Massive Animated Lighting
ANIMATED CANVAS
The SKY is a modular, multi-pixel LED array made of linear bars that can be hung quickly with ease, creating large-scale animated canvases, static backdrops, top lights, chroma screens and more
PIXEL MAPPING
40 pixels per SKY Bar for high resolution walls of light creating a homogenous lit surface
FULL CONTROL
Intuitive control of pixel mapped images and video sources via Art-Net from any console, laptop, tablet or smartphone. Along with Auto-addressing of all light bars for simple and easy setup
SUPERB LIGHT QUALITY
Superior to LED walls, the SKY produces beautiful white light and deep saturated colors
Advantages
Create custom soft boxes, light cycloramas, backlight translights, softdrops and large diffusion clothes, making giant panel lights of any shape and size
Quick to rig and set up compared to other solutions making the SKY far more economical than other lighting systems
Superior color rendition in camera compared to LED walls
Highly scalable modular design for massive rigs
Super soft static light and dynamic animated lighting effects
WHAT IS SKY?
SKY Bar
2m / 6.5ft Linear Bar
RGBWW Full Spectrum
120 LED chips per bar at 160 watts
40 pixels per bar w/ 3 LED packages per pixel
20 bars per controller
Power and data in pass through connect
120° beam spread
Up to 16 bit dimming
Ethernet
4 DMX Universes for 20 bars
Multiple rigging points for optional clamps
Hanging and overhead configurations
Weights and dimensions: 200 x 4 x 3cm @ 3kg/6.5lbs
SKY Controller
Controls up to 20 SKY Bars
Hosts webUI for system setup
True1 power IN and THRU to SKY Bars
Ethercon IN for Art-Net
SumoNET data OUT to SKY Bars
HOW TO USE A SKY BOX?
RIGGING SOFT BOXES
Using “loose” SKY Bars
Build a frame from pipe, truss or ladder beam
Lace desired amount of SKY bars in sets of 1 to 20 using included clamps
Each Controller is limited to 20 bars max
Place controllers and patch pass through connections for power and data
Connect and configure via webUI on any Console, PC, tablet or smartphone browser / No App or internet needed
Control via Art-Net
Suggested Configurations:
60 Bars = 6m (20’) x 6m (20’) Box
20 Bars = 2m (6.5’) x 2m (6.5’) - 6m (20’)
HOW TO USE A SKY LADDER?
RIGGING LADDERS
Using the ladder system
Suspend truss overhead
Deploy SKY Ladder flight cases and remove lid sections
Attach the rigging bar to overhead truss and raise
The system easily deploys from its case as the truss lifts
Spring-loaded drums of steel wire keep the bars in line and level
Connect and configure via webUI on any Console, PC, tablet or smartphone browser / No App or internet needeD
Control via Art-Net
To de-rig simply reverse the process
SELECTING DIFFUSION
SKY Bars are undiffused allowing the user to select the ideal material for each project
Individual LED sources will be visible in reflections
Selection of diffusion, if required is part of the testing phase
Heavier diffusion gives better imaging, at the expense of light output
Lighter diffusion improves light output, but LED sources could become visible
Suggested Configurations:
Minimum Distance to Diffusion: 30cm (12”)
Minimum Diffusion to hide diodes: Half Grid
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Quick installation - Saves rigging time and set-up cost
Slim profile - minimal use of studio space
Self-retracting function
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Intuitive control via image and video sources
Resolution up to 20 pixels per bar (XR: 40 pixels per bar)
Length 2 m per bar
Up to 25 bars per standard unit
→ 20 x 25 pixels per standard unit
Full spectrum effective 16 bit per channel, 80 bit per pixel
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Intuitive & simple ontrolling.
Pre-set functions and full custom control
Easy user interface
Lap-top or light-desk control
Paint control mode
Image or video as data source possible
Video control via hardware option
Video preset playlist
Moving Lights
Dimming to Zero
Flash and strobingAuto-addressing of all light bars
No need to address every single fixture compared to traditional solutions.
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CRI 95+ white light for superior spectrum
Flicker-free
Perfectly homogenous lit surface
No banding – Smooth background for keying
Flexible – Easy changes in post of the scenery.
No green/blue keying necessary for keying, saves time in Post (30% - 100%)
*Instant* dimmable green or blue screen still possible
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Brighter
Flexibility in Shoot and Post. Only need color and light with rough spacing.
Faster keying of details through soft background.
Shooting with multiple cameras possible.
Unlimited Scalability, SKY systems can use a single bar or thousands
Adjustable color spaces to match source content. (Rec 709, sRGB, etc.)
Easy to rig form factor.
Dynamic pixel controlled light for backdrops, top lights, soft boxes, process stages and more.
