Elton James, ICLS, an accomplished Lighting Programmer, has worked on some of the biggest and most visually stunning films in recent years. A master at his craft, he is known for using cutting-edge technology that allows fast and flexible creative control to DPs and Gaffers at their fingertips. One of his notable projects of 2023 is “Guardians of the Galaxy Vol. 3” and “Avatar: The Way of Water.” To control the lighting, James and his team relied on Ratpac Controls dimmers and PDB data and powerboxes. This combination created a seamless and dynamic lighting setup that brought the film’s otherworldly scenes to life.
How did you get started as a Lighting Programmer on some of the biggest film sets?
I left Boston in 2008 to pursue my dream of working in film in Los Angeles. Initially, I wanted to be a Cinematographer, but soon realized that the role wasn’t for me. Instead, I found my passion in the lighting department.
After joining the IATSE 728 Union about a year later, I discovered the role of Lighting Programmers in film. I had prior experience in theatrical lighting, having worked on it throughout college. Alongside this, I worked as an IT guy at Harvard University in Boston. As I learned more about the role of a Lighting Programmer, I realized that my combined skill set made me uniquely qualified for this job, with proficiencies in computer and network infrastructure, theatrical lighting, and understanding DMX and how a lighting console works on a film set.
I worked on a few commercials as a Lighting Programmer, before getting an offer to work on a feature film, “The Campaign,” with Gaffer Lou DiCesare. Their Lighting Programmer had dropped out at the last minute, so they took a risk and flew me out to New Orleans with a week before shooting began. It was perfect timing, and the feature turned out well. Lou asked me to work on the next few TV shows with him, which helped me gain more experience. I worked with Lou for about two and a half years, before I started getting other opportunities.
I was invited to work on larger features, serving as a second unit programmer for Gaffer Dan Riffel and Lighting Programmer Scott Barnes. It was during my work on the second unit of “Fantastic Four” that I got the breakthrough I had been looking for and was launched into doing larger-scale features. One of the requirements for that job was to learn the Hog 4 console, which I picked up efficiently.
Scott Barnes then recommended me to Dan Cornwall, an Atlanta-based Gaffer, and we worked together on “Black Panther” and “The Guardians of the Galaxy” movies. Collaborating with Dan for the past several years and working closely with Dan Riffel has been incredible. It’s funny to note that I only work with gaffers named Dan, making communication on walkie-talkies much smoother.
What is your experience working with Gaffer Dan Cornwall?
Dan Cornwall is an exceptional Gaffer who strives for perfection in his work. He is known for his meticulous planning and always ensures that his team is involved as early as possible when prepping for a large-scale feature. He usually brings in his team, including me, within a week of starting the job.
During the five to eight weeks of prep before the feature starts, Dan’s main goal is to have fully drafted 3D models of the light plots for every set. He does this to present them to the production team, along with an estimate of the required budget. Although there is some guesswork involved based on his extensive experience, there are always some details that are yet to be finalized. Therefore, Dan ensures that placeholders are in place to avoid any surprises later on. Dan is always proactive in his approach and brings me in early to start drafting and creating all the light plots for the show.
Describe the lighting requirements of “Guardians of the Galaxy Vol. 3” sets.
Working on “Guardians of the Galaxy Vol. 3” was a massive and enjoyable task due to the vast sets we had. One of the most remarkable sets we worked on was the Bowie, the new ship of the Guardians. This set included the cockpit, the locker room, the engine room, and the hallways. The set was built as a three-story structure, enabling us to shoot scenes with actors walking through the entire ship.
The locker room set had several practical LED lights spread throughout. The entire set contained 11 universes of practical LED lights. There were huge glass windows in the cockpit, and we used two 40-foot by 20-foot LED screens to provide interactive lighting from space or the various environments.
We changed the plates through the media server based on the requirements of the VFX department or Director of Photography Henry Braham. Henry had a clear vision of what he wanted in each environment. It was fascinating because the traditional movie lights sets were all off, and we used only a few film lights and a bunch of practicals. The sets were mainly illuminated by the LED Volume. All the LED screens that we used throughout the movie were exclusively for interactive lighting.
In the movie, there was a scene where the characters had to pass through multiple energy shields, each of which had a unique color. We had created various visual effects for this sequence, such as a purple screen that turned black as the characters broke through it. To achieve this effect, I placed a black card in the center of a purple screen and then increased its size until it covered the entire purple screen. This created the illusion that the characters had broken through the entire shield. The characters also had to pass through shields of other colors, such as yellow and cyan, and for each shield, I added a star field effect that showed stars, nebulae, and other gaseous materials moving around in an organic way. This effect was much more visually appealing than traditional lighting techniques.
How did you control and dim lights on “Guardians of the Galaxy Vol. 3?”
On “Guardians” there was a server console that controlled the entire stage with a capacity of 64 universes. From the console, the data went into Luminex, which sent out sACN data for the lights and console. It also sent video data for the media servers and communication data for the BOLERO wireless intercom system used on the show.
The team was running five VLANs, with one hidden internet throughout the managed network. These would go everywhere, and there was a distro box. The team would have a four-port node, a four or eight-port node plus opti-splitters and finally five-pin DMX for the last mile. After that, the team would go into Ratpac Controls’ PDBs to distribute data to the lights.
All incandescent dimming was done with Ratpac Controls’ boxes: 12×200, 6×2.4k, 12×1.2k, 12×2.4. They exclusively used Ratpac Controls dimmers for the whole show, mostly out of reliability because they’re the most convenient. After all, you can rig them on the set, and the standalone dimmers are the most reliable.
How many PDBs did you use on Guardians of the Galaxy Vol. 3?
On one of the sets, we had a rig of over 200 SkyPanel S60s and ProLights EclPanel as a soft top light through magic cloth. On average, we have between 50-60 PDBs on a big stage. Smaller stages had 40 to 50 PDBs.
What was it like working on the set of “Avatar: The Way of Water?”
Working on “Avatar: The Way of Water” was a unique and challenging experience. The movie is primarily computer-animated set in a digital world, with many human characters. When I joined the project, Director James Cameron had already created a rough edit of the movie, and we were shooting live-action parts to insert in the animation.
