BB and S Lights Quarantine short: We Can Go On

Date: 01/10/2020
BB and amp;S Lights Quarantine short: We Can and rsquo;t Go On

Amanda Dreschler and Michael Livingston didn’t let a detour like the COVID-19 pandemic shunt their creativity. Just the opposite— they channeled their isolation experience into inspiration and pulled out the stops—writing a script, learning the majority of crew positions, and sharpened their directing, acting and editing skills. Plus they got by with a little help from their friends— all remote, all COVID safe.

Together they wrote the script mirroring the very personal emotional and physical experiences they were undergoing, measured with a healthy dose of creative expression that adds an undertow of mystery that really keeps the 19-minute story moving.

They made the most of their own “natural resources” using their Hollywood rooftop apartment as the location. A call to Michael Valinsky nabbed their long-time friend as Executive Producer and he in turn reached out to legendary Steadicam operator, turned DP, Dan Kneece, and they had their cinematographer. Michael Bravin at Canon added a new Canon C300 MKII and Sumire primes that they called a “godsend”.

The previous year, Kneece had used the new BB&S Area 48 Color on a soon to be released indie film, so he was happy when BB&S again made the lights available. “The BB&S Area 48 Color was definitely our main light,” says Livingston, “We used it in almost every scene. Even in those that were primarily natural daylight, we almost always had the Area 48 bouncing for some extra fill. We shot against bright windows in full daylight for the workout scene at the beginning of the film. The Area 48 gave enough power to bring up the exposure in the apartment close to the exterior so we didn’t blow out our windows.”

“The colors on the Area 48 were stunning and essential in getting the neon look of the film. We would never have been able to achieve the bright colored sequences with gels. In our lava lamp scene we were able to tune the colors to an almost exact match with our lava lamp and dim it down to look as if the lamp cast a glow on our faces. Without the Area 48 we wouldn’t have been able to fine-tune that scene the way we did.” Kneece concurred, “The power, versatility and flexibility of this light is incredible. It has the adjustability to match almost any other colored source.”

Matching was important to Livingston who was co-directing, working camera and editing. “The Rotolights can roll through daylight to tungsten, but they don’t have the color range of the Area 48. The BB&S lights had such precise controls we were always able to match the Rotolights. The green shift control for the daylight was also very helpful. Our apartment windows have a slight green tint to them, and we were able to match that light with the Area 48.

Although Dan was in Marina Del Rey while Amanda and Michael were across town, the team safely moved forward remotely without missing a beat. “The waveform was a saving grace as we bounced the signal over two laptops so we could collaborate”, says Kneece. “By pointing Michael’s laptop at the production monitor, working on this film didn’t seem much different that other films when you’re working from video village on a normal set. The process actually worked really well.”

Small team or not, the goal was to get a high-end look. Peering into the psychological states of the characters called for numerous close-ups especially on the co-director/lead character, played by Amanda Dreschler. Capturing her gossamer complexion has been a challenge on many of their films. “We’re always experimenting with different make up, different lighting,” explains Michael. “This time around we found it very easy to get good beauty shots with the Area 48. The quality of light that comes from it is so soft, especially with the soft box, it gave a very luminescent quality to our close ups. With Dan’s help we lit the scene the way it needed to look, and the light just bounced beautifully off her skin—it did all the work for us.

The lava lamp scene was critical. Kneece explains, “Lava lamps by nature are not the most precise light sources so thank goodness the Area 48 Color is. We were able to match the lava lamp perfectly and use the Rotolight to make up the difference with a bit of gel. The trickiest part was positioning the camera, lights and actors so they were attractively lit and photographed without shadowing them from the fixture or getting unwanted light on the lava lamp or their faces. It was a very precise shot to make work.”

“The color grade also helped bring everything out to its full potential”, adds Livingston, “but the ultra soft Canon Sumire lenses and the Area 48 is an A+ combination. If you’re looking for good beauty work it certainly gets Amanda’s seal of approval.

