Frans Weterrings III ICLS Mike Bauman ICLS Column Image Based Lighting
Matthew Ardine ICLS Reg Garside ICLS
Carolina Schmidtholstein ICLS
SET THE MOOD, SHAPE EMOTIONS
Looks like a traditional bulb, works like a professional luminaire. Designed to filmmakers’ requirements for practicals on camera, delivering perfect skin tones and the same controls as any other wireless DMX fixture. LunaBulb expands Astera’s smart ecosystem with the battery-powered PrepCase. Let your creativity shine wherever there’s a lamp socket.
Classic to Slim Look
Choose between a classic and di used look or a slim and brighter hotspot.
PrepCase Kit
The quickest way to set up 8 bulbs: assign DMX address, pre-configure dimming and color, pair them at once.
Preplnlay Kit
Simply add PrepInlays to your custom flightcase to use and prepare LunaBulbs in volume.
LIGHT FANTASTIC
Rascals Publishing & Media Ltd
Red Lion Yard, Odd Down, Bath United Kingdom BA2 2PP Tel: + 44 (0) 1428 892 630
Editor-in-Chief RON PRINCE
Special Consultant ALAN LOWNE
Editorial Assistant KIRSTY HAZLEWOOD
Advertising and Marketing Executive ALICE L ARNER
Editorial Contributors
RON PRINCE, DYLAN BRUCE & DAVID WOOD
Advertising Manager CLAIRE SAUNDERS
Art Direction & Creative Kinda Stuff
JAM CREATIVE STUDIOS adam@jamcreativestudios.com tim@jamcreativestudios.com
As we embrace 2025, I want to take a moment to celebrate the core strengths of the ICLS: the openness, collaboration and unwavering support within our incredible community. I extend my sincere gratitude to all of our members for their dedication and warmly welcome our newest members to the society.
The lighting community has demonstrated remarkable resilience and adaptability, overcoming the challenges of 2024. The ability to connect both virtually and in-person has fostered meaningful discussions and reinforced our collective knowledge. Our recent gathering at CineGear Atlanta was a testament to this spirit, bringing together full, associate and corporate members to share ideas, innovations and camaraderie.
Throughout the past year, our online discussions have covered a diverse range of topics, including Image-Based Lighting with Assimilate; Diversity In The Global Film Industry; Gaffers & Cinematographers Adapting To LEDs; Human Connections In Technical Problem-Solving; Beyond 18% Gray: Lighting Diverse Skin Tones; Gaffer-Programmer Communication Strategies; Equity In The Industry; Doing More With Less; Simplified Vectorworks Design Lab; 2nd Unit: Prep & Execution; and many more.
Our corporate members have also contributed by showcasing new products and technologies. While advancements in lighting technology are crucial, we also recognise the importance of discussions on negotiations, budgeting, mental health and other vital industry matters that impact our members’ professional and personal well-being.
Our Discord server continues to serve as a thriving hub for learning and collaboration, strengthening international relationships among lighting professionals and fostering direct engagement with corporate partners. With members contributing hands-on expertise from film sets around the world, the ICLS Discord has become an essential resource for real-world problem-solving. Additionally, we have launched an enhanced website, offering an extensive array of resources accessible to both members and the broader public.
I am immensely proud of our collective achievements. The continued growth of our membership reflects not only the rising prominence of our craft but also the passion and commitment of lighting professionals worldwide. The willingness to share knowledge and experiences within ICLS fortifies our community, ensuring that we continue to elevate the artistry of storytelling and enrich visual narratives that captivate audiences globally.
As we navigate the evolving landscape of our industry, we must embrace opportunities to foster positive change. The interplay of light and shadow is fundamental to storytelling, and as lighting professionals, we can apply that same perspective to shaping a more sustainable and equitable industry. By working together, we can address challenges with clarity and purpose, forging a path towards a brighter, more inclusive future for all.
Let us continue pushing the boundaries of what is possible in film and TV lighting while also serving as guiding lights for a fairer, more dynamic, and thriving industry. The future is ours to shape, and together we can illuminate a path forward that benefits all members of our community.
Mike Bauman ICLS President of the
International Cinema Lighting Society (ICLS)
NOTA BENE:
Thank you to all ICLS members who kindly submitted information for Light Fantastic. We received more material than we have pages in this edition, So, if your input is not featured in this issue, please be assured that we will publish it in edition #004, when we will continue to report on the latest hot topics in lighting.
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ANTON
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ARRI recently introduced the SkyPanel S60 Pro, an advanced soft light that builds on the strengths of the classic SkyPanel S60-C, whilst delivering innovative updates, more attractive cost-performance and greater versatility.
A stand-out feature of the SkyPanel S60 Pro is its digital twin – an exact replica of the luminaire in Unreal Engine – allowing customisation and seamless control throughout the production chain. This integration streamlines workflows, enhancing efficiency in pre-production, on-set and in post-production. Crews can synchronise real-world and virtual cameras and lighting systems for live collaboration, reducing workloads.
Designed for flexibility and creativity, the
SkyPanel S60 Pro features four LED zones for enhanced pixel control, colour accuracy and optimal light distribution.
Aputure has officially launched the Storm XT52, its new flagship Storm light, one of the brightest tuneable, white point-source LEDs in the industry.
Powered by the Blair light engine, the Storm XT52 delivers exceptional white light while offering unmatched colour adjustability, covering over 70% of the Rec2020 colour space. More powerful than a 6K HMI, it outputs tuneable white light from 2500° to 10,000° CCT with full +/- green tint control.
In Limited HSIC+ and xy modes, it achieves deeply-saturated colours, and its innovative Indigo emitter outputs near-UV light, activating natural fluorescence in people and objects –replicating the look of daylight and Tungsten.
Aputure has also introduced three new products: the Infinimat line, Sidus One, and Sidus Link Pro. Infinimats expand Aputure’s ecosystem with a flexible, full-colour, pixel-
mapping light mat featuring inflatable diffusion and modular connectivity for larger panels.
Sidus One and Sidus Link Pro enhance Aputure’s lighting control systems, offering
Meanwhile, the first phase of Gran Canaria Studios offers a cutting-edge environment for international content creators looking to benefit from the island’s film incentives.
The virtual production infrastructure, housed in the 1,200sq/m Stage 1 at Gran Canaria Platos, was developed by ARRI Solutions, integrator Video Cine Import (VCI), and ROE Visual. Additionally, ARRI Rental is expanding its services in Vienna, Austria, with a new facility providing lighting, grip equipment and logistics support for productions of all scales.
APUTURE ROLLS-OUT STORM XT52
console-level cue-based actions. With CRMX capability, Sidus Link Pro enables users to control non-Aputure lights through the same app.
ARRI LAUNCHES SKYPANEL S60 PRO & VIRTUAL PRODUCTION INITIATIVES ANTON/BAUER
Available via ICLS corporate member Vivendum, Anton/ Bauer’s pioneering sustainable power product, Salt-E Dog, has been awarded the prestigious Innovation Impact Award at the Royal Television Society (RTS) Technology Awards.
This accolade recognises Anton/Bauer’s exceptional achievements in developing the first sodium battery specifically designed for the motion picture and television industry. Salt-E Dog exemplifies forward-thinking and sustainable technology, providing a groundbreaking solution to traditional power sources.
Salt-E Dog, a 9kWh battery based on sodium chemistry, stood out for its ability to deliver consistent, reliable power that is both
cleaner and more environmentally friendly than fossil fuel or lithium generators. With no noise and zero pollution, Salt-E Dog supports productions in meeting net-zero sustainability goals without compromising on quality or safety.
In other news, Anton/Bauer has launched the VCLX LI 1600, a 1600Wh capacity lightweight battery. It provides multi-voltage output (14.4V, 28V, and 48V) through two XLR4 outputs and one XLR3, offering seamless power to cameras, monitors and lighting equipment.
“Our goal is to support the dynamic needs of cinematic production by continually innovating power technology,” says Andrew Hutton, head of products at Anton/Bauer. “The Salt-E Dog and VCLX LI 1600 embody this commitment by offering exceptional power, durable design and advanced safety features, providing reliable and efficient power solutions for any production environment.”