In a traditional movie, live-action parts are shot, sent to Post, where VFX animates them, and then the movie is edited together. However, in “Avatar,” the movie was already edited and animated to a finished quality. We had to match our live-action shots to the pre-existing animation. It was like forensic photography, figuring out what the actual movie was.
The project was massive, with three parts of the movie being worked on concurrently. I was not allowed to read the script, so I had to prepare by watching the footage. Gaffer Dan Riffel did an excellent job preparing each day and environment. Director of Photography Russell Carpenter would describe the scene, and we would adjust the flexible lighting rig accordingly to be in deep woods at 4 pm in the afternoon or nighttime.
What Ratpac Controls products did you use on “Avatar: The Way of Water?”
I own a fair amount of the original Cintennas that we used everywhere because they are simply the most reliable wireless receiver compared to other manufacturers.
How does a Gaffer transition from working on small independent films to large-scale productions?
In some ways, the job of a Gaffer and a prep lighting team require different sets of skills, but in other ways, they are similar. A Gaffer’s primary responsibility is to light the set and action, but they also have a significant political role in managing the lighting department and interfacing with production.
Whether it’s a large or small job, having the skills to identify available resources and to advocate for additional resources is important. For large-scale features with a budget of $150-250 million, there are more moving parts and a bigger crew is required. For example, on the set of Guardians of the Galaxy, we had 11 stages and 40-50 different sets.
At the end of the day, the job of a gaffer and a prep lighting team involves reviewing the schedule, determining what needs to be worked on first, and then breaking it down into manageable tasks. It’s a matter of breaking the job down into smaller components and solving each set-up with the Director of Photography and the rest of the lighting department.
How has technology revolutionized the way films are made?
Over the last 15 years, the world of lighting has undergone significant technical changes. Board ops were specialized day players brought in for stage work or events, but over time, they became full-time crew members. Lighting programmers were not required on location as they the lighting crew used primarily HMIs.
Since then, the role of the Lighting Programmer evolved into an integral and senior member of the set lighting department. The Gaffer, Rigging Gaffer, Best Boys, and Lighting Programmer are the first to be brought on board to plan a job.
LED technology has transformed the industry, and every light is now a computer. ARRI Orbiter, for example, has sensors all over it that can detect ambient color, and it has a color meter built into it to enable source matching. Every LED light has a different number of RGB chips, and the sets require massive orchestration, with every computer and light programmed for creative control. The DP and Gaffers can now easily access creative control at their fingertips.
Two “Basics of Wireless DMX” workshop are scheduled for December 8 and December 9, 10:00 am – 12:00 pm.
Are you tired of juggling multiple apps to control different lighting brands? Ratpac Controls is here to simplify your lighting controls and make your life hassle-free.
Join our “Basics of Wireless DMX” Workshop, led by Jeff Cox, IATSE Local 479 and Field Application Engineer of Ratpac Controls. In this workshop, you’ll be introduced to fundamental wireless concepts and how to set up Ratpac Controls’s wireless DMX products.
Jeff will take you through the basics of wireless communication and networking concepts, providing you with enhanced understanding and skills needed to streamline your lighting setup. This is an excellent opportunity to gain a new level of flexibility and control over your lighting system. So, register for our Basics of Wireless DMX Workshop today!
About Jeff Cox: Jeff has been a valuable member of the Ratpac team for more than six years. He has established himself as a skilled problem solver on many major sets, including “Black Panther,” “Legacies,” “Heels,” “Black Adam,” “The Color Purple,” “Manhunt,” “Ozark,” and “Cobra Kai,” among others. Jeff’s areas of expertise include RF wireless technology, networking and lighting protocols, as well as single and three-phase power distribution.
Address: Ratpac Controls Atlanta | 640 Airport South Parkway Ste 200 College Park, GA 30349
Available sessions:
Friday, December 8, 2023
10:00 am – 12:00 pm
Saturday, December 9, 2023
10:00 am – 12:00 pm
Atlanta, October 6, 2023 – RatPac Controls, the leading provider of dimming, power, and lighting control solutions for the entertainment industry, is proud to announce the launch of the 12x200v2, the next-generation reverse-phase dimmer. This new dimmer is custom-designed for 120v LED tubes and low-wattage practicals and is rated at 200W. It provides a smooth dim from 0-100% and 100%-0% and features a built-in CRMX wireless transceiver, a new locking wireless toggle switch, and a new mode select switch.
“Being able to dim practical lights down to 1% without flicker, even those provided by the art department, and control it via wireless DMX have been ground-breaking in delivering efficiency and allowing faster set-up and control,” said Nick Stabile, Executive Vice President and Chief Revenue Officer. “We are excited to present a new vinyl design of 12x200v2. It’s time to update the overall look of our boxes, and this is just the first step.”
President and Interim CEO Tom Sievers added, “The 12x200v2 dimmer is equipped with MOSFET technology that allows dimming control of loads down to 1%, making it ideal for low-wattage LEDs, tubes, and practical lights. It also features enhanced electronic circuit protection, eliminating issues with over-amping outlets or plugging in fixtures larger than 200 watts. We are confident this product will be a great addition to any lighting set-up.”
The 12x200v2 is designed to work well with capacitive loads, especially on the low end, where stable control can be problematic. The modular controller allows for futureproofing of the box, as the technology can be expanded or removed by replacing the controller with a couple of screws.
The 12x200v2 is ETL-certified for use in the US and Canada and is available for demos. RatPac Controls is dedicated to providing its customers with the highest quality products and services, and the 12x200v2 is no exception.
Visit booth 1102 at Cine Gear ATL to get a demo.
Since Manny Tapia’s impressive career in film began in mid-90s, and since then he worked on some of the most notable productions, with highlights including 2nd unit of “Barbie,” “Dahmer – Monster: The Jeffrey Dahmer Story,” “Neon Demon,” and “Booksmart.” Throughout his career, Tapia has witnessed the evolution of lighting and rigging technology, adapting to new advancements such as wireless dimming and fixture control.
How did you get started in film?