They also selectively used harder LED lights. Livingston says, “The Force-7 is a beast of a light but highly controllable so it was great for our shooting limitations. To create the spotlight in our singing set up we had it behind the camera pretty far back from the set (as far as we could manage in our apartment!) and were able to get a perfect circle on our backdrop. It also acted as a backlight in the sequence where Amanda is dressed up as the raven. We could spot it down to a pinpoint and get a perfect kick on the back of her hair and feathers. It was subtle, but it’s the details that make all the difference.”

“The Compact Beamlight was fantastic, especially under shooting conditions where we didn’t have any crew or a lot of space. It was perfect for hair lights and came in handy anywhere else we needed a kick. One set up in particular was for the finale which Livingston calls the “floating iPhone key shot,” explaining, “We used the CBL-1 as a rim to simulate the sunset glinting off of the phone on our white screen. Using the dimming control we were able to be very precise about the amount specular highlight we were getting.”

Dan Kneece has been on the set of literally hundreds of films, big and small. His response to the first one filmed in quarantine? “As beautiful as this movie is, it was all done in a practical apartment using house power and we didn’t blow a breaker once. Amazing really.”

We Can’t Go On, written, directed, and starring Amanda Dreschler and Michael A. Livingston was shot and completed during the 2020 Covid-19 quarantine. View it at: https://vimeo.com/447406368



Tags: BB&S Lighting | BB&S | Lighting | local 728 | lighting design | light | cinematography | digital cinematography | director of photography | cinema | commercial | music video | phosphor lighting | led | lightbridge | pipelines | area 48 | Lumix S1H | reflector | cine | produc
Submitted by Susan Lewis (Lewis Communications)
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    TSL Products PAM1, SAM1 and PAM PiCo at IBC 2013

  • TSL Products at IBC 2013

    TSL Products at IBC 2013

  • Tony Taylor from TMD talks about Post Production

    Tony Taylor from TMD talks about Post Production

  • SIS LIVE and their products ManPak and DriveForce at IBC 2013

    SIS LIVE and their products ManPak and DriveForce at IBC 2013

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • Telestream with Post Producer at IBC 2013