DP MARKUS FÖRDERER BVK ASC USED ASTERA TO THRILLING EFFECT ON SEPTEMBER 5
DP Markus Förderer BVK ASC harnessed Astera lights to recreate a ’70s look in the thriller September 5, directed by Tim Fehlbaum, which portrays the 1972 Olympics terrorist attack through the perspective of ABC Sports News.
Early in pre-production, the team aimed to meticulously recreate the events leading to the attack. Förderer studied original photos and historical videos, focussing on the lighting. The ABC Munich control room, with its wall of video screens, inspired Förderer to replicate the flicker effect of old CRTs and fluorescent tubes based on insights from former studio staff.
Given the tight 27-day shoot, original
fluorescents were impractical, so Förderer used Astera tubes housed in ’70s-style enclosures – LED batons with eight programmable pixels that allowed precise control and an authentic look. He programmed the pixels to mimic the flickering tube ends.
To achieve the flicker effect in the ABC edit room, the filmmakers placed an Astera HydraPanel inside a Steenbeck flatbed editor. They programmed its six mappable pixels to replicate the Steenbeck’s flicker, starting at 25Hz and stabilising at 50Hz as the film played. This lighting added tension, immersing viewers in the anticipation of each reel’s reveal.
September 5’s distinctive lighting owes much to the ingenuity of Förderer’s gaffer Uwe
Linke. Additionally, DP Ian Seabrook turned to Astera to navigate challenges on the 2025 Focus Features film Last Breath
CREAMSOURCE RELEASES FREE SLYYD iOS APP
Creamsource has released Slyyd, a free iOS app designed to revolutionise DMX lighting control. With a streamlined interface and advanced features, Slyyd offers simplicity, speed and precision, eliminating common frustrations in lighting management.
Developed with input from industry professionals, Slyyd is engineered for film productions, live broadcasts and media production and focusses on efficiency, reliability and creative freedom.
With the emphasis on real-world usability, Slydd redefines the standards of what lighting control should be, and is described as ideal for cinematographers, gaffers, lighting designers, broadcasters, content creators and film-school training
programmes. In addition, Creamsource will introduce advanced FX Modes and Cues to Slyyd, ensuring users have access to fully functional, top-tier tools in future updates. When it comes to controlling colour and speed, Slyyd is said to empower users to achieve flawless colour matching and intelligent colour communication (e.g., RGB, xy, CCT), all backed by industry-proven science and the same rocksolid technology that Creamsource is renowned for.
Slyyd also has userfriendly features such as
drag-and-drop patching and smart autoconfiguration, optimising set-ups instantly. Plus, with the convenience of an undo button, any mistakes can be corrected in a snap.
has launched the Airglow Float, a lightweight, inflatable, round, toplight modifier, designed to maximise the versatility of COB, panel, mat and tile LED fixtures.
The new product is a compact, easy-totransport lighting system offering creative and practical advantages. Available in 4ft, 8ft, and 12ft sizes, it features two adjustable inflated rings, a cylindrical side cover, plus optional white Snapcloth diffusion for ultrasoft lighting. A reversible black/white skirt directs illumination, and the three-point ceiling mount makes set-up easy.
The Airglow Float serves as an adjustable toplight for LED panels or COB lights. Its back wall adapts to different light sources and can be adjusted to reduce spill. The height is adjustable from 150mm-300mm for enhanced top-mounted diffusion.
For an entirely different effect, lighting units can also be mounted inside the Float. Flexible LEDs such as LiteMats and LiteTiles
can be lined around the cylindrical inner wall to send soft even light downwards.
To create a booklight effect, users can position a fixture inside the Float’s wedge, bouncing light off the far wall through Snapcloth diffusion for soft, even illumination. The Airglow Float can also be converted into a large bounce (Snapbounce) by removing the side cover and adding a white backing. Quick to inflate, the Airglow Float offers easy set-up and is adaptable to use as
a top, backlight or bounce, with tiltable depth adjustment for uniform illumination.
FIILEX K10 COLOR PACKS A SUPER-BRIGHT PUNCH
TheK10 Color from Fiilex is a super-bright punch light that emits 900W of LED illumination in a diminutive 12 x 12 form factor. This fixture uses the latest iteration of Fiilex’s Dense Matrix LED technology to deliver colour quality and optical versatility that are superior to previous generations of LED punch lights.
Individually swappable lenses and pixel control allow for high levels of customisation and control over the light output. With its smooth dimming from 0-100%, no flicker, high CRI, and CRMX wireless built-in, the K10 Color is said to excel in any production setting and can be used on a floor stand, rigged into a grid, or hung side by side on a rail. Cirro Lite is pleased to announce that the all new Fiilex K10 is now available in its rental stock.
GODOX INTRODUCES FULL-COLOUR RGB FLEXIBLE LED MAT SERIES
Godox has introduced the latest addition to its KNOWLED series: the full-colour RGB flexible LED Mat Series. Compared to the biversion(F200/400/600Bi), the RGB version is lighter and more powerful at the same size, with various control options and significant improvements in waterproofing.
The new LED Mat series offers five models: F100R, F200R, F200SR, F400R and F800R. Each model features a wide colour temperature range from 1800K to 10,000K, along with adjustable G/M settings and multiple accessory options, ensuring versatile lighting options. Accessories include softboxes with grids and pancake softboxes. Notably, the FS200R can also be paired with Air Tube, a
detachable tube-shaped air softbox, offering a wide 180° beam angle.
With a 30% power increase and a 20% reduction in weight, the F800R maintains the same size whilst offering enhanced
performance. Featuring bend-resistant LEDs with a protective design, it is built for durability. The ultra-thin light body, combined with thoughtful features, such as eyelets and Velcro, makes it easy to mount and operate even in tight spaces and challenging conditions.
The KNOWLED full-colour flexible mats are IP54rated, providing full protection from dust and water, ensuring reliable performance and consistent output even in rain or outdoor conditions.
KINO FLO CHAMPIONS MIMIK 120 FOR IMAGE-BASED LIGHTING
Image-based video lighting creates realism on-set with its innovative ability to mirror content while instantly applying a higher tonal and colour rendering range. Kino Flo’s Mimik 120 is the first of a kind that delivers extended spectral bandwidth and cinematic colour fidelity when lighting talent and set elements in virtual production environments.
Mimik 120 uses Kino Flo’s patented Matchmakker technology to convert RGB video signals into five individual emitters (warm white, cool white, red, green and blue), providing synchronised, full-spectrum lighting for realistic sets. LED screens traditionally output between 800 and 1,200 nits. By comparison, Mimik outputs 10,000 nits.
Mimik’s capabilities go beyond lighting the foreground by direct video feed while filling-out the spectrum, with the ability to shoot as high as 900fps and offer as many as 30 Alpha channels at 30fps.
Driven by the Megapixel VR Helios LED processor, Mimik 120 is a lighting fixture that delivers impressive on-set flexibility for control through either the Helios processor or by assigning certain functionality to the lighting desk. This resolves jurisdictional issues in the filmmaking community between VFX and on set lighting teams. Housed in a lightweight carbon fibre frame, Mimik 120 offers easy mobility and real-
time, latency-free synchronisation with LED volumes. It promises to give lighting departments control over dimming, positioning and colour.
LITEGEAR ACQUIRED BY CHAUVET
LiteGear has announced its acquisition by Chauvet, a leading name in the lighting industry. Founded by Mike Bauman ICLS and Al DeMayo, LiteGear is renowned for its pioneering products such as LiteRibbon, LiteMat and LiteTile, and has become the latest addition to Chauvet’s roster, which includes other notable brands like Kino Flo Lighting and ChamSys. This strategic acquisition aligns with Chauvet’s vision to broaden its reach and expertise in the realm of professional cinematic lighting. With this acquisition, Chauvet has
introduced the Chauvet Cinema Group (CCG), a dedicated division focussed on expanding cinematic lighting markets. This new division, led by industry veteran Mike Wagner, will drive the mission to venture into new lighting markets catering to image capture. The Chauvet Cinema Group will commence with the Kino Flo and LiteGear brands with plans for further expansion to include other brands.