I got started in film in the mid 90’s. I wanted to be a journalist, and part of my classes at LA Valley College also involved radio and TV. Radio wasn’t good for me, but I always loved cinema and TV. Part of my AA requirements was taking an internship. I decided to take the internship at ch. 52 Telemundo, a Spanish TV station. It was a daily variety show, and my job was to get musical acts, political personalities, restauranteurs, artists, and any other hot-topic people to come to our set to be filmed in our small studio. Other parts of my job detail included getting coffee, logging videotapes, and other PA-style duties. I did it for free for a couple of semesters. Finally, in 1995, the producer from that show set me up with a producer friend who was looking for a PA to help film on a 3-week traveling show for ESPN. We flew to Ottawa, Canada, and followed this antique car rally to Mexico City. I was on a 3-man crew (me, DP, and a sound guy), and I was the driver, PA, runner, etc. It was a great experience and the first time I was paid for my work.
Through that show, I met a talented DP named Tom McDonald, with whom I would later work on many projects as an electrician. The internship and this ESPN job opened my eyes to the world of film/TV. After Valley College, I changed majors and knew the film was for me.
I went to CSUN and, in 1996, graduated from the Radio-TV-Film (RTVF)program with a BA in Film Production. While at the university, we learned history and theory, but I also shot several 16mm projects of my own and for classmates. We shot and spliced/edited our films on old moviola tables. Very rudimentary today, but it was an awesome experience I would never change.
My cinematography professor was a working DP on independent features, commercials, etc. He allowed our class to visit his sets and work as a non-paid intern aka PAs. Through these freebies, I made several contacts in the movie industry. I generally gravitated towards the G&E departments, learned the basics of the equipment, and started putting gear to use on set. I’d grip or be an electrician or be a swing; whatever it was, I would do. Of course, they taught me and saw that I was resilient and hard-working. Not everyone is cut out for this. So then those various contacts would bring me on to their non-union sets where I could make $0 to $150/day; it didn’t matter.
I was addicted to being on set, so I’d jump at any opportunity to help where possible. Free or paid. I soaked up as much as I could through them and via film school. At the same time, I was finishing school, had a normal full-time job, got married, and had my daughter at 22 years old. I met enough people, and I worked in the non-union world for about four years as much as I could. I worked on student projects, deferred pay shows, and freebies and eventually got my break on a lower budget feature that turned union. I got my feature days and joined Local 728, set lighting technicians union.
What were some of your favorite films to work on?
All of them! Haha. Some of my favorite films to work on have been the ones that challenge me as a gaffer and push the limits of what I’ve done. So cliché!
I’ve had a few of those where we don’t have money to do certain things, so we come up with creative solutions, but on the flip side of things, it’s fun to have a decent budget and have new tech/ toys to experiment and try a different approach. We don’t always have that luxury, so you collaborate with the DP, formulate plans, and problem-solve.
“Neon Demon” and “Booksmart” were challenging because of their lower-budget nature. Both films had younger actors but needed to look beautiful and have some pop.
“Some of my favorite films to work on have been the ones that challenge me as a gaffer and push the limits of what I’ve done.””Neon Demon” was challenging because we didn’t have all the tech yet. The DP Natasha Braier and Director Nicolas Refn wanted to really push the color boundaries, so we did.
Full spectrum LED lights were just breaking the market and expensive to rent, so we had to have Litegear fabricate full-color Litemats for me. We called them Manny Mats and used them all the time in that film. They were special in that we had hybrid LED and RGBA channels, which was a new thing (at least for me) at the time.
ARRI SkyPanels and Asteras hadn’t been released yet, so Digital Sputniks and lots of colored gel on lights (HMI and tungsten units) were how we did a lot of the deep color and saturation for that film. It was a bit of an “old school approach “with gel on lights, but that’s how I was taught, so I was very familiar with that—coming up in film, that was the only way to do it.
“Booksmart” was also very colorful and budget-challenged. Jason McCormick was the DP on that one, and we have a great shorthand together as we have worked together for many years, even before we were the heads of our respective departments—he as an assistant, and myself as a BB making my way up.
In “Booksmart,” there was a very challenging fantasy dance sequence that had a lot of lighting cues and had to be spot on. They unfortunately trimmed the sequence in the edit, but it took us 9 attempts, and we nailed it, and I believe it looked great.
“”Booksmart”, there was a very challenging fantasy dance sequence.”
Share the highlights of your impressive career with over 65 IMDb credits on notable film, music video, and TV projects, including the LA unit of “Barbie” and “Dahmer – Monster: The Jeffrey Dahmer Story.”
“Barbie” was a very cool project because of its culture/history and also being able to work with Cinematographer Rodrigo Prieto on a long-form project. This feature had a large-scale vibe, so it was a good one to be a part of. I knew it would be a hit because of all the talent/crew attached.
The Principal Photography for “Barbie” was mainly done in a studio in England. The set was massive, and Rodrigo/ Lee Walters (Gaffer) and his crew did an amazing job with the look/lighting rig. I was a part of two separate additional/ reshoots for the film in Los Angeles.
“The set was massive, and Rodrigo/ Lee Walters (Gaffer) and his crew did an amazing job with the look/lighting rig. I was a part of two separate additional/ reshoots for the film in Los Angeles.”Rodrigo Prieto was the main DP on one and Mandy Walker was the DP on the other. For Rodrigo’s portion, we shot a lot of locations for “Barbie’s” real world in Venice / Downtown / Century City. For Mandy’s additional / reshoots, we shot principally on a WB stage.
Since we only had a few weeks to prep/rig the reshoots, we were tasked with matching their look but on a much smaller scale. We built 8-10 sets on the one stage, and so we had to formulate a lighting plan that could work for everything but also where we could fit in the one stage.
We were given access to a showfile (dimmer board operator) and lots of photos/footage, and by dissecting that, we could match as best we could. I emailed Lee countless times to clarify things, and he was very helpful the whole way. I’ve done several reshoots, and it’s always a chore to get notes/info as most of the crew has moved on and has since done multiple projects. It’s easy to forget the specifics without detailed notes. Especially when you don’t have the budget to have a person assigned to take detailed lighting notes and pics, it’s a very crucial position, but it also adds a cost, and lots of times, production doesn’t want to incur that cost.
Overall, I think we did an amazing job considering the circumstances and timeframe. And the film has surpassed a billion dollars!