    Telestream with Post Producer at IBC 2013

  • TSL Products at NAB 2013

    TSL Products at NAB 2013

  • TSL Products at BVE 2013

    TSL Products at BVE 2013

  • TSL Products at IBC 2012

    TSL Products at IBC 2012

  • Creating Broadcast Quality Live Streams for Social Media

    Creating Broadcast Quality Live Streams for Social Media

  • Equipping The Next Generation From University to the Media World

    Equipping The Next Generation From University to the Media World

  • K-tek Stingray range shown at NAB 2019

    K-tek Stingray range shown at NAB 2019

  • PAM-IP and ST-2110 support from TSL at NAB 2018

    PAM-IP and ST-2110 support from TSL at NAB 2018

  • LiveMedia Server and Live Xpert from 3D Storm at NAB 2017

    LiveMedia Server and Live Xpert from 3D Storm at NAB 2017

  • Calrec at BVE 2017

    Calrec at BVE 2017

  • Prime Focus Technologies at NAB 2016

    Prime Focus Technologies at NAB 2016

  • JVC GY-LS300 at IBC 2015

    JVC GY-LS300 at IBC 2015

  • BBright at IBC 2015

    BBright at IBC 2015

  • NewTek at IBC 2015

    NewTek at IBC 2015

  • Tektronix at IBC 2015

    Tektronix at IBC 2015

  • Brainstorm Multimedia at BVE 2015

    Brainstorm Multimedia at BVE 2015

  • Grass Valley at BVE 2015

    Grass Valley at BVE 2015

  • PlayBox at BVE 2015

    PlayBox at BVE 2015

  • Thomson Broadcast at IBC 2014

    Thomson Broadcast at IBC 2014

  • Forscene at IBC 2014

    Forscene at IBC 2014

  • Quantel LiveTouch at IBC 2014

    Quantel LiveTouch at IBC 2014

  • Quantel deal with AFP at IBC 2014

    Quantel deal with AFP at IBC 2014

  • Blackmagic MultiView at IBC 2014

    Blackmagic MultiView at IBC 2014

  • NewTek TalkShow at IBC 2014

    NewTek TalkShow at IBC 2014

  • NAB 2014

    NAB 2014

  • Atomos Samurai Blade at BVE 2014

    Atomos Samurai Blade at BVE 2014

  • Atomos Ronin at BVE 2014

    Atomos Ronin at BVE 2014

  • Atomos Ninja Blade at BVE 2014

    Atomos Ninja Blade at BVE 2014

  • Ross Video at BVE 2014

    Ross Video at BVE 2014

  • NewTek TriCaster at BVE 2014

    NewTek TriCaster at BVE 2014

  • Grass Valley at BVE 2014

    Grass Valley at BVE 2014

  • Forbidden Technologies FORscene at BVE 2014

    Forbidden Technologies FORscene at BVE 2014

  • Forbidden Technologies FORscene App at BVE 2014

    Forbidden Technologies FORscene App at BVE 2014

  • Blackmagic Design on BroadcastShow LIVE at IBC 2013

    Blackmagic Design on BroadcastShow LIVE at IBC 2013

  • Calrec on BroadcastShow LIVE at IBC 2013

    Calrec on BroadcastShow LIVE at IBC 2013

  • Orad Hi Tec Systems on BroadcastShow LIVE at IBC 2013

    Orad Hi Tec Systems on BroadcastShow LIVE at IBC 2013

  • Guntermann and Drunck on BroadcastShow LIVE at IBC 2013

    Guntermann and Drunck on BroadcastShow LIVE at IBC 2013

  • Nexidia QC on BroadcastShow LIVE at IBC 2013

    Nexidia QC on BroadcastShow LIVE at IBC 2013

  • Atomos with the Ronin on BroadcastShow LIVE at IBC 2013

    Atomos with the Ronin on BroadcastShow LIVE at IBC 2013

  • Snell on BroadcastShow LIVE at IBC 2013

    Snell on BroadcastShow LIVE at IBC 2013

  • Harmonics Tom Lattie on BroadcastShow LIVE at IBC 2013

    Harmonics Tom Lattie on BroadcastShow LIVE at IBC 2013

  • Primestream on BroadcastShow LIVE at IBC 2013

    Primestream on BroadcastShow LIVE at IBC 2013

  • NewTek on BroadcastShow LIVE at IBC 2013

    NewTek on BroadcastShow LIVE at IBC 2013

  • Volicon on BroadcastShow LIVE at IBC 2013

    Volicon on BroadcastShow LIVE at IBC 2013

  • Sound Devices on BroadcastShow LIVE at IBC 2013

    Sound Devices on BroadcastShow LIVE at IBC 2013

  • Audio Network on BroadcastShow LIVE at IBC 2013

    Audio Network on BroadcastShow LIVE at IBC 2013

  • Cobham on BroadcastShow LIVE at IBC 2013

    Cobham on BroadcastShow LIVE at IBC 2013

  • Sound Devices PIX260i Recorder at IBC 2013

    Sound Devices PIX260i Recorder at IBC 2013

  • Aframe Cloud Video at IBC 2013

    Aframe Cloud Video at IBC 2013

  • Tony Taylor from TMD talks about LTFS at IBC 2013

    Tony Taylor from TMD talks about LTFS at IBC 2013

  • Tony Taylor from TMD talks about Mediaflex CI

    Tony Taylor from TMD talks about Mediaflex CI

