For Michael Heidinger, the use of ARRI Orbiter Fresnel lenses was very important, since he wanted to work with classical ballet alley lighting without having the hard edges. One big advantage he mentions is the Fresnel’s hard core, which enabled him to have gradients also on the body. In “K.I.nd of Human,” Heidinger made use of barn doors to easily soften the gradients.

I think it‘s important that people are open to trying out the ARRI Orbiter. After trying it, you won’t want to be without it anymore for your future productions.

The Orbiter’s high-resolution dimming was essential for lighting cues and fades that were several minutes long. The seamless dimming and color performance meant that there was no “stepping” behavior that could distract from the flowing lighting transitions.

The contrast between human warmth and the coolness of the machines was made clear by the lighting and the use of different color temperatures on stage.