“We were given access to a showfile (dimmer board operator) and lots of photos/footage, and by dissecting that, we could match as best we could.”
“Dahmer – Monster: The Jeffrey Dahmer Story Limited Series” was a wild one. My dear friend Jason McCormick was the main DP on this 10-part limited series show. From the beginning, I was curious about this story and how we could approach it differently than anything I had ever done. We wanted it moody and dark, yet still needed to be stunning visually. I did a lot of research on films, paintings, etc., and created a huge mood board for myself and Jason. It was a period piece, so we chose to use lots of sodium and mercury vapor fixtures and that muted color palette. Of course, the production design and costumes helped sell the vibe, but from the start, we were told that “lighting and camera” would be a huge part of selling this piece. Because of the awful nature of the true story/crime, we couldn’t beautify it but simply just make pretty imagery. That’s what we tried to do every day. I took this job very seriously and gave it my all to it.”
“Dahmer – Monster: The Jeffrey Dahmer Story Limited Series” Trailer. “We wanted it moody and dark, yet still needed to be stunning visually. I did a lot of research on films, paintings, etc., and created a huge mood board for myself and Jason. It was a period piece, so we chose to use lots of sodium and mercury vapor fixtures and that muted color palette.”
There was a challenging sequence in episode 1 where one of our actors gets away from Dahmer and runs down the street. We had lights everywhere on cues and period-correct streetlights” cobra heads modified with 2k tungsten bulbs on dimmers) that my Rigging Gaffer Tim Durr had gelled with a Hi sodium gel. We used fluorescents and period-correct lights on camera as much as we could. We also used covered wagons a bunch. In most of our practicals, especially in Dahmers and grandma’s apartments, we used traditional bulbs, not LED.
How has lighting and rigging technology revolutionized since the beginning of your career?
It has changed dramatically. Everything was shot on film, and now at least 75% is digital. Everything is expected to be instant and needs to be that way because that’s how our technology is. We text and expect quick answers in the world these days. We search for information on our phones, and it’s right there.
With that need for quickness out Lighting changes/setups, which took an hour, are now delivered in 20-30 minutes. It was much more labor-intensive, but now we have way more lighting choices. We can now use automated lights; almost every light can dim or change color, and sadly, a lot of the lights we use. They are only operated by an LCP back at their console. I miss that we could switch on a light, and my electricians would actually “operate” a light and be “technicians.” They still are and still do a lot, but their techniques and knowledge have shifted a bit. They still need to be trained as SLTs and know about distro/electricity and how to troubleshoot electrical issues, but they also have to be able to navigate all the techy stuff as well. And they have to pay attention and not be distracted by that same technology! If someone wants to be a gaffer, they need to listen and be close to the action.
Everything has become wireless, full spectrum, multiple universes, faster dimming, and color control on set. It takes much more prep time and crew to rig and set up, but ultimately, it buys me and the DP control and efficiency on set. A Fixtures crew has become the new norm on sets. They are an integral part of wiring practicals, installing a network, and doing all that techy stuff that needs to happen for all the tech to function.
In the past, we had to swap HMI to tungsten for night sequences or bulbs in Kino Flos or change gels on lights. Now I just radio to my LCP, and he pushes a few buttons, and things change.
The wireless dimming and fixture control is insane. The scale can change from a wireless setup with an iPad with two universes to several dimmer boards, operators and multi-networks with hundreds of universes.
It looks like some of the films you work on, such as “Barbie,” were filmed in several countries. How does the communication between gaffers look like to ensure consistency?
Sometimes, it’s phone calls, zooms, or countless emails to get detailed lighting plots/ show files. Sometimes I know the other gaffer, and most times I don’t. The gaffers I’ve dealt with have always been willing to share. Even if it’s just pics off their phone or doodled notes. Any info is great info. Sometimes, there’s a book with lighting notes or digital notes that someone has been tracking during the shoot. Having the original footage is the part that’s usually the toughest to have access to because of all the security barriers.
Please describe your collaboration process with Cinematographer Rodrigo Prieto Gaffer Lee Walters?
For Lee, it was just emails with specific questions when I couldn’t figure out certain details with lighting, or at times, they used “nicknames “for lights, so I needed some clarity. I’ve worked with Rodrigo on and off for over 15 years, so I’ve learned a little bit about how he likes things and his nuances.
He’s a perfectionist, well prepared, and it shows in all his work. His process is precise, and he’s very thoughtful when composing frames and always has a general plan. Meaning he allows us room for lighting whenever he can. We collaborate on the tone, and he’s open to suggestions on the tools as long as they achieve the look he’s going for.
What scene was the most challenging to light?
None were super challenging, but there were many moving parts, and we didn’t build out a whole stage of lighting with all the intricate rigs as they did in England for the principal. With the smaller rig, it was a little more complicated to match exactly what the 1st unit did months before in a totally different environment and in a very limited amount of time. Even with the same camera and lens, same camera settings, all the dimmer console lighting notes, and using all the pics and references, it was tough to match “Ken’s dance sequence.” The complication was that there were lots of subtle color shifts in overhead lights, disco ball lighting, automated moving lights (with specific gobos) swirling around, and there was ambient lighting from Barbie’s home that we didn’t have for our reshoot. Ultimately, we got close on the match, but it just took some time and trying things to get it.
“Barbie” Teaser
There was also a “god’s light scene” with Margot and Rhea Perlman, where subtle color gradations were shot in a white environment. We had to fish around to get that right. We didn’t have the LED walls and big sources/media server, etc., they had on the original shoot. We matched their background by having my Board Op, Chris Pritzlaff, generate various color elements to run through S360’s and Vortex 8 lights, all in pixel mode. It took a lot of work to get it right. For the hands and faces, we used Litemat Spectrums. We also had S60 space lights overhead for a subtle top fill and S360s again through the magic cloth.
What type of fixtures did you use and why?
We used Litegear Auroras for the overhead color shift, we used lots of S360s thru Magic Cloth for our bigger soft color shifts, we used BMFL spot (moving lights) to hit the disco balls and give us eye candy, and SkyPanels S60 for blue screens. In addition, we used day greys/ bleached Muslins here and there for fill.
What gear did you use to power lights and manage data? Did you use any of the Ratpac Control products?