  • Blue Lucy Media at IBC 2013

    Blue Lucy Media at IBC 2013

  • Facilis at IBC 2013

    Facilis at IBC 2013

  • Telestream with Wirecast version five at IBC 2013

    Telestream with Wirecast version five at IBC 2013

  • Cobham: Mini RF Transmitters at NAB 2013

    Cobham: Mini RF Transmitters at NAB 2013

  • Cobham: RF Transmitter at NAB 2013

    Cobham: RF Transmitter at NAB 2013

  • Pixel Power at NAB 2013

    Pixel Power at NAB 2013

  • Guntermann and Drunck GmbH at NAB 2013

    Guntermann and Drunck GmbH at NAB 2013

  • Autocue at BVE 2013

    Autocue at BVE 2013

  • Autocue at BVE North 2012

    Autocue at BVE North 2012

  • Miranda at NAB 2012

    Miranda at NAB 2012

  • Bexel at NAB 2012

    Bexel at NAB 2012

  • Autodesk at NAB 2012

    Autodesk at NAB 2012

  • Autocue at NAB 2012

    Autocue at NAB 2012

  • Ross Video at BVE North 2011

    Ross Video at BVE North 2011

  • SGO at IBC2011

    SGO at IBC2011


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News
Rohde and Schwarz Introduces Advanced Dolby Atmos Audio and IMF Packaging Capabilities to CLIPSTER Posted: 14/04/2021
Rohde and amp; Schwarz Introduces Advanced Dolby Atmos Audio and IMF Packaging Capabilities to CLIPSTER

Rohde & Schwarz, a global leader in post-production media technologies has announced the release of the latest version of its R&S®CLIPSTER feature film and episodic TV mastering system. The latest software upgrade (version 6.9.1) includes extended support for Dolby Atmos multi-channel surround sound production technology as well as the latest IMF (ST2067-X) delivery standards.

Tags: Rohde & Schwarz | broadcast media | broadcast | CLIPSTER | Dolby Atmos Audio | IMF capabilities | entertainment | software update | surround sound technology | production media technology | R&S CLIPSTER
Submitted by Manor Marketing
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Rohde and Schwarz Introduces Scalable Distributed Multiviewer Functionality Posted: 14/04/2021
Rohde and amp; Schwarz Introduces Scalable Distributed Multiviewer Functionality for R and amp;S and reg;PRISMON

Rohde & Schwarz, a global leader in broadcast media technologies has announced the introduction of strategic new IP-related multiviewer functionalities within its R&S®PRISMON broadcast channel monitoring and multiviewer system.

Claimed by the company to be a world’s first in IP workflow multiviewing, the new Scalable Distributed Multiviewer feature offers unprecedented configuration flexibility for users through its ‘any to any’ function. This unique feature, which can be added to existing PRISMON installations, enables any input to any output connectivity through IP proxy networks for up to 36 remote devices.


Tags: Rohde & Schwarz | Multiviewer | broadcast media | broadcast | prismon | scalable | Distributed Multiviewer | Multiviewer feature | Monitoring
Submitted by Manor Marketing
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NEP Germany moves into air freight containers for production of the current Formula 1 season Posted: 14/04/2021
NEP Germany moves into air freight containers for production of the current Formula 1 season

Producing the Formula 1 for TV is, besides the production challenges as such, a logistical tour de force. Production equipment needs to travel around the world preceding the racing circus and must always be on-site and ready for use at the right time.

Tags: Formula One | container | studio | NEP Germany | Broadcast Solutions
Submitted by Broadcast Solutions
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Densitron launches new Tactila evaluation kit for touchscreen rotary controls Posted: 14/04/2021
Densitron launches new Tactila evaluation kit for touchscreen rotary controls

Densitron, the global leader in innovative Human Machine Interaction (HMI) and display technology, has addressed the continuing strong demand for tactile controls to be used in conjunction with touchscreens by launching a versatile new evaluation kit. Incorporating three tactile rotary knobs that are already bonded, Tactila features a high-resolution 8” touchscreen as well as powerful processing that utilises ARM and Linux BSP technologies.

