Home Applications Tunnel Visionclass=attachment-thumbnail size-thumbnail f-align-center alt decoding=async data-lazy-srcset=https://www.litepanels.com/wp-content/uploads/2023/09/joe-bio-150x150.jpg 150w, https://www.litepanels.com/wp-content/uploads/2023/09/joe-bio-140x140.jpg 140w, https://www.litepanels.com/wp-content/uploads/2023/09/joe-bio-100x100.jpg 100w, https://www.litepanels.com/wp-content/uploads/2023/09/joe-bio.jpg 300w data-lazy-sizes=(max-width: 150px) 100vw, 150px data-lazy-src=https://www.litepanels.com/wp-content/uploads/2023/09/joe-bio-150x150.jpg />Joe RansomAs a director and DoP Joe brings a unique approach to his work. He's a creative thinker and is adaptable to the everyday demands put before him. His work has taken him around the world both directing and shooting for clients that include; Disney, Cartoon Network, Discovery, Nickelodeon, ITV, Playstation, Vodafone, Amazon and B&Q.
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Throwing Shapes In 2021, Litepanels launched the super bright Gemini 1 1 Hard. A 1 1 fixture capable of 3,000 lux of output at 10ft. With that launch came a challenge - create a cinematic short sequence using 1 1 Hard fixtures as the only light source. Meeting the challenge: British DP, Joe Ransom. Joe created The Heist, a fast-paced, multi-location action short, taking viewers on a high-adrenaline journey to an ending with a twist.
Fast forward to 2022, Litepanels significantly up the game with the Gemini 2 1 Hard, an insanely bright LED panel throwing out 23,000 lux at 10ft. Who could show off the awesome power and beauty of this new light? Hello Joe.
Playing on the big stage We wanted to approach the film very differently to the 1 1 Hard launch film as this light is for the high-end film world. Says Joe. But how do you make something that looks like a movie without spending what a movie spends? high-end filmmaking and high budgets normally come hand in hand. Joe continues, We wanted to play in the way the big players play but in a way that was achievable for us, so we tried to box clever. Stripping back the set build to reduce the budget, we could put all our effort into showcasing the light and making that the star of the show. Really putting it to the test .
The brief called for the film to show the light's unique capabilities, an incredibly bright output from a 2 1 fixture that at just 25lbs is hands-down the lightest in its class. One idea was to show a ceiling of light controlled by a DMX desk. But Joe had other ideas. We tried to think outside the box , he says. We are talking to people who know. We don't need to show them things they have already seen or tell them how a hard light source works.
Tunnel Vision Developing the concept, Joe wanted to show that there was no other light on the market that could achieve the same output as the Gemini 2 1 Hard. The idea of hard tunnels of light was born.
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The hard tunnels of light really formed the basis of our creative. Says Joe. Simply put, we wanted to show that it was possible to use an LED panel to create a hard, direct source of light with RGBWW capabilities in a huge scale studio .
For a huge scale studio in the UK, look no further than the legendary Cardington Studios. The 180ft high former Royal Airship Works hangar has been home to epic movie franchises such as Batman, Star Wars, and Legendary Beasts. The cavernous space would now host Joe and 100 Gemini 2 1 Hard fixtures.
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The awesome power of the Gemini panels would create three tunnels of hard light from the ceiling to the ground. Inside each tunnel, aerial acrobats would perform a dizzying high altitude routine. For each tunnel, Joe and his team created a 12 12 hard box' made up of 22 Gemini panels and a Correx end cap to form the square shape. The light would blast through a giant egg crate fashioned from black bolt-on to create the sharply defined shafts of light. Eight more Gemini units with domed diffusers would create vertical runs of light behind each tunnel.
Joe continues, We rigged up three hard boxes' 45ft from the ground. The aerial performers rarely get the opportunity to work in spaces with over 30ft of free fall height, so for them, the higher the better. And we really wanted to test the power of the Gemini too, so we rigged as high and as close to the gantry as possible.
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The tunnels of light were just a theory, but with no lights available to test before the shoot, and only one day of pre lighting on the schedule for the ambitious shoot, there was no time to t
