Lights, Camera¦Action


TV-Bay Magazine
Read ezine online
Rotolight was recently used as the light of choice for a high profile Shoot that took place at the Silverstone F1 Track. The Autosports awards shoot saw some of the best young future F1 stars competing in the gorgeous McLaren MP4-12C Supercar, Formula 2 Cars, and Mercedes DTM cars all afternoon, with the winning driver rewarded with the opportunity of their first Formula 1 drive that day in Lewis Hamilton’s 2008 Championship winning Formula 1 Car.
The Video from the Silverstone shoot was to be premiered at the prestigious 2011 Autosports Awards ceremony on Park Lane, with the worlds press and some of the best drivers in the world in attendance, including Formula 1 World Champion Sebastian Vettel, Former World Champions Jenson Button and Lewis Hamilton’s amongst numerous other high profile stars in attendance.
Given the high profile nature of the event, the final results had to look fantastic and the F1 shoot presented many challenges to London based production company Sequence (www.sequencecreative.co.uk) who previous distinguished credits included James Bond Quantum of Solace, BBC Sport, BBC Royal Ascot, Top Gear Live, as well as several productions for North One Television, Freemantle, Sky and Channel 5.
"We've used the Rotolight systems on several high-profile shoots in the last year, notably including the 2011 Haymarket Publishing Autosports Awards show. The ease of use, portability and speed of work they allow are excellent. We were able to mount the Rotolight RL48-B's into a McLaren cockpit at Silverstone just before a hot lap and add extra shape to the interior GoPro driver shots with very little hassle. On larger setups we used the Rotolight Anova Studio lights to get some great stylized shots of the cars and drivers”, said Ben Foakes, Head of Post at Sequence.
The revolutionary Rotolight Anova is a 1000 Watt, Bi-Colour led floodlight, capable of accurately reproducing white light from candlelight through to full daylight and uniquely features a super-wide 110 degree beam angle that eliminates hard shadows and hotspots with gorgeous soft light output and signature "Ringlight" effect. With just 2.6Kg in weight and only 38 watt power consumption, the Anova is highly portable, and features a V-lock plate for battery operation delivering 3 hours at 100% power, making it ideal for the shoot.
"On this high profile shoot one of the particular challenges we faced was the fast paced nature, which often meant we had only limited time to get the takes we needed and so required something that was bright but highly portable, and could be setup quickly to deliver great looking shots."
"The other challenge was the changing ambient light conditions as we were shooting from dusk till dawn so the ability of the Rotolight to accurately dial in the desired colour temperature throughout the shoot was extremely useful"
"Our end client was delighted with the finished films and I was very impressed by the product, in particular how we were able to use it in environments where traditionally far more expensive solutions have been necessary. We look forward to using them again on our next production " (Ben Foakes, Head of Post, Sequence)
As well as its gorgeous soft light output, the Rotolight Anova also features built in Wifi and a world’s first technology “Magic Eye”, allowing wireless remote control of brightness, colour temperature, aswell as the ability to also accurately sample both colour temperature and intensity, & wirelessly transmit and recall settings across the world to ANOVA, enabling replication of lighting conditions from Location to Studio.
To see the results of Rotolight Anova on the Formula 1 Shoot, visit the YouTube Link here http://www.youtube.com/watch?v=MjqLS8w41Z0
www.rotolight.com

Tags: iss064 | formula 1 | f1 | rotolight | anova | led studio light | N/A
Contributing Author N/A

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Riedel Communications on BroadcastShow LIVE at IBC 2013

    Riedel Communications on BroadcastShow LIVE at IBC 2013

  • Rotolight Anova Pro 2 LED at NAB 2018

    Rotolight Anova Pro 2 LED at NAB 2018

  • Rotolight Anova Pro 2 shown at BVE 2018

    Rotolight Anova Pro 2 shown at BVE 2018

  • Rotolight at NAB 2012

    Rotolight at NAB 2012

  • Rotolight and TNP at BVE 2012

    Rotolight and TNP at BVE 2012

  • Rotolight at ProVideo2011

    Rotolight at ProVideo2011

  • Rotolight at IBC2011

    Rotolight at IBC2011

  • TNP and Rotolight at BVE North 2011

    TNP and Rotolight at BVE North 2011


Related Shows
  • BVE 2013 Day 2

    BVE 2013 Day 2


Articles
Original KVM or KVM over IP
Jochen Bauer Will the technology used in broadcasting solely consist of IP devices? For years, IP has been entering all areas of life. Especially control room applications as they are typically deployed in broadcasting benefit from the IP revolution in many ways. But an “IP-only broadcast world” is not yet here. Nevertheless, the trend clearly moves towards IP transmission, even though a large part of content production still uses traditional transmission paths. And therefore we continue to live in a hybrid world, using both original and IP-based technology. KVM experts Guntermann und Drunck still rely on both original KVM and KVM-over-IP™ to be able to offer their customers the best of both worlds.
Tags: iss139 | kvm | gdsys | guntermann and drunck | kvm-over-ip | Jochen Bauer
Contributing Author Jochen Bauer Click to read or download PDF
Keeping the Show on the Road
Andy McKenzie There is long-established saying in the media business that, if something goes wrong, at least nobody dies. It is almost true unless you happen to be a TV producer suffering a cardiac arrest because your primary video feed has gone blank during a high-budget programme.
Tags: iss139 | service | support | finepoint | maintenance | Andy McKenzie
Contributing Author Andy McKenzie Click to read or download PDF
Why MADI is Still Relevant
Stephen Brownsill While the original idea for MADI was to cater to a very narrow recording studio application, the standard remains a viable go-to multichannel audio technology. Beginning as a standard in 1991, MADI was first introduced to the world as digital production was beginning to come of age. MADI was put together in 1988 by Solid State Logic, AMS-Neve, Sony (DASH) and Mitsubishi (ProDigi) as a way to transport up to 56 channels of digital audio between large-format audio consoles of the day and digital multi-channel tape machines via 75-Ohm coaxial cables. Both tape-based machines have long since disappeared from the equipment landscape.
Tags: iss139 | madi | tsl products | aes10 | aes | dolby atmos | st-2110 | sam-q | Stephen Brownsill
Contributing Author Stephen Brownsill Click to read or download PDF
The Future of Broadcast Connectivity
Jamie Adkin The use of KVM equipment has been essential to meet the evolving needs of the broadcast industry for many years. Over that time, many in the industry have recognised the importance of using IP-enabled KVM to break down technological barriers and enable real-time access to visuals wherever and whenever they’re needed. These components are vital parts in live production environments in particular.
Tags: iss139 | adder | kvm | ip kvm | Jamie Adkin
Contributing Author Jamie Adkin Click to read or download PDF
Keeping Pace with the Content Revolution
Kevin Fitzgerald These are uniquely challenging times for broadcasters and their technical teams. Not only are they having to negotiate the move to IP-based infrastructures and the introduction of new formats and techniques such as 4K and HDR, they are also having to generate more content than ever before to support OTT and web services as well as traditional linear broadcast.
Tags: iss139 | streamstar | streaming | case 800 | ipx | ipx-3g | Kevin Fitzgerald
Contributing Author Kevin Fitzgerald Click to read or download PDF