My rigging Gaffer, Tim Durr, deployed all kinds of Ratpac products, mainly PDBs, 12x200w dimmers, 6 x 2.4K dimmers and the 24k dimmers.
What other products do you use to build the complete lighting systems setup?
Also, we used Cintennas on some of our wireless units, some Astera transmitters, and some Swisson equipment here and there.
Do you have a favorite style, technology, or work method that you consistently incorporate into your films?
Every film is unique, and I’m constantly refining my tech as it has changed dramatically in the last 6-8 years. The biggest change is trusting and using wireless more and more. Before, there could be bigger latency issues or delays, and that could be frustrating to see, but little by little, I’ve been convinced it’s a solid system and has its application. I still prefer to go hardline as much as possible, but I am more open to letting the tech do its job.
Feel free to add anything you wish to share.
I’m very grateful for this life and thankful that I chose this industry. It has given me everything I have, financially and mentally, and made me who I am. It’s a tough business to be in because of the time away from family/friends, but all in all, it’s a very unique job, and not everyone gets to visit the places and film at all these odd locations. I’m a small part of the Hollywood magic and get to work with all these famous actors and sports stars, musicians, and artists in these amazing locations all over the world and get paid for doing something I love. I truly love what I do and wake up daily grateful, but I know that I have sacrificed and worked hard to be in this position.
Photos credit: Manny Tapia
Two identical workshops are scheduled for July 15, 9:00 am – 12:00 pm and July 17, from 3:00 pm to 6:00 pm.
Ditch the hassle of managing multiple apps to control various brands’ lights. Say goodbye to the confusion surrounding CRMX radio frequencies and enjoy tangle-free lighting controls with RatPac Controls.
Our Basics of Wireless DMX Workshop, led by industry expert Simon Hunt, Regional Director of RatPac Controls Western Canada, will equip you with the knowledge and skills needed to set up Ratpac’s wireless DMX products and troubleshoot CRMX lighting systems.
This workshop will provide you with a full introduction to CRMX radio frequency behavior, allowing you to streamline your lighting setup. Don’t miss out on this chance to add a new level of flexibility and control to your lighting setup. Register for a Basics of Wireless DMX Workshop today!
Address: Ratpac Controls Vancouver | 7630 Winston St, Burnaby, BC V5A 2H4, Canada
Available sessions:
Saturday, July 15, 2023 – SESSION IS FULL
9:00 am – 12:00 pm
Monday, July 17, 2023
3:00 pm – 6:00 pm
Matt Ardine is a gaffer and lighting designer, having worked in the film industry since 2005 after graduating from Emerson College. Matt has a wealth of experience under his belt and has been a part of IATSE Local 728 since 2006. In that time, Matt has been working on various projects, including commercials, music videos, broadcast concerts, episodic television, and feature films. Matt’s impressive list of credits includes one of the most visually compelling movies of 2022, “Everything Everywhere All at Once,” “Spider-Man: Far from Home,” and “Ghost in the Shell.” Matt is a highly versatile professional who can work as a Lighting Designer for specific concert or musical scenes or as the Gaffer for an entire film such as “Everything Everywhere All at Once.”
Matt Ardine was tasked with executing a unique vision for the lighting of “Everything Everywhere All at Once.” Matt and his long-time colleague, Cinematographer Larkin Seiple (both Emerson classmates), worked together to capture the look and feel of the many multiverses featured in the film. Matt was responsible for coming up with an effective plan for achieving the numerous lighting effects that had been identified.
Please describe the pre-production process for “Everything Everywhere All at Once.”
I had very little preproduction on this movie. The only thing I had time to do was scout locations and one day of camera tests. Being that we were mainly one location, we were able to keep it pretty simple and prep on a day-by-day basis.
What did your collaboration with the VFX team look like?
VFX created the video animations that we would play through our video projectors for the elevator scene. The directors are very VFX savvy, so they were able to tell us exactly what was expected of us to make the final composite work.
What gear did you use to power lights and manage data?
We had the first demo units of RatPac Controls Unity, which we loved. We also had a dozen or so RatPac Controls PDB’s which were our main way to distribute data and power.
In the interview with Filmmaker Magazine, Larkin shared: “For most of it, we embraced the natural fluorescents, but there’s a whole sequence where [the film’s multiverse destroying villain Jobu Tupaki is first revealed in their universe and her and Michelle have a very awkward fight/conversation. For that one, we swapped out the whole hallway, put in Titans and spent about two days programming all these different lighting moves to flicker and change into rainbows to show Jobu flexing her power.” Please share the challenges and interesting solutions to lighting, powering, and controlling this scene.
We replaced a hallway existing fluorescent with Titans. It’s a pretty simple install, but we didn’t want to mess with wireless DMX, so they were all cabled back to Titan Boxes, where they received a hard line of DMX. Inga Mitinyan controlled them on a GrandMA3 console.
Was there another scene that was challenging for your team to light and control? Share details.
The additional photography involved a set we built out of video walls. PRG did an article about it.
What solution or part of this project makes you the most proud of?
It’s a complex movie that covers many genres and themes. I love the movie myself and am so proud that it is so well received.
Given all the recent attention and awards, did it change the way you feel about the movie?
I thought we were just making a weird movie that would appeal to a niche of people but I love that so many different types of people are embracing the movie. Also, I’ve been working with Daniels for 12 years now. I’m so happy to see the Daniels get the recognition that they deserved.
Los Angeles, March 3, 2023 – RatPac Controls, the leading provider of silent dimmers, data distribution, and wireless DMX control products for the motion picture lighting industry, announced that Founder and Chief Innovation Officer Craig Brink is stepping down after 12 years with the company.
Since its inception in 2011, RatPac Controls has experienced tremendous success with its innovative approach to lighting controls. RatPac Controls has expanded its portfolio to over 25 products, including silent dimming, data distribution, and wireless DMX control products. Craig Brink’s contributions helped change how gaffers rig and control lights on film and TV sets and earned RatPac Controls its reputation as an industry leader.