Adjustable white point with Green/Magenta adjustment
Addressing & Basic Controls with Web Based UI
Compatible with DMX Boards and Pixel Mapping Software
(EOS, MA, Chamsys, Blackout, Resolume, Assimilate, etc.)
Easy user calibration to camera, lights or meter.
Web browser-based UI from any Ethernet enabled device.
Art-Net Protocol for DMX pixel mapping
GALLERY
CASE STUDY
Chief Lighting Technician
Julian White is taking SUMOSKY in new directions.
Julian White, a seasoned lighting designer, has had the opportunity to work with SUMOSKY in both commercial and feature film shoots. To him, it’s an important tool for fulfilling lighting requirements in a time-efficient and - most crucially - creative way.
During the production of George Clooney’s feature “The Boys in the Boat”, lensed by Martin Ruhe, ASC, SUMOSKY proved itself invaluable in overcoming the many challenges faced by the production team.
Julian shared his experiences with us.
“Filming a night exterior shot on open water is no easy feat, especially when attempting close-ups on the principal cast. Having several boats filled with actors and camera cranes posed a real logistical and practical challenge - especially with the wind, weather and so many moving pieces in play. We simply ran out of time and light.”
Production moved to the indoor water tank at Pinewood Studios’ U-Stage for the close-up work, where VFX supervisor Matt Kasmir and cinematographer Martin Ruhe decided to use SUMOSKY.
“We wanted a broad soft light with in-shot colour gradients. A traditional blue or green screen would have caused problems with water reflections and skin tones and, having used SUMOSKY before, I was confident it was the right tool. With the help of its interactive LED backdrop system, we were able to fully recreate the environment.”
Being quick to rig, low profile, backlit and multicoloured, SUMOSKY makes recreating day or night, sunsets or sky domes on-stage much simpler. When combined with harder sources, lighting effects are possible for fast-paced VFX work.
“We made a horseshoe-shaped Rosco rear projection screen from the water tank up to the ceiling, backlit by SUMOSKY. The VFX department created a digital image sourced from original footage and SUMOSKY projected it onto the screen to create a graded wall of colour. Once on camera, we altered the colour values to find our balance. It only took a few minutes.”
SUMOSKY allows production teams greater control over a scene’s overall look and feel.
“We also used SUMOSKY to create edge lighting and as a key light using traditional colour temperatures. You could take one block of any area on the screen and put in a 3-metre square soft light at 5600K. We used additional LED fixtures to create dots of light which were motivated by the tungsten practicals we had originally used on the lake shore.”
“The level of subtlety is really important when you get into close-up work with actors. The trick is to create a believable night skylight dome using colour that you can feel on the actor’s skin and in any reflections you might catch. For this, SUMOSKY worked very well.”
In the world of commercials, efficiency and speed are paramount. When it comes to lighting design, the challenge is to create the desired effect in a limited timeframe, without compromising on quality.
For the new ‘Apple Music Classical’ commercial directed by Rohan Blair-Mangat and lensed by Roman Vasyanov, Julian again used SUMOSKY, this time to create a backlit effect for a large red ‘soft-box’ in the background.
“Production designer Freya Bardell had suspended an iPhone-shaped light box behind an orchestra. Our task was to somehow get a broad-coloured light into a box less than a metre deep. We needed a lighting system that was powerful, modular, versatile, quick to set up and take down and extremely lightweight. SUMOSKY was the only real choice.”
Julian worked closely with Simon Evans from SUMOSKY, calculating the number of bars required to achieve the desired light effect within the strict weight limitations.
“We had to be very careful of adding more weight than the building’s existing lighting truss could take. The combination of a steel box and heavy lighting fixtures made it tricky. We used 42 individual SUMOSKY bars, stripped of any mounting equipment to reduce weight, and zip-tied them directly to the box structure. Within an hour of being delivered, the lighting rig was installed and ready to go.”
“SUMOSKY worked incredibly well. Low profile, powerful and modular, quick to put in and take out. It was perfect on all levels!”
Julian’s experience working with SUMOSKY highlights the system’s effectiveness and the benefits of using SUMOSKY in any lighting design project.
“As always, it was a collaborative effort. We were able to overcome the challenges we faced by using innovative products like the SUMOSKY. I have since used it on other commercials and I would use it as a backdrop for fashion shows, video projections, concerts and events. The possibilities are endless - and I'm looking forward to seeing what’s next.”
article from spring 2023
“SUMOSKY is a strong tool for virtual production — you can really protect the skin tones and have ultimate control over the color and shape of light. For a studio set-up, it’s very helpful. It can be rigged quickly and its pixel mapping ability is fantastic.
Balazs Bolygo, BSC, HCA
Director of Photography