Two key players helped bring that vision to life: 36 Astera NYX Bulbs and MA3 consoles for control.
The Inner Circle has a bold and dynamic visual identity – what was your overall creative vision for the lighting design on this show?
Max: I wanted to create a design that reflected the format, tone and strategic suspense of the show. The goal was to amplify the drama of trust, betrayal and knowledge while keeping it visually sharp and immersive.
How did you approach creating a look that fits both a high-energy Saturday night primetime slot and the upcoming daytime version?
Max: My intention was to blend quiz show precision with theatrical tension using light not just to illuminate but to narrate, from the warm and welcoming opening to a cooler mid game to the isolated and intense final before returning to a bright unified look for the end resolution.
What made the Astera NYX Bulbs the right choice for this project, especially compared to other LED or practical lighting options?
Max: The AVL Retro Lights worked well for the pilot, but I wanted to elevate them for the main series. The addition of the NYX bulbs did just that, they tied in with all the show lighting states, and their quick response time enabled them to tie perfectly into gameplay.
How did you use the NYX Bulbs? And how were they used to match or enhance the show’s various gameplay colour states?
Max: The NYX’s were fitted into AVL Retro Lights which have a distressed gold reflector this gave a softer more textural look to the LED light giving another layer of light.
Were there any challenges or advantages in using NYX Bulbs on a TV set — for example, colour accuracy on camera, flicker control, or ease of setup?
Max: Being wireless meant we cut the amount of cabling to the lights by half, and in the case of the floor lights meant half the amount of cables we needed to hide from view. Excellent colour rendering and completely flicker free. Once addressed and sync’d up we just sort of forgot about them, they just worked every day without fail.
Do you see NYX Bulbs as changing the way designers can use practicals on set — especially for quick programming and flexibility in entertainment lighting?
Max: Its certainly another tool for the armoury, fixtures that don’t require the limitations of power and data cabling are perfect for a fast-paced television environment where camera sightlines, set changes and floor safety are crucial. They mean we can adapt to changes quickly without having to re-rig power and data lines.
What MA console did you use? And which software?
Max: We used 3 active MA3 Light Consoles with a 4th as a (not needed) spare. Using 2 operators I had the third console in session as a live backup.
You used the MA3 console for control — what drew you to it for The Inner Circle?
Max: It’s the industry standard, in a fast turnaround format such as this the large pool of operators available ensure consistency, creative control and operational efficiency.
How did MA3’s workflow or features support the complexity of the show’s lighting cues and transitions?
Max: I had two programmers/operators on the show, Al Pocock dealt with key-lighting and Seb Williams dealt with all the ‘eye candy’ lighting and both the operators worked from the same show file. For triggering we had Midi from Marvellous Machines for main gameplay and from sound so we could tie into sound FX and music stings.
Were there any features (e.g. phasers, timecode, networking, fixture management) that proved especially useful on this production?
Max: With the MA3 we were able to program consistent colour behaviour, intensity curves and timing across mixed technologies. Networking was key as were recipes and phasers.
How did MA3 perform in terms of integrating multiple fixtures?
Max: The MA3 platform enabled me to build a unified, flexible control system where all fixtures, regardless of type or manufacturer operate seamlessly together.
Was the MA3 operated live during gameplay segments, or were cues largely pre-programmed?
Max: The number one thing with lighting for gameshows is consistency, you need to lock in the look and cueing of the show from the start as those initial decisions could be in place for years. As much as possible the show is triggered externally from either gameplay computers or sound, and this aids the production giving clear concise key points where changes happen.
How closely did you collaborate with the set design and camera teams to ensure lighting complemented both the physical space and the broadcast look?
Max: The shows set and shifting moods demanded an integrated design process, and I use Vectorworks and Depence4 as my main design tools to facilitate this collaboration. Working from a shared 3D model allowed us to visualise the relationships between lighting, set architecture and camera framing before we arrived in the studio, helping to identify potential spatial conflicts early in the process.
The result was a distinctive broadcast look – polished, immersive and responsive to the strategy at the heart of the game.
What are you most proud of in the lighting design for The Inner Circle?
Max: I’m particularly proud of how integrated the lighting became with the circular set design, seeing that concept translate on camera was incredibly rewarding and reflected the strong teamwork behind the production.
If you could go back and tweak one thing, would you?
Max: Since the show has been broadcast I revisited the lighting design and for the next series one key enhancement will be some additional Retro Lights again with NYX bulbs to create a full 360 array around the set floor.
We also spoke with Project Manager Matt Mountier, from Limelite Lighting, who supplied the fixtures.
What was your role on the show?
Matt: We worked directly with Max Conwell to help achieve the look he wanted. Our job was to make sure he had the tools, fixtures and support needed to deliver his design smoothly.
Limelite Lighting supplied a range of Astera products – why were they the right fit for this project?
Matt: We’ve invested heavily in Astera because the products are reliable and cost-effective, which is essential for a hire company. For The Inner Circle, they gave Max the flexibility he needed, and we knew they would perform consistently throughout the shoot.
You also provided the MA consoles used on the show. What led to that choice?
Matt: We run a fleet of around 20 MA consoles, so sending four to this production was an easy decision. They’re dependable, versatile and well suited to fast-moving broadcast environments – exactly what a show like this requires.
Credits:
Production: Tern TV
Lighting & Production Design: Max Conwell / Naked Eye Lighting @maxconwell @nakedeyelighting
Keylight Console Op: @alexpococklighting
FX Console Ops: @sebwilliamsld @euanodd
Gaffer: David Wilson
Lighting Vendor: @limelitelighting
Photography: Tern TV