This idea happened to coincide with the DSLR-revolution I shot the entire sequence with a Canon 5DMkII, which was the only way we could have captured all of those verite-style, low-light night exteriors at the time. Then, in 2009, we took a very different approach, shooting each cast member in a unique night exterior location. Shooting fifteen different portraits is a tall order and, in years past, the approach has often been to corral the entire cast to one location - a cool bar, a rooftop party scene, a hip nightclub, etc – and shoot everyone out in one long shoot day. The most important task is to introduce the audience to our cast members – in this case, all fifteen of them – and serve as an energetic warm-up for the show.
Bear in mind, our job is not to just create a cool montage of New York-y imagery set to music. This was quickly shaping up to be a venture into experimental photography and I admit to being a little nervous about whether the execs at the show were going to think that we had stepped off the deep end. Rhys and I – along with film unit producer Justus McLarty - brainstormed a list of in-camera techniques to test: slow-motion, tilt-shift, black&white, long-exposure motion blur, double-exposures, light-writing, timelapse, strobe photography, aerial photography, infrared photography, optical aberrations, anamorphic distortions, prism-distortions, etc. It would be low-fi, analog, optical, vintage, classic. Nothing that relies on modern post production techniques or other digital trickery (sorry, hyperlapse’ers). Not just light-writing, but an overall simple, clean concept: as an homage to the 40-year history of SNL, we would approach the sequence using in-camera techniques that would be at home just as well in 1975 as 2014. It’s pure in-camera trickery… EUREKA! - suddenly we had our approach. In fact, it’s so old-school that when Rhys mentioned it, the first image that came to mind was by Picasso! It’s a technique that’s as old as photography. Light-writing is just what you’re thinking: a light-source is traced in the air using a long-exposure. It will be improved with updates.We bandied about a lot of different ideas: what about hyperlapse – have you seen the incredible videos by Rob Whitworth? What about super slo-mo – have you seen what the new Phantom4K can do? For me, the break-through finally came when Rhys mentioned a pretty obscure idea: “There’s this group in Germany doing really cool things with light-writing.” Uh, did you say light-writing?! *Tricks count - throws, drops, stalls are still beta and may be not accurate. Makes amusing illumination when the poi are untouched. Image stabilization: retains width and position of an image in the air while spinning. Training statistics in the mobile app: the time of using props, the number of turns, throws, drops, calories spent, etc., made during the entire time working with your poi We offer two Ignis Pixel Stick 20 modifications - Basic and Smart. LEDs become twice as bright as other pixel poi models. Turn on the high-brightness mode for stage performances or when there is surrounding dimming. Moreover, it is possible to use a fully pre-programmed timeline. While you are spinning, your friend can change patterns according to the music.
#PIXELSTICK LOGO FOR ANDROID#
This also makes your phone a remote controller for your Ignis Pixel Sticks: launch them and switch pictures at a distance right from the phone (available for Android and iOS). Upload your own pictures, texts, emoji, logos, patterns and effects - directly from Mobile App on your phone. Pixel poi casing contains 2 rows of LEDs, 20 in each, located along the entire length without dead zones. 3d printed from shockproof polyurethane makes these poi durable and convenient for manipulation, weighting only 52 grams. Ignis Pixel Stick 20 are lightweight poi in shape of glow sticks for fast and super fast twirling also known as glowstringing/glowsticking.
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