameras were introduced. “We’re now seeing people mix
tungsten, LED, fluorescent and HMI
moving lights a lot more freely.”
Higgins and his team usually set
up a wireless link between an iPad and
the console via a Wi-Fi network on the
soundstage. This allows Mathie to
modify a light in the rafters while standing next to the cinematographer on the
American Cinematographer
set. “If it’s an automated light, he can
also change the position or the color,”
adds Higgins. Mathie uses a Lumen
Radio Wi-Fi system, which utilizes two
channels for increased reliability. The
desk operator acknowledges that he and
his team are “constantly looking for
ways to improve Wi-Fi. I’m never
worried about the data or the desk, but
occasionally I worry about the Wi-Fi.
Everyone’s got iPhones buzzing about,
and if Wi-Fi fails, we’re in trouble!” He
sets up a wireless midi connection as a
backup and runs several other apps on
the iPad to connect to his desktop. He
also has a ping tool to check the
Ethernet. “I have various tools to test
my system, because I can’t say, ‘Sorry,
this app isn’t working today!’”
“The more control you give a
cinematographer and gaffer, the more
they’re going to use it,” says Higgins.
“There has been a fantastic progression
in the last 10 years, and the potential
with DMX seems limitless. Some cinematographers are really well versed in it,
and others are not that aware of its
potential. I let them know what’s available to them, and they can use what
they want.”
Rousselot adds, “DMX has
certainly changed the way I light, but it
doesn’t have to change your lighting if
you don’t want it to. It’s just a tool.” ●
American Cinematographer - May 2013
Table of Contents for the Digital Edition of American Cinematographer - May 2013
American Cinematographer - May 2013
Contents
Editor’s Note
President’s Desk
Short Takes: “Suit & Tie”
Production Slate: Trance • The Reluctant Fundamentalist
Surviving the Future
A Trailblazer’s Tale
Conjuring Hope
The ABCs of DMX
Star Tech
Hot Shots
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - American Cinematographer - May 2013
American Cinematographer - May 2013 - Cover2
American Cinematographer - May 2013 - 1
American Cinematographer - May 2013 - 2
American Cinematographer - May 2013 - Contents
American Cinematographer - May 2013 - 4
American Cinematographer - May 2013 - 5
American Cinematographer - May 2013 - 6
American Cinematographer - May 2013 - 7
American Cinematographer - May 2013 - 8
American Cinematographer - May 2013 - 9
American Cinematographer - May 2013 - Editor’s Note
American Cinematographer - May 2013 - 11
American Cinematographer - May 2013 - President’s Desk
American Cinematographer - May 2013 - 13
American Cinematographer - May 2013 - Short Takes: “Suit & Tie”
American Cinematographer - May 2013 - 15
American Cinematographer - May 2013 - 16
American Cinematographer - May 2013 - 17
American Cinematographer - May 2013 - 18
American Cinematographer - May 2013 - 19
American Cinematographer - May 2013 - Production Slate: Trance • The Reluctant Fundamentalist
American Cinematographer - May 2013 - 21
American Cinematographer - May 2013 - 22
American Cinematographer - May 2013 - 23
American Cinematographer - May 2013 - 24
American Cinematographer - May 2013 - 25
American Cinematographer - May 2013 - 26
American Cinematographer - May 2013 - 27
American Cinematographer - May 2013 - 28
American Cinematographer - May 2013 - 29
American Cinematographer - May 2013 - 30
American Cinematographer - May 2013 - 31
American Cinematographer - May 2013 - 32
American Cinematographer - May 2013 - 33
American Cinematographer - May 2013 - Surviving the Future
American Cinematographer - May 2013 - 35
American Cinematographer - May 2013 - 36
American Cinematographer - May 2013 - 37
American Cinematographer - May 2013 - 38
American Cinematographer - May 2013 - 39
American Cinematographer - May 2013 - 40
American Cinematographer - May 2013 - 41
American Cinematographer - May 2013 - 42
American Cinematographer - May 2013 - 43
American Cinematographer - May 2013 - 44
American Cinematographer - May 2013 - 45
American Cinematographer - May 2013 - 46
American Cinematographer - May 2013 - 47
American Cinematographer - May 2013 - A Trailblazer’s Tale
American Cinematographer - May 2013 - 49
American Cinematographer - May 2013 - 50
American Cinematographer - May 2013 - 51
American Cinematographer - May 2013 - 52
American Cinematographer - May 2013 - 53
American Cinematographer - May 2013 - 54
American Cinematographer - May 2013 - 55
American Cinematographer - May 2013 - Conjuring Hope
American Cinematographer - May 2013 - 57
American Cinematographer - May 2013 - 58
American Cinematographer - May 2013 - 59
American Cinematographer - May 2013 - 60
American Cinematographer - May 2013 - 61
American Cinematographer - May 2013 - 62
American Cinematographer - May 2013 - 63
American Cinematographer - May 2013 - 64
American Cinematographer - May 2013 - 65
American Cinematographer - May 2013 - The ABCs of DMX
American Cinematographer - May 2013 - 67
American Cinematographer - May 2013 - 68
American Cinematographer - May 2013 - 69
American Cinematographer - May 2013 - 70
American Cinematographer - May 2013 - 71
American Cinematographer - May 2013 - Star Tech
American Cinematographer - May 2013 - 73
American Cinematographer - May 2013 - 74
American Cinematographer - May 2013 - 75
American Cinematographer - May 2013 - 76
American Cinematographer - May 2013 - Hot Shots
American Cinematographer - May 2013 - 78
American Cinematographer - May 2013 - 79
American Cinematographer - May 2013 - 80
American Cinematographer - May 2013 - 81
American Cinematographer - May 2013 - 82
American Cinematographer - May 2013 - 83
American Cinematographer - May 2013 - 84
American Cinematographer - May 2013 - 85
American Cinematographer - May 2013 - 86
American Cinematographer - May 2013 - 87
American Cinematographer - May 2013 - 88
American Cinematographer - May 2013 - 89
American Cinematographer - May 2013 - New Products & Services
American Cinematographer - May 2013 - 91
American Cinematographer - May 2013 - 92
American Cinematographer - May 2013 - 93
American Cinematographer - May 2013 - International Marketplace
American Cinematographer - May 2013 - Classified Ads
American Cinematographer - May 2013 - Ad Index
American Cinematographer - May 2013 - 97
American Cinematographer - May 2013 - Clubhouse News
American Cinematographer - May 2013 - 99
American Cinematographer - May 2013 - ASC Close-Up: Paul Maibaum
American Cinematographer - May 2013 - Cover3
American Cinematographer - May 2013 - Cover4
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