“Joining Chauvet enables LiteGear to offer a wider variety of products to our customers than ever before,” said Bauman. “We will be focussing on what the community needs and ensuring that new products come from the
work, as LiteGear has always done.” Wagner expressed excitement about the merger citing, “Our objective is clear – we are developing a new playbook to become the market leader in cinematic lighting. By combining the strengths of LiteGear and Kino Flo under the Chauvet umbrella, we are poised to deliver unparalleled innovation and value to our customers.”
NANLUX PROMOTES POWERFUL EVOKE 5000B
Nanlux’s new Evoke 5000B is a powerful, energy-efficient LED light fixture with a 5000W power draw and a colour temperature range of 2700K–6500K, offering ±80 Green/ Magenta adjustment.
Its output rivals a 9kW HMI or 24kW Tungsten light, thanks to the Nebula B4 Light Engine, ensuring excellent light quality and efficiency. This engine also provides superior white light efficiency, said to out-shine traditional bi-colour fixtures by 30%.
Designed for both efficiency and easeof-use, the Evoke 5000B integrates the lamp head, control unit and power supply into a single unit, significantly reducing size and weight (46kg/101lb). Its IP66 rating makes it weather-resistant, suitable for harsh conditions. The fixture includes motorised
yoke, balance-adjusting rails and the PosiTight system for secure accessory attachment.
The Evoke 5000B’s 95° beam angle provides natural, sunlight-like light, making it suitable for largearea lighting. Its smooth dimming, including from 0.0% to 0.1%, and High-Speed Mode for flicker-free performance at high frame rates (over 10,000fps) further enhance its versatility. Additionally, the fixture’s transport-friendly design features a skid for shock protection and handles for easy setup.
The Nanlux Evoke 5000B is available through LCA and LCA Europe, an ICLS corporate member.
POWER GEMS MINATURISES WITH THE NEW GEM6MINI
The new GEM6mini is a compact yet powerful LED controller from Power Gems, designed as a smaller, more portable version of the GEM6. Despite its reduced size and lower current handling capacity, the GEM6mini maintains the same advanced features as its predecessor, making it a highly-reliable tool for on-set lighting control.
Equipped with an intuitive, menu-driven control system and an LCD display, the GEM6mini is easy-to-operate, even in highpressure environments. It features four large membrane buttons for simple navigation and adjustments. Housed in a rugged aluminium enclosure with silicone bump protection, it is built to withstand the demanding conditions of everyday production work.
Key specifications include six output channels, each capable of handling 5A (10A total), and compatibility with both DMX and Lumen Radio CRMX wireless control, as well
as hardwired connections. The GEM6mini’s versatility supports both 12V and 24V LED strings. It also offers comprehensive shortcircuit protection, ensuring safe and efficient
operation in all conditions. With its ultracompact design, the GEM6mini offers a neat solution for filmmakers who need reliable, efficient LED control in a smaller package.
PROLIGHTS PRODUCTS ILLUMINATE THE PASSION
Prolights products illuminated the TV show The Passion, broadcast in the Netherlands and Germany, and produced by Media Water Production, KRONCRV and RTL Deutschland. The lighting set-up provided by Full AVL, Prolights’ distributor in the Netherlands, and integrated by Light Image, included Prolights’ batterypowered Smart BatWash fixtures and EclFresnel CT+SIP projectors.
The Smart BatWash fixtures were highly-appreciated for their operational versatility, thanks to their wireless battery operation, which facilitated easy movement and programming. At the same time, the EclFresnel CT+ SIP, specifically designed for outdoor use, provided excellent light quality
and precise, vivid colour temperature adjustment, ensuring reliable performance even in the most demanding situations.
Light Image team praised the Prolights solutions, stating, “During the three weeks of filming, the Prolights fixtures were essential for the smooth progression of our work despite challenging weather conditions.
The Smart BatWash and EclFresnel CT+ SIP projectors operated flawlessly even under heavy rain, demonstrating unparalleled durability and reliability. The lighting setup allowed us to continue filming without interruptions, ensuring consistent and highperformance illumination.”
LIGHTBRIDGE LAUNCHES C-100 GRID SYSTEM
Lightbridge has introduced the C-100 Grid System, a patented, easy-to-rig solution which allows crew to obtain nearly any size, shape and surface they require to serve the project.
Cinematographer Manuel Billeter ASC developed this integrative system after years of testing on real productions. He finds the CRLS system intuitive, easy to set-up, and versatile, providing precise, large-scale soft lighting.
The C-100 Grid System efficiently combines multiple 100x100cm Precision Reflectors into a sturdy, unified array, with grid clamp adapters at its core for modular design.
Due to its simple modularity, the Grid System securely mounts any configuration of C-100 Reflectors including linear expanses, giant rectangular arrays, or in a simple
four-panel quad-mode with a 200x200cm reflective surface, off a crane arm.
With aluminium-coated, smoothly polished, wrinkle-free surfaces Precision Reflectors provide filmmakers with a naturalistic, spill-free lighting solution, eliminating the need for flags or frames while delivering beautifully diffused, controllable illumination.
The C-100 Grid System is available for all current Lightbridge CRLS 100cm Reflectors.
Additionally, DP Timur Civan shot the music video “Resurrection” for Blood Nebraska in his Joshua Tree
studio. He bounced a Fresnel off a 15x15 Precision Reflector inside a Snapbridge, combining a Lightbridge Reflector with a DoPchoice bounce.
SUNBELT RENTALS OPENS FLAGSHIP FACILITY IN LONDON
Sunbelt Rentals has taken its commitment to environmentallyconscious filmmaking to new heights with the opening of its state-of-the-art 180,000sq/ft flagship film and TV facility in Wembley, London. This facility marks a significant step forward in the company’s mission to provide cutting-edge, sustainable solutions to the industry.
Inside the expansive facility, rows of industrial-strength shelving are stocked with a vast array of LED and traditional lighting fixtures, along with the essential accessories that make it a gaffer’s paradise. The availability of this highquality gear, alongside the company’s technical prowess, aims to ensure that Sunbelt Rentals remains at the forefront of the film and TV industry.
Sunbelt Rentals also operates the largest fleet of ultra-low emission and fully-electric plant and power equipment across dozens of depots nationwide. This fleet has already been put to use on leading TV productions such as BBC’s Silent Witness Series 28.
“We care passionately about sustainability and safeguarding the environment, and are introducing cleaner, greener solutions to reduce harmful emissions such as our electric, hybrid and Euro-6 compliant fleet vehicles. All our plant equipment and generators are
compatible with fossil-free HVO fuel.” said Mike Pollard, managing director of film & TV at Sunbelt Rentals.
With this facility and its expanded offerings, Sunbelt Rentals is leading the charge toward a more sustainable future for the film and TV industry. In further news, Sunbelt Rentals has expanded its technical expertise through the recent acquisition of the JLL Group, which includes JL Lighting, JL Live, and Digiset. These specialists in technical broadcast and production solutions will allow Sunbelt Rentals to offer an even broader range of equipment and services to meet the growing needs of filmmakers.
ROSCO SOFTDROPS ENHANCE THE EVOCATIVE AESTHETIC ON THE ROOM NEXT DOOR
Pedro Almodóvar’s first Englishlanguage feature, The Room Next Door, explores life, death and friendship through the story of two reunited friends. Set in New York City but mostly filmed in Madrid, production designer Inbal Weinberg and cinematographer Edu Grau AEC ASC used Rosco SoftDrops to enhance the film’s evocative visual aesthetic.
The filmmakers constructed three key NYC sets – Martha’s Apartment, Ingrid’s Apartment and the Hospital Room – on a soundstage in Madrid using Rosco SoftDrops.
Inbal preferred using Rosco SoftDrop technology over gree screen for more
natural backgrounds. Concerns about postproduction VFX control led the team to choose a photographic NYC skyline backdrop, which also helped actors feel more comfortable on set.
