Telescopic light pole with counterweight system, reaching 12-18 meters height; carries HMI fixtures up to 500 kg for large-scale exterior lighting.
Standard High Rollers reach maximum heights of 12-18 meters with a footprint of 2.4 x 2.4 meters. The counterweight system typically holds 1,500-3,000 kg of ballast, while the payload at the head is 200-500 kg. The telescopic mast consists of 3-4 segments with hydraulic drive, operating pressure is 200-250 bar. Modern systems offer 360-degree rotation and remote control via radio. Variants include the Mini High Roller (up to 8 meters) and heavy-duty versions for 1K-12K HMI lights.
Chapman-Leonard introduced the first High Roller in 1967 as an alternative to costly crane setups. Originally designed for 5K and 10K tungsten lights, the system became standard for exterior shots in the 1970s. With HMI technology in the 1980s, performance and efficiency increased significantly. Modern systems have integrated LED technology and computer-controlled operation with GPS positioning for precise repeatability since 2010.
High Rollers simulate moonlight in night scenes or create large-scale daylight simulation through windows. In "Blade Runner 2049," Roger Deakins positioned High Rollers with 18K HMI lights outside buildings for consistent interior lighting. Typical workflow: positioning during the technical rehearsal, ballasting according to wind load, cabling via trailing cable to the generator. The advantage is quick repositioning without a crane; the disadvantage is swaying in winds from force 4 upwards.
Unlike Condor lifts, High Rollers offer greater mobility but less precision. Technocranes allow camera movement but are oversized for pure light positioning. Modern alternatives include drone lights for temporary lighting or LED balloon lights for diffuse area illumination. High Rollers remain standard for precise point light sources at high altitudes, while balloons are preferred for 360-degree illumination without shadows.
Ich nutze High Roller für konsistente Lichtrichtung über mehrere Setups hinweg, besonders bei Nachtaufnahmen wo ich hartes Mondlicht aus 45-Grad-Winkel brauche. Die Fernsteuerung erlaubt mir präzise Anpassungen während des Drehs, ohne dass die Crew den Mast neu positionieren muss.
High Roller geben mir die Freiheit, natürlich wirkende Lichtquellen zu schaffen - Sonnenlicht durch Fenster oder Straßenbeleuchtung, die emotional unterstützt. Ich kann die Lichtstimmung zwischen den Takes anpassen, ohne lange Umbaupausen für die Schauspielperformance zu riskieren.
Ein High Roller kostet 800-1.200 Euro Tagesmiete plus Operator, spart aber gegenüber Kraneneinsatz mindestens 40% und reduziert Setup-Zeit von 2 Stunden auf 30 Minuten. Bei mehrtägigen Außendrehs amortisiert sich das durch eingesparte Überstunden der Crew erheblich.
1. Zu welchem Department gehört „High Roller"?
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