Tags: Densitron | Tactila | Broadcast | Rotary Knobs | Tactile Controls | Rotary Controls
Submitted by Page Melia PR
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Leader Introduces Video Primers on SMPTE ST 2110 Posted: 14/04/2021
Leader Introduces Video Primers on SMPTE ST 2110

Leader Electronics announces new additions to its range of training resources with the release of three video primers explaining the SMPTE ST 2110 Professional Media Over Managed IP Networks suite of standards:

Video primer: An Introduction to ST 2110-20 (6 minutes).

Video primer: An Introduction to SMPTE ST 2110-10 System Timing (22 minutes).

Video primer: SMPTE ST 2110 Professional Media Over IP (5 minutes).


Tags: Leader Instruments | video test equipment | audio test equipment | video waveform monitors | 12G waveform monitors | 12G video analyzers | IP video analysers | video noise meters | HDR test equipment | true-hybrid test equipment | Hi-Vision test equipment | surround
Submitted by Stylus Media Communications
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ACCESS Europe partners with leading music service Stingray to deliver greater content choice and entertainment to car users Posted: 14/04/2021
ACCESS Europe partners with leading music service Stingray to deliver greater content choice and entertainment to car users

ACCESS Europe GmbH today announced that it has partnered with Stingray Group Inc. (TSX: RAY.A; RAY.B), a leading music, media and technology company, to bring streamed music services to the car for the US and Canadian markets initially.

Tags: OTT | Streaming | Stingray | Automotive | Music | AppStore | SVOD | Audio
Submitted by Staff
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Maxon Announces Redshift for macOS Including Native Support for M1-Powered Macs Posted: 13/04/2021
Maxon Announces Redshift for macOS Including Native Support for M1-Powered Macs

Maxon announced the immediate availability of Redshift for macOS including support for M1-powered Macs as well as Apple’s Metal Graphics API. Redshift, the award-winning, production-ready renderer, offers a rich feature set including ray switches, flexible shading networks, motion blur, AOVs, deep output, layered EXR and much more.

Tags: Maxon | Redshift | macOS | production rendering | VFX rendering
Submitted by Zazil Media Group
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Maxon Announces Cinema 4D S24 Posted: 13/04/2021
Maxon Announces Cinema 4D S24

The latest subscription-only release of Maxon’s 3D application allows users to easily browse and obtain models, materials and other assets, and to intuitively place them within the scene. The release also includes key workflow enhancements and a sneak peek at continued progress on the Scene Nodes and Scene Manager interfaces to the new core.

Tags: Maxon | Cinema 4D | C4D | 3D design | product updates
Submitted by Zazil Media Group
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Maxon Unveils a New Corporate Identity Posted: 13/04/2021
Maxon Unveils a New Corporate Identity

After more than 20 years, Maxon has unveiled a new corporate identity. The move follows the completed unification of Maxon global in 2018, the acquisition of Redshift in 2019 and the merger with Red Giant in 2020. Senior Brand Manager Leo Hageman designed the logo under the direction of Maxon’s executive team.

Tags: Maxon | Logo | Animated Logos | Redshift | Red Giant
Submitted by Zazil Media Group
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Moves by Maxon Update Offers Streamlined Workflow Posted: 13/04/2021
Moves by Maxon Update Offers Streamlined Workflow

Maxon, the developers of professional software solutions for motion designers and visual effects artists, is pleased to announce the release of an update to Moves by Maxon for iOS devices. Moves by Maxon capitalizes on the emerging technology of Apple's AR-Toolkit, which enables users to capture facial motion and whole body movement; enabling artists to bring motion sequences into Cinema 4D with limited technical effort. Moves by Maxon was released in early 2020 and has become quite popular among Cinema 4D users. In this latest updated release several optimizations have been implemented to make the app more stable and user-friendly. Most notably, Moves by Maxon now includes simplified connectivity to Cinema 4D S24 via automatic network discovery, removing the previous need to scan a QR Code image or manually configure the IP address of the machine running C4D.