Inbal explained that, although initially reluctant to the idea of using physical backdrops, Almodóvar and the producers, “Were open to this new yet classic approach. As a filmmaker, Pedro is always interested in the tension between
real life and melodrama, so I think the artificiality of the backing attracted him.”
Join ICLS and be part of a community of lighting professionals that reaches around the globe, allowing for networking opportunities, increased job awareness and crew connections when working abroad, amongst many other benefits. Meet the key officers and board members who make this happen.
Mike Bauman ICLS –
Co-founder & President
Credits as gaffer: Amsterdam (2022); The Tragedy Of Macbeth (2021); Le Mans ’66 (2019); Night Crawler (2014); Iron Man (2008) “The ICLS is a uniquely precious resource for everyone involved in lighting, at a time when we have seen such tremendous changes in lighting technology. It offers the opportunity to be part of a global community that is generous in sharing knowledge. It’s my hope that the society will encourage people from different backgrounds around the world to make careers in lighting.”
Rafael Sanchez ICLS –
Co-founder & Director
Credits as gaffer: Moana (2025); Thunderbolts* (2025); Joker: Folie À Deux (2024); Black Adam (2022); Jungle Cruise (2021).
Erin ‘Nelly’ Nelligan ICLS – Director
Credits as console operator/programmer: Final Destination: Bloodlines (2025); Saint X (2023); Alaska Daily (2022-23); Midnight Mass (2021); Ghostbusters: Afterlife (2021); Julie And The Phantoms (2020)
“I was invited to an ICLS meeting as a guest and was hooked from the start. Finding a group of people who aspired to join our disparate communities together, share their knowledge, experience and skill, and foster the next generation, while also working on themselves, was refreshing as hell. These folks aren’t from the ‘closed shop’ that so many of us grew up with.”
James McGuire ICLS – Director
Credits as gaffer: The Rainmaker (2025); Blue Moon (2025); Kin (2023); Cocaine Bear (2023); Nightflyers (2018); The Guard (2011)
“When I was a young gaffer I would have loved to have been part of an organisation like the ICLS. My wish is that the society continues to grow, brings more diversity to our craft, and gives greater awareness to the contributions made by talented artists in the lighting world. Thank you for choosing or considering being a part of something bigger than us all. Together we are stronger and smarter than we are individually.”
Carry the spark… and stay curious
Martin Smith ICLS –
Co-founder & Director
Credits as gaffer: Mission: Impossible – The Final Reckoning (2025); Mission: Impossible – Dead Reckoning Part One (2023); 6 Underground (2019); Mission: Impossible –Fallout (2018); Transformers – The Last Knight (2017)
“Along with being a wonderfully creative job, working in lighting is also highly-technical. I am all for the ICLS developing initiatives and programmes that are focussed on education, training and competency, and the provision of proper, structured and accredited routes into the business. This will take time, but it will be fabulous for our industry.”
“I would love to see the society grow internationally, and am keen that our membership reflects and encourages diversity and inclusivity globally in our industry – from those at the beginning of their career path as trainees, to those who already have an established role in the business. In addition to corporate memberships, I am eager to see the rapidly evolving society become more open to associated areas – including camera/DIT and other relevant roles – that incorporate lighting.”
Adam Harrison ICLS – Treasurer
Credits as rigging gaffer/chief rigging technician: The Accountant 2 (2025); Captain America: Brave New World (2025); Black Panther: Wakanda Forever (2022); Top Gun: Maverick (2022); Spider-Man: No Way Home (2021)
“My role as treasurer/co-chair of the finance committee means the long-term financial health of the ICLS is a main focus. Thank you to our corporate members for your dedication to that spark which forwards the art of lighting. Your never-ending curiosity is the engine that keeps us exploring the endlessness of light itself. My message to aspiring members, and those just starting in the field of cinema lighting, is carry that spark, ask questions, and stay curious.”
Ediola Pashollari ICLS –Executive Director
Based in New York, Ediola is the ICLS’s strategic and visionary executive director. She holds multiple masters degrees, across business administration, political science and entreprenology, has over 18 years of experience in non-profit organisation/ management, and was the first elected female secretary general of The World Assembly Of Youth (WAY).
“My role mainly entails overseeing and steering the best interests of the society and its members. I would love individual and corporate members to actively assist us in expanding the ICLS to reach its fullest potential. Together we can further develop and maintain a space that is dedicated to education, knowledge, networking and professional growth for the lighting community worldwide.”
The International Cinema Lighting Society (ICLS) thrives on the dedication and collaboration of its members, who work together to uphold the values and mission of our organisation. At the heart of this effort are several key committees, each playing a crucial role in shaping the society’s initiatives, policies and opportunities for growth. These committees provide members with avenues to contribute their expertise, drive positive change and strengthen our global community. We extend our deepest gratitude to the dedicated committee members who volunteer their time, energy, and expertise to serve our community.
1 ByLaws Committee:
The ByLaws Committee is responsible for maintaining the foundational framework of ICLS governance. This committee reviews, updates and ensures that the society’s bylaws align with our evolving needs and industry standards. By safeguarding the integrity and legal structure of the ICLS, this committee ensures that our operations remain transparent, fair and adaptable to future challenges. Additionally, this committee facilitates discussions on procedural improvements and governance best practices, ensuring that ICLS remains a dynamic and forward-thinking organisation.
Co-Chairs: Board Members
Email: info@iclsociety.com
2 Corporate Membership Committee
Corporate partnerships are vital to the growth and sustainability of ICLS. The Corporate Membership Committee fosters relationships with industry-leading companies, providing a bridge between our professional members and corporate sponsors. It oversees membership benefits, facilitates sponsorship opportunities and ensures that corporate collaborations align with the society’s mission and values. Furthermore, the committee works to create networking opportunities between members and corporate partners, encouraging the exchange of knowledge, technology and best practices within the lighting industry.
ICLS is committed to fostering an inclusive and diverse community where all voices are heard and valued. The DEIA Committee champions initiatives that promote representation, equitable opportunities and accessibility in the lighting industry. Through advocacy, education and community-building efforts, it works to create a more inclusive professional environment for all members, regardless of background or experience level. The committee also collaborates with industry leaders to implement best practices, conduct research on representation in the field, and provide mentorship programmes aimed at fostering a more diverse workforce.
Chair: Dessie Coale
Email: deia@iclsociety.com
4
Education Committee
Continuous learning is at the core of professional excellence in cinematic lighting. The Education Committee curates and develops educational resources, workshops and training programmes to support the on-going growth of our members. By collaborating with experts and industry leaders, this committee ensures the ICLS provides cutting-edge knowledge, hands-on training and mentorship opportunities for lighting professionals at all stages of their careers. Additionally, the committee strives to enhance the expertise of ICLS members whilst also sharing meaningful insights and experiences with the broader community, embracing both the privilege and responsibility that come with this vital mission.
Co-Chairs: Hanna McGugan, Gary Wilkins & Michael Kelly
Email: education@iclsociety.com
5 Events Committee
Engagement and networking are fundamental to a thriving professional community. The Events Committee organises and executes various ICLS gatherings, including seminars, workshops and online forums. This committee plays a crucial role in planning and coordinating events that facilitate knowledgesharing, professional connections, and industry innovation, both in-person and virtually. The committee also works to create inclusive and accessible events, ensuring that all members have the opportunity to participate, regardless of location or background.
Chair: ICLS Secretariat
Email: info@iclsociety.com
6 Finance Committee
Financial oversight and sustainability are key to the longevity of ICLS. The Finance Committee manages the society’s budget, oversees financial planning and ensures responsible allocation of funds. By maintaining fiscal responsibility, this committee supports the society’s mission and allows for continued growth and development of programmes and initiatives. Additionally, the committee seeks funding opportunities, including grants and sponsorships, to expand the reach and impact of the ICLS, ensuring long-term financial health.
