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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 2025, with lighting technology from Elation playing a key behind-the-scenes role. Lighting console programmer Eric “TK” Androvich integrated Elation Fuze Max Profile and Proteus Maximus moving heads to help shape the film’s 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.

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 says. “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 reflects on what he considers the most essential features of a light while working on set: “Color accuracy is vital. Being flicker-free at typical camera speeds is equally important. Smooth dimming from 100% to blackout can also be important since we often hide subtle lighting changes during moving shots.”

Long-form productions, he adds, 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. His resume includes films like “A Star Is Born” and “The Gray Man”. For “The Electric State”, he worked alongside cinematographer Stephen Windon, gaffer Robert Krattiger, and rigging programmer Mick Klann.

(Photos: Elation/Netflix)

www.elationlighting.com

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