German lighting control console manufacturer; grandMA3 controls up to 250,000 DMX parameters across 64 universes, standard in 80% of European film productions.
The grandMA series forms the core of the product portfolio: The grandMA3 full-size processes up to 250,000 DMX parameters across 64 DMX universes at a refresh rate of 44 Hz. The console features 90 motorized faders, 88 executor buttons, and two 15.6-inch touchscreens with 1920×1080 pixels. The internal processor runs on a Linux operating system and has 32 GB of RAM. Smaller variants like the grandMA3 compact (20 faders) or grandMA3 light (12 faders) cater to different production scales.
Michael Adenau founded MA Lighting in 1983, initially focusing on theater technology. In 1989, the first digital lighting console, "Scancommander," was released, followed by the first grandMA generation in 1995. The grandMA2 (2008) established itself as an industry standard due to its networking capabilities and backup systems. In 2019, the grandMA3 series was launched with improved processor performance and expanded effect engines. Today, over 80% of all European film productions utilize MA systems.
On "Blade Runner 2049" (2017), DoP Roger Deakins controlled complex LED installations for the futuristic city scenes using grandMA2 consoles. "1917" (2019) employed MA systems for precise synchronization of 400+ LED panels during continuous camera movements. Typical workflow: The Gaffer pre-programs lighting scenes (cues), while live control during shooting is managed via executor buttons or timecode synchronization. Advantage: Reproducible lighting and quick adjustments between takes. Disadvantage: High acquisition costs and a steep learning curve for operators.
MA Lighting primarily competes with ETC (Electronic Theatre Controls) and their Eos family, as well as Chamsys MagicQ systems. While ETC traditionally focuses on theater applications, MA concentrates on mobile productions and network integration. Smaller productions often use Chamsys (more affordable) or software-based solutions like Lightkey. MA systems justify their cost for 100+ controlled fixtures or complex moving light setups. For simple film sets, DMX interfaces with appropriate software are often sufficient.
Ich schätze an MA-Systemen die präzise Wiederholbarkeit von Lichtstimmungen – wenn ich für Reaction-Shots am nächsten Tag die exakte Beleuchtung von Szene 47A brauche, ruft der Gaffer einfach die entsprechende Cue auf. Die Timecode-Synchronisation ermöglicht mir bei komplexen Kamerafahrten dynamische Lichtverläufe, die perfekt mit meiner Bewegung harmonieren.
MA-Pulte geben mir die Kontrolle über emotionale Lichtübergänge in Echtzeit – während einer intensiven Dialogszene kann der Operator sanft von warmem zu kälterem Licht überblenden, ohne dass ich "Cut" rufen muss. Besonders bei Low-Budget-Drehs spare ich Zeit, da komplexe Lichtwechsel nicht mehr manuell an jedem Scheinwerfer justiert werden müssen.
Ein grandMA3-System kostet zwar 45.000€ Kaufpreis, aber die Tagesmiete von 180€ amortisiert sich durch Zeitersparnis am Set – drei gesparte Drehtage finanzieren die gesamte Lichtsteuerung. Zudem reduziert die präzise Steuerung Kontinuitätsfehler und damit teure Reshoots, besonders bei VFX-lastigen Produktionen mit exakten Beleuchtungsanforderungen.
1. Zu welchem Department gehört „MA Lighting"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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