Co-Chairs: Adam Harrison & Andrew Korner Email: finance@iclsociety.com
7 Membership Committee
The strength of ICLS lies in its members. The Membership Committee is dedicated to recruiting, retaining, and engaging members by ensuring that the Society meets their needs and expectations. It works to enhance the membership experience, provide support for new members, and foster a sense of belonging within the community. The committee also conducts outreach efforts to increase global participation, ensuring that ICLS remains a diverse and vibrant organisation. Furthermore, it gathers feedback from members to improve benefits, engagement opportunities, and the overall experience within the society.
Co-Chairs: Alvaro Brito & Gary Deneault Email: membership@iclsociety.com
Adam Harrison Finance Committee
Gary Deneault Membership Committee
Dessie Coale DEIA Committee
Alvaro Brito Membership Committee
Hanna McGugan Education Committee
Andrew Korner Finance Committee
Gary Wilkins Education Committee
Alida Keenleyside Corporate Membership Committee
Michael Kelly Education Committee
Dan Walters Corporate Membership Committee Ryan Lynch Corporate Membership Committee
The Eternal Daughter (2022) The Baby (3 episodes) (2022) We Are Lady Parts (TV series) (2021) To Olivia (2021)
Lynn + Lucy (2019)
Churchill’s Secret (2016)
Light is emotional. It plays a fundamental part in visual storytelling. During preproduction, I like to go through the project with the cinematographer, to discuss the emotion in each scene and consider how to evoke that feeling through the lighting. Early-on it’s not particularly about which lights we are going to use. It’s more about how I might shape or direct the light, and the dark, for the right mood.
I’m always looking for the emotional quality of the light. I love how light hits a surface or an actor’s skin, how it highlights or emphasises a certain area in a scene, such as sunlight coming through a window. Sometimes the energy of the light itself is important, but sometimes you cannot make it feel so conscious.
Getting started
My dad was an actor and I grew-up in the world of dramatic theatre. I loved movies too and was interested to both artforms, but from behind-the-scenes. After going to TV/ filmschool in Germany, I worked in camera control/VTR in OB vans, before working as a camera assistant in documentaries.
I moved to the UK in 1999 and got experience on student shorts and other projects. That’s when I really fell in love with lighting, so I went back to college to get the necessary electrical qualifications.
Mentors & breaks
Starting-out, being a woman who also didn’t speak very good English could have been problematic. But I didn’t experience any obvious obstacles getting into the industry. Employers and lighting teams soon realised I knew what I was doing and recognised my enthusiasm.
I’m always looking for the emotional quality of the light
In London, I worked for several years in rental houses and was a spark/best boy on many shorts and commercials. I had wonderful learning experiences on films like
Brick Lane (2007), shot by DP Robbie Ryan ISC BSC, with Johnny Colley as the gaffer and Andy Cole ICLS the best boy.
My big break came through DP Graham Frake BSC, when I spark’d for him and gaffer Tom Gates on The Truth About Love (2005). Graham must have seen my potential as he asked me to gaffer the BBC film The First Men In The Moon (2010), a 90-minute TV drama, shot on-set at Pinewood. It was a large production, an exciting experience, albeit a little nerve-wracking.
After that I worked with many talented DPs… Rob Hardy BSC on Broken (2012), David Odd BSC on the BBC TV drama series The Village (2013) and many more projects with him subsequently, Suzie Lavelle ISC BSC on Sky’s The Smoke (2014), Alan Almond BSC on the BBC mini-series Life In Squares, and Fabian Wagner BSC on Churchill’s Secret. These were all great learning experiences for me, of one kind of another!
Images: Carolina variously pictured using the CRLS system; with her 2016 WFTV Award; and on-location during
The Unlikely Pilgrimage Of Harold Fry.
Photo by Ron Prince.
More recently I’ve enjoyed collaborations with Ed Rutherford BSC on The Eternal Daughter, Kate McCullough ISC on The Unlikely Pilgrimage Of Harold Fry, Oona Menges on Ruby Speaking, Jamie Ramsay SASC on See How They Run, and twice with Hélène Louvart AFC on Firebrand and then The Salt Path – and I’m still learning!
Importance of the ICLS?
It was a great idea to bring gaffers, their teams and lighting manufacturers together when we were all in lockdown, all really conscious about one-another’s well-being and things like mental health. I was flattered to be asked to join by Martin Smith ICLS, as I had only worked on smaller-budget film and TV shows at the time, between £5m and £10m, and nothing like a Mission: Impossible movie.I really enjoy the vibes of camaraderie and support the ICLS provides, and the exchange of information on the Discord server about technology, techniques and how you deal with things like the politics during production. The presentations by manufacturers, which you can rewatch online, are a great way to keepup with new developments.
Keeping up with new developments in lighting technology
Along with the ICLS, I visit trade shows, such as the BSC Expo and the PLASA in London. That way I get to see not just what’s going in film lighting, but event and theatre lighting too. I love the social element of bumping into industry friends who are of like mind.
I also love visiting the rental houses, when I can get much more hands-on with the equipment and often feel like a kid in a candy store.
Favourite lighting instruments
I’m a fan of Dedo Weigert and the lighting tools he has created over the years, such as the PB70 parallel beam light – I like the philosophy of infinity lighting behind it and the quality of the light it emits. I also enjoy working with reflected light, such as the CRLS system from The Light Bridge, developed by another lighting philosopher Jakob Ballinger, as you can direct the illumination quickly, with precision, and get
beautiful and natural-looking results.
We paired the PB70 with CRLS reflectors on Ruby Speaking. For example, to give the idea of sunlight flooding into a room in an office building several storeys up, traditionally you would have had to put the lights on lifts outside. But, because the reflected light system has a small footprint, we were able to set-up on the balcony, get a nice steep angle to the light and create convincing natural sunlight. It’s a beautiful way to light.
I really enjoy the camaraderie and support the ICLS provides
A big part of the way I approach lighting is about shaping the shadows and the dark areas of the scene. So I always have a bag of textiles, including muslin, plus black and white sheets to hand, to shape or filter the illumination.
Accessories from companies like DoPchoice, that help with directing LED softlights and playing with the shadows, are go-to tools for me. The Rosco DMG Lumiere Dash range is great too, for the quality of colour in a portable lightweight fixture, as are the Kino Flo Selects.
How important is it to be environmentally-friendly?
Being greener is something that has to become inherent to your thinking as a gaffer now. The more we can get production crews to be pro-active about being environmentally-friendly the better. Producers need to be more engaged too. The Albert scheme is great, but there’s always the danger of just ticking boxes, and not much happening afterwards. The ICLS has been good on this subject, holding discussions and exchanging ideas about things like rechargeable battery sources.
That said, I tried in vain recently to wean
a DP off polyboard, and to try using a frame with reflective material instead. I do what I can. That’s why I like the PB70 as it only uses 1200W, but the output is more like a 9K. On Ruby Speaking and The Unlikely Pilgrimage Of Harold Fry we didn’t use a single generator, just the power from mains and battery systems like Voltstack 5K and Instagrid. I am all-for schemes like The Grid Project in London that give productions access to green energy to help reduce CO2, particulate emissions and noise pollution.
What are the top three films you have worked on?
That’s a difficult question, as I have had different learning experiences. Firebrand, about Katherine Parr, Queen of England, the sixth wife of Henry VIII, is definitely top of the list, for the creative collaboration I had with Hélène Louvart AFC, and the logistical challenges on-location. Hélène sees light, and the way light disperses into the colours of the rainbow, in a particular way. In various scenes, we had LED soft lights with opposing colours, such as magenta and green, right next to each another, and what hit the floor was an interesting amalgamation of them both. It was fascinating for me to look differently at lighting from her.
During production, we shot in a 12th century castle and had mixed sources coming from the CRLS reflected light system on a scaffolding tower and 18K HMIs on traditional cherry-pickers outside. It was amazing to see how well that worked-out.
The Eternal Daughter, shot on film by DP Ed Rutherford BSC, directed by Joanna Hogg was also memorable. It was a bit of an homage to ghost stories, and a lot of the action took place in twilight, in the dark, at spooky hours of the day.