Before founding RatPac Controls, Craig Brink worked as a rigging gaffer, with credits including The Big Lebowski, The Fast, and the Furious: Tokyo Drift, and Fracture. His experience gave him unique insights into the customers’ needs, which he used to help develop industry-leading, time-saving products and grow RatPac Controls into one of the most successful companies in the motion picture equipment industry.
Craig Brink stated, “RatPac Controls has grown tremendously over the last 12 years. We’ve built a deep and talented team focused on innovation, new product development, and customer satisfaction. It’s time for me to move on and let our team continue their great work. I will miss the RatPac Controls family, but I know the company is in great hands as it moves forward.”
RatPac Controls’ EVP of Sales and Marketing, Nick Stabile, stated, “It was an honor to build this company with Craig. We will miss Craig’s passion for lighting controls, and we wish him all the best.”
Want to control lights from your tablet? Tired of running or rigging wired DMX cables all over your sets to control your lights? Want to demystify the radio frequencies of CRMX?
RatPac Controls is proud to announce our series: Basics of Wireless DMX Hands-on Workshops, held at our RatPac Van Nuys, CA location starting on March 1st. Sign up now for one of our workshops – they’re all the same, so feel free to join the one that works best for your schedule.
These workshops will provide you with a comprehensive introduction to wireless DMX radio frequency behavior and how this technology can be used with LumenRadio CRMX-enabled products. This foundation will enable you to control lights made by brands such as Aputure, Arri, Astera, LiteGear, Litepanels, Nanlux, Rosco, Kino Flo, and others for on-set applications. This is your opportunity to learn how it can be used to make your lighting setup more efficient.
*One should have a basic understanding of traditional DMX lighting control before taking this class.
This class is a must for anyone looking to understand the basics of wireless DMX lighting control, reduce the number of cables they have to wrangle, and gain confidence in positioning transmitters and receivers around their stage to control lights.
Address: 7532 Tyrone Ave, Van Nuys, CA 91405
Wednesday, March 1, 2023 – SESSION FULL
3:00 pm – 4:45 pm
Thursday, March 9, 2023 – – SESSION FULL
5:00 pm – 6:45 pm
Wednesday, March 22, 2023
3:00 pm – 4:45 pm
Wednesday, March 29, 2023
5:00 pm – 6:45 pm
THE EVENT REGISTRATION IS CURRENTLY CLOSED. You can request a workshop in your city by filling out this form.
Los Angeles, December 14, 2022 –Adding to its executive suite, RatPac Controls has hired Nancy Murray in a new role as Director of Customer Experience in an effort to streamline their clients’ experience. With over 25 years in the motion picture, television and broadcast industry, Murray brings a diverse background in lighting that complements RatPac Controls’ mission.
“We had been looking to fill the role for quite some time and were thrilled to find that Nancy had the right combination of skills and knowledge,” said Nick Stabile, EVP of Sales and Marketing. “She is a great addition to our pool of growing talent at RatPac Controls.”
“Having worked in this industry for many years, I have a deep love and appreciation for the products and technology that drive production,” said Murray. “I enjoy managing multiple client projects; and I am thrilled to bring my skills and knowledge of this industry to RatPac Controls. I believe my history provides a framework that will add value to the RatPac Controls team. I am passionate about this industry and look forward to working in a positive driven work environment.”
A graduate of Columbia College Chicago, Murray began working in film production as an electrician and best boy. She began her career in LA at Hollywood’s Birns & Sawyer, followed by a 14-year tenure at Mole-Richardson where she provided guidance in problem-solving customer lighting and distribution needs, developed new client relationships and led the sales and marketing teams to increased profitability and efficiency.
As an Associate member of the American Society of Cinematographers, Murray is actively involved in the Motion Imaging Technology Council (MITC) Lighting Committee and the ASC Awards Committee. She continues to mentor cinematography students who participate in the Columbia College Chicago (CCC) Semester in LA (SiLA) program.
Murray will work closely with Stabile to oversee the development and implementation of company-wide initiatives that improve customer relations and brand loyalty, bringing her unique perspective and talent to the lighting industry. “We look forward to a great collaboration with Nancy, who has been invested in our industry for so long,” said Stabile. “She already brings so much to the table with her relationships and comprehension of what we do at RatPac Controls.”
Murray starts immediately and is based in the Burbank office.
RatPac Controls, unveils the all new PDB Link, the first in the LINK System line of modular data and power distribution products. The new PDB LINK introduces, a generous 8″ multifunctional screen, intuitive control, updated firmware, and up to 6 universes of data in the “node” mode, with a user-friendly interface. Some of the upcoming LINK System devices will range from nodes and switches to clamps and accessories that mechanically snap together, tool-free, eliminating complicated rigging methods. Designed from the ground up especially to accommodate the evolving needs of motion picture, broadcasting and live entertainment, the versatile LINK System is engineered to snap together like lego blocks to accommodate any applications. Whether the need is basic power and data or a mission critical complex network, LINK System is customizable for a project’s unique requirements.
The PDB LINK box offers advantages of the legacy PDB10 Dual Universe product while adding greater ease and functionality from years of field-feedback and today’s advanced engineering and sophisticated components. The practical and rugged hardware is purpose-built for life on set with streamlined operating functionality.
PDB LINK features six hot or switchable 2.4kW/20A duplexes (12 AC Edison channels of switchable power total) in one easy-to-transport box. It includes a 12-port isolated DMX node that can also function as dual 6-port DMX opto-splitters, as well as an integrated 4-port unmanaged 1-gigabit Ethernet switch with POE+, and six 20 Amp resettable breakers. POE+ provides 80 Watts total across all four ports (30 Watts max per port). Total maximum output is 100 Amps across all channels. Ready to support DMX or Ethernet-based protocols, it features input connectors on one side, allowing the use of similar length Bates and data cables to minimize accidental unplugging. It also includes a Bates pass-through port, quiet heat dissipation, two rugged D-ring anchor points, two 3/8”-16 threaded holes, a built-in 45-minute battery, a wide array of power outputs, two hot AC Edison and one PowerCon True1, one 5V/1A USB-A Firmware port and two 5V/3A USB-C ports.
Among its assets, the box can intelligently display incoming data status and can assign a color code to each universe it is outputting. For both “PDB” and “Node” modes, when set to “Status,” the box gives a stoplight-style data indication. Other settings available include Query Options, DMX Frequency, DMX Persistence Setting, 512 Decimal and 512% setting.
