I've worked for years as the Lighting Director on "The Making of the Rose Parade (HGTV/Weller-Grossman Productions)". I had a electrician, a grip and pa on my crew. It's fun and interesting. You get to see the floats in something less than complete condition being worked on by legions of volunteers from across the country (and I suspect around the world).
-- Tom Feldman
This year the production company wanted to add production value and hired a 35' jimmy jib. On that arm they rigged a Cannon DV camera. To accommodate the increase size and scope of the shots we brought both a 12K Fresnel on a super crank and a 4K HMI Par along with 1200 Pars and 800 jokers. These "barns" are large open spaces where floats are parked and scaffolding is moved in and out so that crews can get to any and every part of the float. We started off the day at the FESTIVAL BARN in Azusa. There the George Lucas floats were being created. We lit the overall scene with the 12K and 4K par and then lit the final position of the host with 1200 pars. Working it out so that our host would land in a shot that had a soft key as well as a hair light. We used a tow generator and were done by noon. From there, we were off to Phoenix Floats adjacent to the Rose Bowl in Pasadena where we shot glimpses of many of the floats in this years parade along with shots of the tents that store the flowers.
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