It was one of those productions where you have inspiring conversations and toss ideas around, as crazy as they might be, where the light itself becomes a kind of character. This played very much to my love of lighting through textiles and moving the textiles to give the light some life of its own. I also got to use a technique that DP Alec Mills BSC showed me in the early days of my career, of putting your hands in front of a source and running your fingers through the light to create a feeling of aliveness. I really enjoyed that.
I learnt a lot from Fabian Wagner BSC ASC about time and team management, and techniques, when we lit Churchill’s Secret. It was an ITV film and the schedule was super-tight. Fabian said I needed a solid crew behind me, and there were some issues forming the team we actually wanted, which
Photo by Natalie Hagan.
GAFFERS CAFÉ•CAROLINA
wasn’t the greatest start. I will never forget him asking for a particular diffusion frame to shoot a close-up the director wanted, and we didn’t have one immediately to hand. It was excruciating as well all waited for the frame to arrive. This taught me more than a lesson or two about organizing stand-by gear and crew. Fabian is also great in lighting for multicamera set-ups, so these were all valuable lessons in my learning curve.
How do you waste your time?
I love going to art galleries and looking at the work of different artists – not just for the light, but being inspired by the ways they question life and how they view the world. I also love walking, especially in nature, it’s a great way of coming down to earth.
How can the lighting department become more diverse and inclusive?
Generally, I think things are moving in the right direction, and that the lighting department is much more inclusive than it was in the past. I make sure to have a good mix of ethnic backgrounds, genders and ages in my team. For example, on A Pale View Of Hills, I was the gaffer and my best boy, Edel Gardner, is a woman too. It’s important to have apprenticeships and more trainee positions to encourage the future generation. Along with the energy that youngsters bring with them, I
like to have the experience and patience of more senior members. Bringing-up the next generation naturally in a diverse environment is really positive.
Take your time… follow your passion
What advice would you give to women following in your footsteps?
Take your time. Follow your passion. Be motivated by what you want to do, and not by the money. Approach the people you look up to. I like it when I get emails asking me about being a trainee.
Don’t pretend to be someone you are not, or feel you have to play a game. Don’t be afraid to be the odd-one-out and enjoy being yourself. It took me a long time to see that and I guess I’m still working on it.
Images: Carolina pictured at the 2024 BSC Awards dinner; and with the crew of Firebrand, kneeling next to DP Hélène Louvart AFC.
SHOW TIME!
By Dan Riffel ICLS chief lighting technician & Scott Barnes ICLS lighting console programmer
Shot on KODAK 16mm film by DP Eric Steelberg ASC, director Jason Reitman’s comedy, entitled Saturday Night, transports audiences back to 10pm on October 11th, 1975, as a troupe of ferocious young comedians and writers prepare for the first broadcast of the satirical sketch show ‘Saturday Night Live’ (SNL) from NBC’s Studio 8H at 30 Rockefeller Plaza, New York City.
The film follows SNL’s ambitious showrunner, Lorne Michaels, as he deals with a tense and crazy melée of egos, expectations and general unreadiness in the 90-minutes before showtime. Featuring many long takes through the studio space and dressing rooms, to reveal the characters and the chaos, the film was applauded for its nostalgic celebration of one of showbiz’s most auspicious debuts.
Principal photography on Saturday Night began in March 2024 at Trilith Studios in Atlanta, where a double-decker set of the original NBC studios’ eighth and ninth floors was built, before the production wrapped some 34 shooting days later.
The task of lighting the movie saw chief lighting technician Dan Riffel ICLS and lighting console programmer Scott Barnes ICLS combining their talents.
Dan Riffel ICLS: “When Eric asked me to work on Jason’s film there was no question for me. It was a chance to relive my childhood, telling a story about a show I’ve loved since my dad
started letting me watch it in 1978. I read the script early-on and it had been some time since I had been so excited.
When I started my prep on Saturday Night, the office at Trilith was already up-and-running and the art department had a wealth of stills from the early days of the show, including the original cast interacting in the hallways, and the sketch areas in the main studio.
The footprint of the two-storey set had been taped-out on-stage, and Eric and I had good conversations regarding our approach to the film. He wanted to light the ‘live studio’ sections in the film using period studio lighting, which I fully supported. The Fresnels would become our workhorses, supplemented by a good number of original studio soft lights that would stack-up as fill from all directions.
I called friends at MBS and discussed what they had in stock in terms of vintage MoleRichardson studio lights that could be shipped to us. Happily, there was no lack of studio 1K, 2K and 5K Fresnels, but there were limits on the old 2K and 4K supersofts, plus egg crates, that were going to be in the background of many shots in the studio. We also needed green beds (cat-walk gantries) above the set so we could reach as many lights as possible to easily focus the Fresnels, plus several small lifts to get to the trusses that criss-crossed between.
Before Scott joined pre-production, I took it upon myself to draw-in the lighting in the studio area in 2D form. I still had old stencils in my meter case and workbox and, with help from the
art department, I was able to print the studio in a scale that matched my stencils.
I was off to the races. Over 400 vintage Tungsten units were drawn into the studio set which grew further when Scott weighed-in and put it all into a 3D model. This was because we also had to roost some additional smaller units on top of what I had already drawn-in.
My rigging chief Jeff Wallace and his team methodically cabled every lighting fixture perfectly, and happiness was the end-result. Some lights we’d dim way-down and added CTB to keep them from looking too warm on-camera. I spent several days focussing lights on each of the different sketch areas on the stage, with different looks to give us options depending on where the cameras would end-up on the day. For much of the film, the camera never stopped moving and it was important to be able to cross-light from multiple directions around the studio floor, and we had the ability to do just that.
The hallways, the craft areas under the bleachers, dressing rooms and offices were a combination of old and new lighting technology. These sets were also festooned with practical fixtures of all shapes, sizes and vintages, all of which were completely rewired by my fixtures department, headed by Joy Britt and her talented team. We put high-wattage Tungsten globes into everything, and the wiring had to be upgraded to make it safe. JDRs were used in many can lights that we could focus for edging actors and background. The goal was to give the actors freedom of movement, and the volume of practicals made a lot of that possible, while also making room for the endlessly-moving camera.
The two main hallways that led to
the studio (Broadway and Main Street) were augmented with LED toys. We had Lumosource Cine 5 ribbon fitted into diffusion tubes inside custom-built boxes with directional crates to sell the florescent look on Broadway, that we played in a cooler white light with a touch of cyan. Main Street was comprised of P3 units from Fiilex with their 5’’ Fresnel attachments. These worked beautifully, and meant we avoided heat issues and burn-out problems we would have had by putting in traditional, period Tungsten cans. At 200 ASA on 16mm film, the Fiilex lights were working at 85-100% all the time, the Cine 5
I know. His skillset and ability to draw all of these parts and pieces into a 3D model was not only beneficial to the lighting side but also helpful for every department, including the director and production designer.
During production I started-out flipping through maps to get the number of a light on a specific truss, but that quickly evolved into him flashing the desired fixture. It’s uncanny how efficiently Scott streamlined our process, as time is always a commodity we don’t have these days.
I had more prep time on this film than it took to shoot it, and am painfully aware of how rarely this happens. I took advantage of every opportunity to talk in detail with Eric, the designers, set dressers, our fixtures department, construction and FX and am proud of what we all accomplished together. I’d worked with Eric on two movies previously, including The Front Runner which was also directed by Jason. Their collaborative and inclusive approach made this production a joy from start to finish.”
Scott Barnes ICLS: Although Dan and I have known each other for years, and have worked together on second unit crews, this was our first venture on an entire main unit production. I had never worked with Jason or Eric before.
On my first day of prep, Dan told me the immediate thing they needed was a drawing of a stunt pipe – an electric pipe, full of miscellaneous lighting instruments that would fall and crash to the ground in particular scene. Dan said it needed a ridiculous number of lights rigged to it, and that it was important to get it done/approved by Jason right away, because the FX team would take my 3D drawing and begin making a break-away duplicate for the actual stunt.
The rest of prep was all about drafting the set and plotting the lights. What was cool about this set was how it was divided into two sections.
