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Jeff Pardee turns to Elation’s Proteus Maximus for recent projects

Lighting designer/programmer Jeff Pardee (IATSE Local 728), a former concert lighting designer who moved into film and broadcast lighting several years ago, has been using the Proteus Maximus from Elation Professional on several recent projects.

While working on a film project that required the 4th Street Bridge in Los Angeles to be illuminated from across a large construction site, Pardee needed a fixture that could project from hundreds of yards away. He considered several options, including Proteus Maximus, and was able to borrow a unit from a colleague at a nearby project to test. That was his first experience with the fixture, which he ended up using on the project from condors in groupings of three.

Pardee says that when they evaluate lighting they also look for fixtures they can run on a lower amount of power. On the 4th Street Bridge and downtown park project, they ran the Maximus units using a small 6000-watt generator located half a mile away.

The designer says he has used the Maximus on production sets a dozen times to date. A recent example is Billie Eilish’s “Prime Day Show” musical special that aired June 17th on Prime Video. The show fused music and storytelling as the singer performed amid an immersive Parisian set (actually filmed on the Universal backlot). Director of Photography for the “Prime Day” shoot was Christopher Ripley; Gaffer was Mathias Peralta.

Pardee turned to the waterproof Maximus to fulfill a number of roles on the production. “We used them to punch through a window to give a sunrise effect while it was raining for example.” Pardee accessed the Maximus’s color mixing system with variable CTO to create the reds, ambers and daylight color required to mimic a sunrise. Then for a night scene, he painted with purples, reds and blues to create a nighttime Paris look. “I used them as backlighting as well or for hard-edge lighting on set buildings to give a crisp look working together with a soft-edge fixture that we matched color temperature with to get an even look.”

The Maximus fixtures worked from two condor positions on the musical special, two fixtures on each condor shooting the building set from 300-400 feet away from the camera. Pardee then turned the fixtures around 180 degrees to shoot in the opposite direction, up the street and onto buildings in a big breakup pattern, a throw that was closer to 500 feet.

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