17.04.2025 | Elation Lighting Helps Shape Sci-Fi Vision of The Electric State

The sci-fi adventure The Electric State, directed by Anthony and Joe Russo, premiered on Netflix in March, with state-of-the-art lighting technology from Elation playing a key behind-the-scenes role. Lighting console programmer Eric "TK" Androvich skillfully integrated Elation FUZE MAX PROFILE and PROTEUS MAXIMUS moving heads to help shape the film's distinctive visual style.

Set in an alternate 1990s where robots have staged an uprising against humans, filming took place across various indoor sets and soundstages at Trilith and Shadowbox Studios, and on location around Atlanta, Georgia-often in the region's characteristically wet and unpredictable winter weather. FUZE MAX PROFILES were used indoors, and IP65-rated PROTEUS MAXIMUS fixtures were employed outdoors.

"The FUZE MAX PROFILES are a fantastic choice for film and TV," stated Androvich. "Their full-spectrum LED engine gives them exceptional color quality at both tungsten and daylight color temperatures, making them a very versatile fixture that we could use in a variety of situations. They have fantastic color rendering and are very durable. The PROTEUS MAXIMUS fixtures worked great on location and in our condor rigs, and they proved reliable for many weeks rigged outside in the wet and chilly winter weather of Georgia."

Androvich used the PROTEUS MAXIMUS LED framing profile fixtures to highlight the action in the film's Happyland amusement park scenes, often from condor positions. Indoors, the FUZE MAX PROFILE fixtures were mounted atop utility poles, lifts, or set rigs and used for everything from a projector effect to simulating daylight. Androvich provided the FUZE MAX PROFILES himself, which he purchased via Kinetic Lighting, with the PROTEUS MAXIMUS supplied by LightScape. He also integrated several NETRON EN12 nodes, which he owns, into the lighting network to ensure reliable data control.

"Movers are the Swiss army knives of film lighting these days," he said of the multi-functional moving heads. "We keep finding new uses and applications on every job. They are great for rigging in hard-to-reach places or in aerial lifts that are unmanned. They can replace many of the 'hard' lights we use while providing a lot more flexibility and speed. We even use them indirectly by bouncing the light or putting them through diffusion."

Androvich reflected on what he considers the most essential features of a light while working on set: : "Color accuracy is vital, and we got some exceptional CRI and TLCI readings from the FUZE MAX PROFILES. Being flicker-free at typical camera speeds is equally important. Smooth dimming from 100% to blackout can also be important too since we often hide subtle lighting changes during moving shots."

Long-form productions, he noted, demand extensive pre-production planning and coordination. "The basic function of any lighting programmer is to translate the wants of the gaffer and DP into the console to make it a reality. This boils down to setting levels, colors, and positions of lights, shot by shot. These days, many gaffers and DPs want input and ideas from their programmers."

Androvich, a freelance lighting designer, console programmer, and member of IATSE Local 728, has built a career in film and television, using both his creative eye and technical expertise to influence the visual look of a film shoot. His resume includes films like A Star Is Born and The Gray Man, where his input has helped craft the visual storytelling alongside gaffers and DPs. "I like that I can use my technical skills to make the lighting department run efficiently while using my artistic skills to inspire and assist my colleagues on set," he concludes.

The Electric State
Cinematographer: Stephen Windon
Gaffer: Robert Krattiger
Lighting Programmer: Eric "TK" Androvich (androvich.lighting)
Rigging Programmer: Mick Klann