RatPac Controls is planning to add the Sombrero Link to the System next year. Designed to add flexibility for rigging gaffers, Sombrero Link will enable a network switch or DMX node to be integrated into the LINK System. This 1U rack-mountable shell, offers a front and back opening, so equipment ports are readily accessible yet safely housed. With Sombrero Link, user’s gear may be easily and securely rigged to other LINK System products such as PDB LINK.
For more information about the RatPac Controls LINK System and its growing line up of components visit:
https://ratpaccontrols.com/pdblink/ or tel: 818-387-6270 (RatPac Rentals), email: marketing@ratpaccontrols.com
How to get the most out of your lighting system when shooting an award-winning TV show?
Chief Lighting Technician Danny Durr discusses his creative and technical challenges while running the lighting department on 2022 Emmys Winning show for Best Cinematography, “Euphoria”. Danny provides helpful tips on how to get the most out of your lighting setup. How to shoot more and how to adjust lighting settings on the fly with networks and wireless systems.
What were some of your goals and challenges on the show?
We were shooting with Ektachrome, the reversal film stock that we had to pump a lot of light into. It only had four stops latitude. We rated it at 150 ASA. Sometimes you need some top-line ambient, and then we can key from other sources. But if you have no ambient, the film stock is too contrasty.
Cinematographer Marcell Rév had a lot of great ideas that made my role interesting and challenging. The show required a lot of flexibility, so the goal for my team was to create a system where we could easily adjust lighting on the fly. Not every show can afford to put dimmers everywhere and have a wireless network like we did. So, as long as you have the resources to be flexible, anything’s possible. Thanks to my programmer, Tim Van Der Linden, some changes took only 10-15 minutes; it allowed us to win a little time to shoot more or try different angles. We could adapt and shift fast as opposed to re-rigging everything.
Sometimes you came up with a plan, and it worked, and other times, there’s something that didn’t feel right, so we would switch some things around. I wanted to be as efficient as possible, to give DP Marcell Rév and Director Sam Levinson as many looks to choose from and finesse it to the point that we were all happy with it. Generally, we wanted to free up time to shoot more because we only had limited days for the entire production.
How did Cinematographer Marcell Rév describe his vision?
Early in prep, he had ideas about looks that came from inspiration from paintings or pictures or other films and techniques that have been done before. Sometimes, we got a verbal description of what is needed from the shop. It’s our job to translate those into technical terms.
I asked myself: is the scene emotion driven? Is it supposed to be scary? Is it supposed to be abrupt, or is it supposed to dim out slowly? Marcell had his looks for every episode, and we went through them as the story and characters developed. At the show’s beginning, we might do one look, but by the end, we might be doing something entirely different to explain those characters and their feelings. We started using some softer, more subtle lights, then evolved to China balls and harder lighting.
How many days does your department get for pre-production?
Surprisingly not as much as you would think on a show like “Euphoria.” We only had three and a half weeks, which is not much. Scouting took one week. Another week for loading and prepping equipment. That left us a week and a half to get everything ready, and we would scout and re-scout non-stop until the wrap. While the production shot one scene, we were constantly preparing for the next one because we had a lot of locations.
Luckily I have a solid team that can put together the pieces. I don’t have to specify much because we are in constant communication. We use this program called Slack, which is phenomenal. You don’t have a bunch of text threads and the latest info available immediately to everyone. It allowed us to exchange updates more effectively and gave me more freedom to work on the set.
We have around 30 people working in the lighting department at any given time. It sounds like a lot, but it’s not. Could we produce the Euphoria quality with fewer people? Probably not.
Assistant Chief Lighting Technician (aka Best Boy): Frankie Martinez
Lighting Programmer: Tim Van Der Linden
Rigging Gaffer: Joel Ruiz
Rigging Programmer: Jason Lord
Lighting Technicians: Jesse Crusing, Daniel L. Magat, Darryl Cowherd, Rodolfo Martinez, Daryl Didier
What protocol do you use to control your lights?
It’s many switch nodes to convert Ethernet to DMX. I love the ability to use wireless, but I try not to rely on it because hardwire is a little more secure for me. Wireless works great when it’s something fast and quick. When lights are hard to reach, we roll with Cintenna 2s. We use Astera Titan tubes and Litegear LiteMats with built-in CRMX wireless. The problem is other departments have wireless gear too: Teradek, sound gear, playback. There’s only so much information that can travel on those bandwidths. Hardwire is more reliable and a better fit for stage rigs with multiple universes that are used for 1-6 months. Putting a whole stage on wireless would be a little crazy. It’s just such a saturated bandwidth.
Walk us through the lighting plot of the Auditorium set.
We used a 16 x 16 softbox above the audience. Sometimes it was angled to face the audience; other times, we pointed it at the stage. Over the circle stage, we had an 8 x 8 softbox. Since season one, we have used a lot of softboxes because this show has a lot of water. We don’t do a lot of traditional coverage. Sometimes the camera can push in 50 feet and then do a 180. You can’t hide lights in many places. If you have some ambiance, that helps you at least put the base level, and then you can pick it up with other sources to see what you want to show.
We strategically placed moving lights throughout the set to allow us to point them anywhere we needed to add a little accent. It gave us more options because there’s not much time between each set’s build to also rig the sets.
We had complete control over all lights via the console.
What gear did you use to power lights and manage data?
There were a lot of Ratpac products: PDB 12s, a lot of 12x200W dimmers for practicals, 12 x 1.2K and 6 x 2.4K dimmers. I’m a fan of the PDB 12 because you can hook all the LED lights up to it and easily transmit data with the off-on and everything else.
Why did you choose Ratpac Controls products?
Reliability. I remember everyone was impressed when the first Ratpac lunchbox showed up. Now there are more products beyond power and dimming. We know that we can rely on it. If there’s an issue, we can contact Ratpac, and they’ll take care of it.
The founder Craig Brink is a 728 IATSE member. So, there’s a lot of loyalty to people in this business that came from our line of work. You want to support these people. You want to help them. They were in it like you are. I think that’s a big part of it. People in this business are constantly figuring out ways to do things better for longevity, ease of use, and reliability.