One half was the actual Studio 8H that the sketches were taped-on, the other half had all the backstage hallways, dressing rooms and offices.
The lighting was a mix of old and new school. For Studio 8H, Dan and Eric wanted authentic Tungsten lighting that would light the talent and play in the background as an important part of the set dressing. We had close to 500 lights of various types. Most of them Mole Richardson lights, like studio 1K, 2K and 5Ks. We had various size soft lights, including vintage Molelipsos.
While drafting the plot in Vectorworks, I customised my symbols to look more like oldschool Mole lights. I took time to model the set and lighting to look more realistic, and to give Eric and Dan the ability to visualise the lighting in 3D
before the rigs went up.
The backstage areas were lit primarily with practicals, most of them being LED light sources that were posing as incandescent lights – new school. For example, Dan used Fiilex P3s for all the can lights. We had about 90 of them throughout the entire set. For the fluorescents in the hallway, we used Lumosource Cine5 LED. So all of the can lights and Cine 5 flo’s could have their colour adjusted however Eric and Dan wanted.
Between the studio lights and all the practicals, we had over 1,500 dimmers on this stage. Jeff Wallace and his rigging team did an amazing job. By my side was my long-time co-worker, Derek Page, who established the data network around
the entire set and helped with all the numbering and plotting.
Giving Dan lighting plots that he could use to call out numbers was tricky. Studio 8H had 28 sections of truss of various sizes that we labelled A to Z, with AA and AB being the last two. I made two sets of maps, the first being a top view of the entire studio, showing each truss and their lights. Many of the trusses had lights stacked on top of each other, and a
top view wasn’t always the easiest way to view them. So, I also gave Dan elevation maps of each truss that showed the lights from more of a front view (or gaffer POV). These maps worked out so well that I replicated them in the lighting console, which made selecting the lights much easier. Often times, I would have a light selected by the time he called for it. Our communication was pretty seamless.
Jason, Eric and Dan made coming to set each day easy and fun. I think most of the crew would say the same, that this production was an absolute delight to work on from start to finish. Nobody wanted it to end.”
PS: On learning about this article, Eric Steelberg ASC commented, “Wonderful, those two are geniuses!”
The Matrix Reloaded / The Matrix Revolutions (2003)
The Matrix (1999)
Lorenzo’s Oil (1994)
Strictly Ballroom (1992) Gorillas In The Mist (1988)
The Mosquito Coast (1986)
Working in Australia gives you a different perspective on light as it’s very harsh compared to European light, perhaps as there’s less pollution down here. To me light comes in all shapes and forms, from natural to artificial. Dawn and dusk light always fascinate me and I try to match their nuances when working on projects. The same can be said about artificial light, incandescent and sodium/mercuryvapour. They all have their distinctive feel. I love to look at paintings by the old masters, such as Caravaggio and Da Vinci, just to look at their ability to paint contrasts and light direction.
SHINING A LIGHT ON...
REG GARSIDE ICLS
By David Wood
Fact File:
Age: 72
Born: Huddersfield, Yorkshire
School: Huddersfield and New Zealand.
Training: As an Electrician before going into the film industry.
Lives: Sydney, Australia
Hobbies: Films, art, gardening, watching soccer, keeping mind and body in a good state
the more I got to love the job.
How did you get into lighting?
I answered an ad in the Evening Standard newspaper in London and got an interview with Rainbow Lighting in Acton on the Monday, started on the Tuesday, did my first job on the Thursday. Luckily, I had a very understanding DP who took the time to explain a number of things to me. I learnt on my first day that you don’t volunteer to hold a cutter in an interview with a 1,000ft mag on the camera!
My big break
When did you realise you wanted to be a gaffer?
It was sort of a natural progression I guess. The more I worked, the more I learnt,
I went to Australia for a wedding and met up with gaffer Micky Morris, who I had first met in London. He asked me to best boy for him in Australia, so I moved there for six months and never went back. My first gaffing credit was with a young DP called John Seale ACS ASC, who went to be nominated five times for Academy Awards and won for The
English Patient (dir. Anthony Minghella, gaffer Mo Flam). I did 11 films with John. What’s the best advice you were ever given, and from whom?
There have been a few bits of advice I have been given through the years. Peter Weir had “KIS – Keep It Simple”. Johnny Seale also once said to me if they are looking at the lighting then they are not looking at the film, i.e. your lighting should complement the film. But my favourite is you never stop learning, every day is different, and you get to put all you have learnt into working out new solutions.
Importance of the ICLS?
I joined the ICLS because I wanted to be amongst people who I regard as role models. I am now on the membership committee, so I get to see the diversity of applicants. It’s fantastic being able to relate to other gaffers around the world and has helped enormously. There are no egos, it’s about collaboration and helping each other out. The ICLS has given people in our part of the industry the ability to solve problems and give advice almost instantaneously to
Images: Reg variously pictured on The Bluff and with DP Andrew Lesnie ACS ASC on King Kong; plus Thor: Love & Thunder exterior street and Shang Chi compound sets.
technicians from all parts of the globe. Keeping up with new developments in lighting technology
I have been through three incarnations of lighting: brutes and Tungsten sources with Dichroics; then HMIs; and most recently, the LED era. Having learnt my craft with Fresnels, open-face lamps, blondes, redheads and soft lights, Dinos and 1K/2K Zips, I now find that I am adapting LEDs to cover a number of these old sources. LED lights are a great innovation. The original LEDs were all based on soft sources, but now there are a number of LED Fresnels which are great. However, we are still missing larger output Fresnel and open-face HMI sources.
LED lights are a great innovation
We have come to a stage with LEDS where, to achieve bigger outputs, we are going down the path of ever-increasing weight in our fixtures to allow for heat from the LED emitter and also of external ballasts to run them. I feel that there will soon be a new source of light, laser or something else, not too far in the future.
But I still find uses for older lamps. I love to use Dinos for large fire sources, although I am sure at some stage I will come up with a LED variation of that. Work in progress. My favourite sources at the moment are the Creamsource Vortex – it always delivers. Next would be the Ayrton Domino Profile IP65 mover. I use a lot of ½ soft frost diffusion as it takes the edge off the strong sunlight we have here in Aussie, but still gives me contrast.
Favourite films & biggest challenges
The Mosquito Coast (1986, dir. Peter Weir) was my first large overseas picture with John Seale ACS ASC, shot in Belize. It was a steep learning curve as my gear was sourced out of Miami using 110v and
distribution systems we weren’t familiar with. I took brutes and a large Tungsten package and some of the first HMI par lamps. I decided to go DC and keep my AC to a minimum as we were in the jungle with lots of moisture to keep safety to a maximum.
Rapa Nui (1994, dir. Kevin Reynolds) was another hard film. The DP was Steve Windon ACS ASC and we had to fly all the gear in an Antonov from Australia to Easter Island – lights, generators, camera grip gear, the lot – all in one trip. We were on the island for six months so if it didn’t work, you had to fix it.
Then there was Gorillas In the Mist (1988, dir. Michael Apted, DP John Seale ACS ASC) 10,500ft up a mountain, silverback mountain
gorillas. Amazing, and The Hobbit with the great Andrew Lesnie ACS ASC, who unfortunately is no longer with us. I think my greatest achievement is being able to work with all the wonderful people I have met in my time in the film industry.
Biggest mistake?
I was watching rushes of The Mosquito Coast in Belize with all the crew. When the night shoots came up and the lights were very blue, DP John Seale turned around to me and said in a very quiet voice, “Reggie, what’s going on with the lights?” I suddenly realised I had forgotten to take the Dichroic out of the lights I had rigged during the day. Then director Peter Weir turned to John and said, “I love that night light look.”
Advice for other people who want to work in lighting?
When first coming onto a set stick with the team, listen, watch and follow
Knowledge is meant to be passed on
instructions and don’t get distracted by what other departments are doing. That way you learn quicker. Don’t be afraid to ask, learn the terminology, understand what each lamp can do. Knowledge is meant to be learnt and passed on.
