"The challenges on 'The Latest Buzz' are rolling 4 cameras at once and shooting 14-15 pages a day in 10 hours. It's all 100% studio. Of 26 episodes this year to wrap up 65, we will only go out twice on the road for location work.

We installed RoscoView in our schoolroom and cafeteria sets. Now I just pop on the RoscoView camera filter and dial down the exterior exposure. We're shooting much quicker, it looks much more natural outside and I don't loose the ambient light coming in the windows which is a big thing for me. If I ND the windows I lose all that ambient light. With RoscoView I don't have to pump as much light into the set on the floor. It's a big win for us.

I experimented and did day for night interiors in there. We switched our fluorescents to Optima 32's, went on the Tungsten setting and used the blue ambient light coming in the window. I popped some exterior punch light through the window to simulate a sodium look using my HMI's with full CTS to bring them to tungsten and then Rosco #3152 Urban Vapor gel on. I dialed down the exterior to almost nothing with the RoscoView camera filter. It worked! It saved us probably 4 dailies in grips because normally in that situation we would have tented the entire 30 foot window wall. It looked magical, it was great! It was so fast, other than changing our tubes we instantly had night.

The first time I used RoscoView was on 'Old Fashioned Thanksgiving' in February of this year. It was an 1874 period piece done in small historical buildings where we couldn't attach anything to the walls or ceilings. I was dealing with bright white snow and still wanting to see out the windows when I was shooting 2.8 and a half on the interiors. With RoscoView I had perfect exposure outside.

Our lighting package is exclusively tungsten on the 2 big sets, zips and coops because most of it has to come from the grid when shooting with 4 cameras. The Blurb set has a low ceiling so I designed some soft boxes that became part of the set. Diffusion is Rosco 3027 in the boxes and 3010/E-Color 252 in some rolling soft boxes I use on set to add a little front fill.

ABOUT "THE LATEST BUZZ"

'The Latest Buzz' shoots for Decode entertainment for The Family Channel in Canada as well as 35 countries around the world. We're huge in India! Since 2005 we've been shooting in a shut down public school. We did 65 episodes of a series called 'Naturally Sadie' and then in 2007 we started 'The Latest Buzz'.

'The Latest Buzz' is quite new to all of us because it's like shooting a true sit-com. It took a little bit of training and learning a new language that Brian Roberts, who's a sit-com director from Los Angeles, came in got us up and going with. About 85% of the show is shot sit-com style with 2 main sets, 4 cameras on the big Teen Buzz office set and 3 cameras on the internet café set called 'The Blurb'. The other 15% of the show is standard 2 camera dramatic coverage of the kids working at the teen magazine, back at school, classrooms and hallways.

Ross Fasullo, the Key Grip, designed and built a couple of bars that hold our Zips using cable and cranks so we can lower these lights down when we're deeper in the set. When we go wider they are gradually raised. This is predominately a show shot from the grid which has its challenges.

When we go into the school rooms we use all HMI, 6K & 4K Pars, 1200's, 575's. A lot of Gold/Silver bounce on interiors with 1200's through ¼ CTS and diffusion.

We shot 'Naturally Sadie' here a lot in the hallways and schoolrooms. The challenge always was with the Sony 900R's before SIM came up with a way to do RAW output which buys me 2 stops in the highlights I was constantly battling trying to pump a ton of light in, especially in the schoolroom set because it was just blazing outside, like a nuclear fire storm. Without making the actors look like they were cooking or over lit.

My Gaffer is Mark Hewson, and the Key Grip is Ross Fasullo: both are blown away with RoscoView.

I also love Rosco ¼ and ½ CTS, it's less red and much more friendly to skin tones especially in HD. RoscoFlex Silver and Gold bounce is great when I checkerboard it and bounce HMI through diffusion. I really love the idea of incorporating colours into your grid cloths, hopefully that will be expanded down the road.

I got to fool around with the Rosco 1/2 CTS silent grid cloth as well as the Moonlight (Cyan). I shot a fight scene, for a pilot within the show, in an industrial kitchen at night. I punched an HMI through a Cyan Silent Grid cloth butterfly and it looked fantastic!"

This truly amazing projector provides large scale rippling light effects previously unavailable to lighting designers. The device utilizes a 200 watt Enhanced Metal Arc source, whose short arc allows for an output of 5K lumens, with a 7000 hour lamp life. Color temperature is similar to a Xenon source at 6000K.

The effect itself is created by rotating two "X" size glass gobos off center of the optical path. This results in a projection that does not appear to have a visible direction or pattern. The color slot will accept dichroic color filters.

Lens trains are available in 30, 50 and 70-degree configurations. Due to the efficiency of the lamp and the design of the optics, all lenses have crisp edges, even for long throws of 100 feet or more.

The X24 X-Effects Projector is available in two configurations. For theatrical entertainment lighting, specify the model with DMX on board. Using five DMX channels, the unit has full control of each effect gobo, lamp strike and light output. The DMX-controlled douser, also initiated through your lighting control board, directs not only the light output but blackouts and fades as well.

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Rosco's precisely crafted DigiComp line of aircraft cable allows seamless compositing for flying scenery and actors in front of compositing screens created using DigiComp paint and fabric, freeing up hours of post-production time spent on removing black rigging cables. The steel cable is coated with a flexible PVC vinyl that moves easily through any commonly used rigging equipment.

The DigiComp system of products is designed to allow seamless compositing for film, video and digital use. The system of paint, fabric and tape is ideal for a wide variety of uses both in the studio and on location. All DigiComp products are available in DigiComp Blue and DigiComp Green. DigiComp color standards are precisely manufactured for clean separation with little or no post production "touch-up" needed.

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