Can someone identify this Arri light? [Nickelodeon Multicam Sitcom Production]

[Samuel Berger]

Hey guys, I am attaching a picture of a Nickelodeon sitcom setup (specifically iCarly). I noticed they were using Sony HDC-1500 cameras and what looks like Canon Digi Super box lenses mounted on Vinten Osprey pedestals. But there appear to be small Arri lights mounted on the zooms. I found this to be a weird placement but I don't do broadcasting. Any idea what that is? Thanks in advance.

[Mark Dunn]

I think they're Arri 300 fresnels. David M will tell you about bashers or obies.

Edited October 10, 2025 by Mark Dunn

[David Mullen ASC]

Yes, probably 300W ARRI tungsten fresnels just because they look in between the size of the 150W and 650W...

[Samuel Berger]

On 10/10/2025 at 11:24 AM, David Mullen ASC said:

Yes, probably 300W ARRI tungsten fresnels just because they look in between the size of the 150W and 650W...

Hey thank you! I'm tempted to try this with an Aputure MC...

I wonder what they aim for on these sets. Maybe f8? Those Sonys had 2/3" CCDs so I'm guessing the depth of field was there...

[Mark Dunn]

It's been a while but I think more like 2.8-4 to keep the air conditioning demand down. Not such a factor nowadays. As you say DoF was not lacking.

Lucien Ballard is supposed to have devised the eye light for his then wife Merle Oberon- hence "obie". Otherwise, from where it's mounted it's known as a "blimp basher." Presumably because it bashes away shadows. I don't think I've made this up but it's hard to find a reference.

The Samuelson's catalogue refers to them with a photoflood bulb (275 or 500W) but the point is it's a small soft source- maybe those fresnels have a diffuser over the barn doors or in the slot.

Edited October 14, 2025 by Mark Dunn

[Samuel Berger]

8 hours ago, Mark Dunn said:

It's been a while but I think more like 2.8-4 to keep the air conditioning demand down. Not such a factor nowadays. As you say DoF was not lacking.

Lucien Ballard is supposed to have devised the eye light for his then wife Merle Oberon- hence "obie". Otherwise, from where it's mounted it's known as a "blimp basher." Presumably because it bashes away shadows. I don't think I've made this up but it's hard to find a reference.

The Samuelson's catalogue refers to them with a photoflood bulb (275 or 500W) but the point is it's a small soft source- maybe those fresnels have a diffuser over the barn doors or in the slot.

According to Jamie Hitchcock: "That is a light on each camera. An Arri LED to be exact. They were only used when the cameras were in tight quarters and some extra fill light was required. We just kept them on the cameras at all times so they could be turned on quickly if needed. They are commonly called “Obie” lights. They were named for actress Merle Oberon who had deep set eyes and the cinematographer found that a light mounted on the camera right above the lens helped fill her eyes during close ups."

[David Mullen ASC]

I hate to correct someone but those are ARRI tungsten fresnels, not LEDs. The heat vent grills on the back and sides are the main clue.

Also, an Obie light is not a specific unit, it's any light mounted over a lens, sometimes for a key light not just for fill. The concept is named after Merle Oberon by her husband at the time, cinematographer Lucien Ballard. But whatever specific unit he used back then (late 1940s) is long-gone probably.

Here is a photo of the back end of a small ARRI LED fresnel:
 

[David Mullen ASC]

Here is the front and back of an ARRI 300W tungsten fresnel:
 

[David Mullen ASC]

I'd also point out that the original "iCarly" was shot from 2007-2012 and the ARRI LEDs didn't even hit the market until 2011. And I suspect the reboot in 2021 was not shot on a 2005 video camera.

 

[Samuel Berger]

12 hours ago, David Mullen ASC said:

I'd also point out that the original "iCarly" was shot from 2007-2012 and the ARRI LEDs didn't even hit the market until 2011. And I suspect the reboot in 2021 was not shot on a 2005 video camera.

 

Thanks, Dave! I've been thinking of getting an Arri Locaster for this function. Sometimes they go pretty cheap. 

I use a Sony F55 with Fujinon zooms. Any suggestions? Some ideas were the Aputure MC Pro, the Locaster 2, or even an Arri 300. 

[David Mullen ASC]

I wouldn't mess with a hot tungsten light mounted over the lens these days for an eyelight/fill -- an Apurture would be a good idea but I'm sure there are a number of choices.

[Mark Dunn]

16 hours ago, David Mullen ASC said:

I wouldn't mess with a hot tungsten light mounted over the lens these days for an eyelight/fill -- an Apurture would be a good idea but I'm sure there are a number of choices.