Photo credit: Danny Durr (@durrman), courtesy of Rodolfo “Rodo” Martinez
August 11, 2022 – Los Angeles, CA – RatPac Controls has teamed with non-profit Women in Media and the MBS Illumination Training Program, part of a 2-weekend training, where RatPac’s own rigging gaffer Bobby Dechellis presented a special Lunch & Learn on July 30 at Radford Studio Center. “Finding the opportunity to partner with such dynamic organizations as Women in Media and The MBS Group allows RatPac to not only give back to the community, but to nurture new relationships,” said VP of Sales and Marketing Nick Stabile. “We recognize the dedication of Women in Media to support and launch sustainable careers in non-traditional roles and are happy to be a part of it.”
Dechellis’ presentation was engaging and informative, with requests for resources to learn more about data management and lighting protocols. “We know better than anyone that there is not enough power and data distribution education out there, and as a result, there are not enough people to take the electrical department to a new level,” added Stabile. “Our company’s mission is to create smarter ways for crew to rig and light sets in every part of the world. That’s why we have decided to develop a training program of our own dedicated to data management to help foster new talent.” Marketing Manager Xenia Lappo added, “I was excited to see the enthusiasm for our presentation during Bobby’s training. It was proof that we are going in the right direction, and we need to act now and develop the program because there is clearly a demand for classes like these.”
Women in Media began as an informal networking group, but quickly outgrew its mission. In 2017, the non-profit expanded services to include more networking, education and initiatives such as the MBS Illumination Training. The mission of Women in Media has long been to encourage a more balanced and inclusive workplace for all genders. “Our goal is 40% – 60% women on every crew, every show. It’s so important to have more women in the electrics department, and RatPac gets that. We were thrilled they could participate in a Lunch & Learn during this year’s Illumination Training,” said Tema Stagg, Founder and CEO of Women in Media.
Started during the pandemic by Irene Phan, SVP of Global Operations and Finance, The MBS Group, the MBS Illumination Training Program was in response to a need for enhancing members’ skills in grip, electric and carpentry/scenic art. Trainees worked side-by-side with highly skilled gaffers, grips, best person and rigging assistant chief lighting technicians, as well as carpenters and scenic artists.
Phan approached Stagg to be a key partnership of these trainings. Phan had already begun her own research into what the industry lacked and WIM was exactly the kind of partnership she needed. Tasked with managing the growth of operations and finance, “our bread and butter were grip and electric. As I looked more broadly at the industry, I realized there weren’t a lot females in this sector.” Phan began to get curious and her questions surfaced outdated ideals of a labor-intensive job not being a great fit for a female. “We are at a point in time when females can decide for themselves if lighting and grip is what they are interested in,” she said. “We create relationships. We all know how important those relationships are. We have working professionals teaching classes. To have their contact information and to be able to reach out and ask questions is a great success story. It helps students get on sets and get union hours, and I know some previous participants have gone through that process.”
Stagg agreed. “Our members are gaining sustainable careers in grip and electric, in no small part because of the hands-on training with the gear. I see RatPac Controls as a valuable partner for future events, training, and our signature initiatives. We look forward to continuing that trajectory with all our vendor partners, and are happy that The MBS Group helped lead this initiative.”
“Given the nature of our business, our goal is to continue to foster relationships like this worldwide, and this is a great first start for us,” said Stabile. Phan’s goals are aligned with raising the bar for the next generation. “We will continue to partner with non-profits that are aligned with our values and goals globally. We want to make sure we have presence wherever our locations are. For the industry, in 3, 5 or 10 years from now, I would like to see these members walking through our stages, our warehouses and renting our equipment and facilities.”
If you are interested in information about RatPac’s data management class, please fill out this form: https://forms.gle/t4C1i2zdt524MEyp7
Los Angeles, August 2, 2022 – Boosting its internal ranks of experts, RatPac Controls has hired renowned Lighting Programmer Joshua Thatcher, who comes from a lengthy career on set, as well as IATSE Local 728’s in-house Instructor who focused on lighting control and lighting technology. With credits ranging from TV series “Star Trek: Picard” and “Loki,” to features like one of the summer’s biggest hits, “Top Gun: Maverick,” Thatcher is an industry professional who brings over 20 years of experience to RatPac Controls.
“On-set support of our customers and education are huge priorities for us,” said Craig Brink, Chief Innovation Officer and Founder of RatPac Controls. “As an IATSE 728 member, I am aware of what an asset Joshua has been to the lighting community and members of Local 728. Joshua will continue to work as an innovator and thought leader in the entertainment industry as RatPac leads in providing technology needed today and in the future.”
As Field Application Engineer, Thatcher will be tasked with troubleshooting complex networking in situations where nodes, opto-splitter and Ethernet switches are deployed. His role will also include providing knowledgeable details on RatPac’s product line while assisting crew members, rental house and studio staff. Recognized as a forward thinker in the use of new technology and implementation of new control concepts, he has worked closely with manufacturers to develop and test products in real production situations. Thatcher’s strong understanding of rigging power, dimming systems and data networking as used in film and TV stage work makes him the perfect candidate to join RatPac.
‘RatPac is a great company and their gear is rock solid, so it was an honor and a huge surprise when I was asked to join the team,” said Thatcher. “With more than 20 years of programming experience, walking away from being on set full-time was a major decision for me and my family. I am excited to continue my work with leading edge technology in the entertainment lighting industry in a new role.”
Fixtures Design Supervisor and MBSE’s SVP of Technology and Innovation Mike Visencio, who worked with Thatcher on “Star Trek: Picard” applauded RatPac’s choice. “Josh has been integral in making lighting control on set streamlined and adaptable to lighting challenges. His forward-thinking collaboration on small, large and mid-size projects have made my job and the end product that much better. I look forward to seeing his thoughts and constant evolution of lighting control take shape with RatPac to elevate the on-set work experience.”
Added Thatcher, “Working with RatPac will allow me to continue my relationships with all the talented people I have had the pleasure of programming for and the hardworking crews I have been able to work with all these years. This is going to be great and I can’t wait to see where we go from here.” Thatcher begins his new position on September 1, 2022, in the LA office.