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to show off some of the light’s unique capabilities and highlight its key features. “For example, one of the initial requests was to show a ceiling of light all controlled by a desk; this is something people have been doing for a number of years, so I steered us in a different direction,” Ransom says. “We’re talking to people who know their stuff, the film didn’t need to show them things they understand – like how a hard light source works.” Ransom says he wanted to develop an idea that revolved around the light specifically, “so that when you thought about it, there was no light on the market that could achieve the same effect as the 2x1 Hard”. The commercial features aerial silk artists in a dark space, performing in hard beams of lights – the ‘hard tunnels’. “We’ve seen soft boxes a million times, so my idea for this was to have ‘hard boxes’ to showcase the hard light produced by these Geminis,” Ransom says. “The idea was to show we could get hard shafts of light in whatever colour we wanted from these RGBWW LED fixtures and they would be powerful enough, and more importantly directional enough, to give us those defined shafts. You can see in some of the BTS the lights are forming a sharp square on the ground of the studio with little fall off.” CVP SOS This project was different to what Ransom had done in the past, as the kit was supplied directly from the client – and he was working with a product that hadn’t been released. Furthermore, he was suddenly faced with an emergency, so he enlisted the help of CVP, which he says has helped him out of “many a sticky situation” in the past.
SHOT IN THE DARK Joe Ransom’s striking commercial makes excellent use of contrast to show off his subjects
differently. “I sort of get a kick out of those challenges,” he says. “If everyone isn’t bringing their A game, the film won’t get made. When the machine is so well-oiled and you’re supported by an incredible crew and great talent, you all pitch in together for those few days and you’re rewarded with the result. We left Cardington Studios after those four days feeling like we’d pulled off the near impossible.” Thanks to CVP, this commercial got to see the light of day.
“For this job there was a real focus on the BTS cinematography, as Litepanels wanted to show the scale of the production,” he says. “A gimbal went down quite late one afternoon, so I called CVP and we had one on set by the end of that day. You can’t really argue with service like that.” Ransom praises the team for both its speed and efficiency on the Litepanels project. “I’ve had a great relationship with the company since I bought my first camera there almost a decade ago,” he says. “My sales reps there are Joel and Lucy, who have always turned things around on the same day for me and are happy to get things delivered straight to set. I also like how they invite me to their talks and kit demonstrations – it’s nice to be able to stay ahead of the curve with new products.” Although Ransom worked with a small budget, which meant a super-tight schedule, he says he wouldn’t have done anything
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“A gimbal went down late one afternoon – I called CVP and we had one on set by the end of the day”
CVP is home to a full spectrum of production equipment that’s ready to see, combine and evaluate. Its creative and technical staff are committed to finding the right solution for every production need. To arrange an online demo, or book a one-to-one consultation, call 0208 380 7400 or visit cvp.com
LIGHT RELIEF The CVP team rescued an evening of shooting when they pulled off a same-day equipment delivery
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