grandMA lighting console by MA Lighting for controlling complex lighting rigs; current grandMA3 features quad-core processor, 90 faders, and real-time LED wall control.
The current grandMA3 features a Quad-Core ARM Cortex-A72 CPU with 4 GB RAM and 64 GB internal storage. The system operates with a refresh rate of up to 44 Hz for media server content and offers 16 programmable encoders and up to 90 motorized faders. The console supports Art-Net, sACN (E1.31), and MA-Net3 protocols for network distribution. 15.6-inch touch displays with a resolution of 1920x1080 pixels enable intuitive operation of complex scenarios.
The grandMA3 onPC system allows for complete programming and control via standard computers, making mobile setups or backup solutions feasible.
MA Lighting introduced the first grandMA in 1999, developed by Gerhard Krude in Paderborn. The grandMA2 followed in 2008 with significantly increased processing power and quickly became the de facto standard in Hollywood productions. In 2018, the grandMA3 was released with a completely revised hardware architecture and expanded media server functions. The series established itself through its reliability in 24/7 continuous operation and backward compatibility between generations.
On "Blade Runner 2049," a grandMA2 controlled over 800 LED panels for practical lighting effects in interior scenes. For "The Mandalorian," the system coordinates the 1,326 LED panels of StageCraft technology in real-time with camera movements. Typical workflows include preparing complex lighting moods as cues, precise synchronization with camera movements via timecode, and integrating LED walls as practical light sources.
The advantage lies in the sub-frame accurate reproducibility of lighting scenarios between takes. Disadvantages include the high acquisition costs and the need for specialized operators.
In contrast to the ETC Eos series, grandMA focuses more on moving lights and media server integration, while ETC traditionally dominates conventional theater lighting. Avolites Titan offers similar functions at a lower cost but does not achieve grandMA's stability in large productions. For smaller productions, Chamsys MagicQ or even software solutions like Lightkey are often sufficient, while high-end productions continue to rely on grandMA.
Ich schätze die frame-genaue Synchronisation der grandMA mit meinen Kamerabewegungen – wenn ich einen 30-Sekunden-Schwenk durch eine Szene mache, wiederholt das System die exakt gleiche Lichtchoreographie in jedem Take. Die Integration mit LED-Walls als praktische Lichtquellen gibt mir natürliche Lichtstimmungen, die ich nicht mehr nachträglich korrigieren muss.
Die grandMA ermöglicht mir, Licht als dramaturgisches Element präzise zu choreographieren – ich kann emotionale Wendepunkte mit millisekundengenauen Lichtveränderungen unterstützen. Besonders bei LED-Volume-Stages kann ich die Lichtstimmung der virtuellen Umgebung nahtlos mit der praktischen Beleuchtung der Darsteller verbinden und so völlig neue visuelle Erzählformen entwickeln.
Eine grandMA3 full-size kostet 180.000 Euro, aber die Zeitersparnis durch reproduzierbare Lichtstimmungen amortisiert sich bereits ab mittleren Budgets. Der Bedarf an zertifizierten Bedienern (Tagessatz 800-1.200 Euro) muss früh eingeplant werden, da nur etwa 50 Spezialisten in Deutschland verfügbar sind.
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