Here's that page from the Sammy's 1980 catalogue. A 500W photoflood in your face lol.

Edited October 16, 2025 by Mark Dunn

[Eric Eader]

If memory serves me right, back in the '70's & '80's, (possibly earlier), Panavision had a narrow rectangular (Colortran like), light that had rollers fitted inside, painted white to black, so that when you rolled them the light dimmed from brilliant full blast to nearly nothing without altering the color temperature.  I believe it was called a 'Panalight.' (And mounted closer to the magazine front).

I only saw it once and I don't remember the circumstances, so proper details are sketchy.

Again if memory serves, an early, mid '70's American Cinematographer magazine article had a picture of the 'Obie Light' and it was a Bardwell & McAlister 'Double Broad'  with two large round 750watt globes. It had a slot that allowed one to slide a gel frame with Spun Glass or solid 'frosted' ground glass to soften the light and eliminate the double shadow from the two globes.  In the black and white days one just used a dimmer to adjust intensity without concern for color temperature.

When I was in the mopic unit stationed at MCAS El Toro we had a bunch of B&M brown Kegs and that Double Broad light and that's why I remembered the ASC mag connection.

 

[Samuel Berger]

On 10/15/2025 at 12:32 PM, David Mullen ASC said:

I wouldn't mess with a hot tungsten light mounted over the lens these days for an eyelight/fill -- an Apurture would be a good idea but I'm sure there are a number of choices.

This is the obie they used on Liv & Maddie. I can't for the love of me identify that fixture. Does it look familiar to you?

[Eric Eader]

Looks to be a Mole-Richardson "Inky-Dink', or 'Dinky Inky' (300watt, maybe 650w, incandescent fresnel), with a built on soft box.

Don't have their catalog from that time period anymore, so I cant be more specific.

[Gregg MacPherson]

I had a little MR that looked just like that, unless it was smaller. Had a very low wattage. You can see an early MR catalogue here, but that exact lamp may not be in it...

https://www.dropbox.com/scl/fi/yv3m6oob96wcqs0igob7d/MR-complete-vintage-catalogue.pdf?rlkey=f7jd7lpfgohnzcqhi0nc1xr41&st=petynj9v&dl=0

[David Mullen ASC]

https://www.mole.com/catalogs

[Doyle Smith]

On 10/17/2025 at 2:32 PM, Eric Eader said:

If memory serves me right, back in the '70's & '80's, (possibly earlier), Panavision had a narrow rectangular (Colortran like), light that had rollers fitted inside, painted white to black, so that when you rolled them the light dimmed from brilliant full blast to nearly nothing without altering the color temperature.  I believe it was called a 'Panalight.' (And mounted closer to the magazine front).

I only saw it once and I don't remember the circumstances, so proper details are sketchy.

Again if memory serves, an early, mid '70's American Cinematographer magazine article had a picture of the 'Obie Light' and it was a Bardwell & McAlister 'Double Broad'  with two large round 750watt globes. It had a slot that allowed one to slide a gel frame with Spun Glass or solid 'frosted' ground glass to soften the light and eliminate the double shadow from the two globes.  In the black and white days one just used a dimmer to adjust intensity without concern for color temperature.

When I was in the mopic unit stationed at MCAS El Toro we had a bunch of B&M brown Kegs and that Double Broad light and that's why I remembered the ASC mag connection.

 

Eric's right. I used the Panalite on all of my Panavision supplied films. It solved the problem of a non-dimmable obie (which supplied too much fill as you dollied closer) to the subject or a lamp on a dimmer that lost color temperature as you dimmed it.

The white/black internal rollers were linked together and fitted with a follow focus wheel to control them. It had a 650w tungsten as a source.  The Mark II was even better with a continuously graduated internal ND wheel and an HMI source. 

Edited December 26, 2025 by Doyle Smith

[Samuel Berger]

On 10/14/2025 at 8:45 PM, David Mullen ASC said:

I'd also point out that the original "iCarly" was shot from 2007-2012 and the ARRI LEDs didn't even hit the market until 2011. And I suspect the reboot in 2021 was not shot on a 2005 video camera.

 

And you are correct. The iCarly revival was shot on multiple Sony F55s with the Fujinon 25-300 on Fulmar pedestals. I wonder what Obies they are using in that Sumolight softbox!

Edited January 3 by Samuel Berger

[Samuel Berger]

It turns out they were using a SUMOLIGHT Sumo100+ which is basically a glorified overpriced Amaran P60x.