Tags: Maxon | Moves by Maxon | Cinema 4D | Animation | VFX
Submitted by Zazil Media Group
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GOL TV Leverages Grass Valley End-to-End Live Production Workflow for Studios and Mobile Units Upgrade in Multimillion Dollar Deal Posted: 13/04/2021
GOL TV Leverages Grass Valley End-to-End Live Production Workflow for Studios and Mobile Units Upgrade in Multimillion Dollar Deal

Grass Valley announces that a suite of its live production solutions are central to GOL TV’s newly upgraded mobile fleet and studios. In a large and complex multimillion dollar deal, the Tenfield-owned bilingual soccer channel has selected Grass Valley cameras, switchers, replay and highlights and IP routing and infrastructure – all fully integrated with third-party equipment – to provide an end-to-end workflow that will support live sporting events, live musical shows and news productions. This system upgrade equips GOL TV to strengthen its position in live production for LATAM with futureproofed capability, including IP and 4K UHD HDR.

Tags: grass valley | gol tv
Submitted by Staff
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Victory Church Engages the World with Pliant Technologies MicroCom XR Posted: 13/04/2021
Victory Church Engages the World with Pliant Technologies MicroCom XR

For Victory Church, entering the live-stream world was something that they aimed to achieve within the next few years, but when the pandemic struck, it was a shift that they needed to make within a few weeks. With a limited budget and requirements for wireless capabilities, Pliant Technologies’ MicroCom XR digital wireless intercom system was the right solution for Victory Church. With MicroCom XR, production staff and volunteers can deploy a reliable solution for clear communication, helping productions—both in-person and live-streamed—go on without a glitch.

Tags: Pliant Technologies | MicroCom XR | intercom solutions
Submitted by D. Pagan Communications
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TSL Products Proves Reliable for Saudi Broadcasting Authority Posted: 13/04/2021
TSL Products Proves Reliable for Saudi Broadcasting Authority

GENTEC, a leading contractor for telecommunications, electronics and computer projects, has proven its capability by successfully completing projects across Saudi Arabia, and has become a trusted systems integrator of TSL Products. When the integrator was recently tasked with a first-of-its-kind outside broadcast project at Saudi Broadcasting Authority (SBA), they knew that TSL’s audio monitoring and broadcast control solutions would be up to the challenge.

Tags: TSL Products | audio monitoring | broadcast control
Submitted by D. Pagan Communications
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New TVU Remote Commentator Offers Real-Time, Broadcast-Quality Audio Commentary for Live Productions over the Internet Posted: 13/04/2021
New TVU Remote Commentator Offers Real-Time, Broadcast-Quality Audio Commentary for Live Productions over the Internet

TVU Networks today announced TVU Remote Commentator, a cloud-based solution that allows sports producers and event organizers to add synchronized, real-time audio commentary from any location using a public internet connection. Even when the event and commentators are in different parts of the world, TVU Remote Commentator streamlines digital productions and delivers broadcast-quality audio for live productions.

Tags: TVU | cloud production | remote production | sports production
Submitted by Pipeline Communications
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ELEMENTS Discuss Best Practices for Remote Production Workflows and Latest Updates in the Ecosystem Posted: 13/04/2021
ELEMENTS Discuss Best Practices for Remote Production Workflows and Latest Updates in the Ecosystem

ELEMENTS, provider of innovative, high-performance media storage and server systems for the post-production and broadcast industry, is offering free, dynamic web sessions 27-29 April 2021 to discuss remote editing of the future, as well as recent updates.


Tags: ELEMENTS | Media Storage | Server Systems | post production | broadcast | remote production | storage | storage ecosystem | automation workflows | Qualification Programme | storage solutions | editing
Submitted by Manor Marketing
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