What are the key skills/talents you need to succeed as a gaffer?
You have to be able to communicate, educate yourself, be a business person, a negotiator and a mentor. Sometimes it’s hard to be all of this, but you have to try. On top of this you have to look after yourself. I am no spring chicken. There are a lot of pressures on a gaffer but my advice is to look after yourself from the start. Don’t be a hero and lift heavy gear
by yourself, instead ask for help. Keep yourself fit, mentally and physically. I go to the gym and take power walks as much as I can when working. When not working I am training most days.
It is a very demanding industry. A good crew is a happy crew, and a gaffer is only as good as his crew. Communicate and make sure you have a happy crew. After all there is no “I” in “team”.
How do you spend your time when you are not working?
I try and spend as much time with my family as possible when not working. It’s a pretty demanding industry and it’s not kind on families.
The most important lesson your working life has taught you? Priorities. The most important is your family.
Images: Reg also pictured on The Bluff and with DP Andrew Lesnie ACS ASC on King Kong; plus a Par 64 rig used for firelight effects on Thor God of Love And Thunder and the Shang Chi compound set.
BEAM US UP…!
By Dylan Bruce
In 1811, the French Commission For Lighthouses established a committee to investigate improvements in lighthouse illumination. Augustin-Jean Fresnel was one of these committee members and in 1822 he created an ingenious design. A series of concentric lenses refracted the light both horizontally and vertically to produce a much stronger beam of light. Not only was this very useful for guiding wayward ships in the night, it turned out to be a nifty piece of film lighting technology. After consulting members of the ICLS, some archival digging reveals that Mole Richardson invented the Fresnel Solar Spot unit in 1935. They adapted the Fresnel lighthouse lens for use in motion pictures, going on to win the first of four technical Academy Awards the company has earned. The soft-edged spotlight produced by a Fresnel was perfect for illuminating actors and scenes with a highly-controllable beam. This was much unlike the open-face counterparts which were renowned for powerful output, but delivered light that was difficult to control.
What makes a good LED Fresnel?
With the advent of LED-lighting technology, the Fresnel lens has needed to adapt, with significant work by many companies to create an LED Fresnel that matches the beam characteristics of the traditional Tungsten versions. Like most gaffers, renowned John “Biggles” Higgins ICLS knows there can be various difficulties here in relation to the cooling of the LED chip and its design in making LEDs as much of a point source as possible. But there have been spectacular developments of late and Higgins predicts, “A great future for LED Fresnels.”
ARRI LIGHTING:
Fresnel lights have been a cornerstone of ARRI Lighting’s portfolio since the Tungsten and HMI era. Manufactured in Stephanskirchen, Bavaria, the L-Series Plus LED spotlights combine classic Fresnel characteristics with cutting-edge LED technology. They offer seamless focusability from spot-to-flood, a uniform light field, and up to 90% more light output than their predecessors.
The compact and versatile L-Series Plus comes in two variants: the L5-C Plus and L7-C Plus, available in blue-silver or black, with manual or pole-operated yoke options. Both models support direct network connectivity with
LAN in and out for ArtNet or sACN, or classic DMX via an adapter cable. They feature a halfpeak beam angle of 12° to 45°, a continuously adjustable CCT range of 2,800K to 10,000K with +/- green, and a full RGBW color gamut
with HSI, RGBW, xy, Effects, and more.
The compact L5-C Plus is suitable for mobile applications and tight spaces, such as small TV studios. The more powerful L7-C Plus is at home in traditional studio set-ups that require longer throws and wider beam angles. Both models combine high energy efficiency with flexibility.
The Orbiter Fresnel optic greatly expands the capabilities of the six-coluor Orbiter system. Featuring a motorised zoom range from 15° to 65°, controllable locally or via DMX, and an LED display for zoom-angle indication, this optic delivers authentic Fresnel output with a true Gaussian light field. Its light output is comparable to the L-Series L10 or the True Blue ST2/3 with a
ARRI
SkyPanel X LEDs with HyPer Optics.
Photo courtesy of gaffer
Ken Sody.
2000W Tungsten bulb. The Orbiter with Fresnel lens is already proving its quality in renowned concert halls, including the Wiener Konzerthaus and the Mozarteum University Salzburg.
In September 2023, ARRI introduced the SkyPanel X – a groundbreaking, all-weather LED luminaire designed for ultimate modularity. It features three different front attachments: the X21 Dome, the S60 Adapter, and the HyPer Optic, our primary focus here. Multiple units can be combined into powerful X22 or X23 arrays, perfect for outdoor lighting applications. The SkyPanel X’s HyPer Optic delivers an even, round beam of light with a single shadow, even when used as an X22 or X23 Array. Many users compare the HyPer Optic’s quality of light to that of a Fresnel, making the SkyPanel X a useful tool for pushing light through windows in studios and on location.
ARRI’s award-winning SkyPanel family and the new L-Series Plus lights are showcased at major industry trade shows worldwide, so you can experience ARRI’s lighting technology firsthand. www.arri.com
APUTURE:
Aputure, well known for its super-modular systems, features three new Fresnel LED units in its line-up.
The Aputure CF4 Fresnel is a compact Fresnel with a 4” diameter lens and Mini ProLock Mount, optimised for use with the Storm 80c. It intensifies the Storm 80c by up to 5.5 times (on Storm 80c at full intensity, 5600K at 1m distance equals 36,000 lux). The CF4 Fresnel offers a beam range of 15° to 40° and its compact
design is perfect for small, well-balanced set-ups on the Storm 80c.
For the Storm 1000c and 1200x there is the compact CF12 Fresnel with a 12” diameter lens and Bowens Mount. It intensifies the Storm
1000c output by up to 9 times (5600K, full intensity at 1m equals 58,500 lux) and the Storm 1200x output by up to 9.9 times (5600K, full intensity at 1m equals 84,400 lux).
Offering a beam range of 15° to 45° the CF12 Fresnel is also compatible with the LS 1200d Pro, LS 600c Pro, and LS 600c Pro II.
Both the CF4 and CF12 Fresnels have optics that provide an even output at all beam angles, with a smooth centre-to-edge fall-off, and use a dual-expanding focussing system with multiple lens elements to drastically reduce size and weight without compromising optical performance. And last but not least, Aputure has the motorised F14 Fresnel compatible with the Electro Storm CS15 and XT26 in its line-up. This beast of a unit offers a 18° to 50° motorised spot/flood adjustable beam angle, plus automatic calibration and optimisation of light output.
weather-resistant and includes barn doors, detachable yoke and rolling flight case. www.aputure.com
ASTERA:
Astera’s mission is to empower cinematographers, lighting technicians and gaffers with a comprehensive range of LEDbased lighting solutions that enhance creativity and elevate production quality. And there are some exciting advancements in the company’s LED Fresnel department.
Astera’s LeoFresnel and PlutoFresnel are notable in that they both feature an in-built battery solution and detachable yoke base allowing for maneuverability. Under the bonnet is the Titan LED Engine, which provides the precise colour control to effectively replicate the look of a traditional Fresnel, with full spectrum RGB + Mint + Amber, a wide CCT range of 1750K to 2000K and a colour rendering index (CRI) of <96.
The smaller of the two, the PlutoFresnel is suitable for film, studio and event lighting. It matches the output of a 300W Tungsten Fresnel, whilst only consuming 80W of power. Its larger counterpart, the LeoFresnel now offers the output of a 1200W Tungsten Fresnel and uses only 250W.
The units can run off an internal battery for two and three hours respectively, with a seamless runtime setting that lasts up to 20 hours. Both have the option for an extended run time with an external battery plate, or AC power via Powercon sockets. Like all Astera
The F14 Fresnel is IP65
lights, they contain a wireless DMX module by Lumen Radio, enabling them to be controlled by
CRMX and W-DMX transmitters alongside other wireless fixtures.
Both the PlutoFresnel and LeoFresnel lenses work in conjunction with a light pipe that is built into the fixtures. It creates an even beam with steep fall-off and no chromatic aberration or colour fringing. The manual zoom ranges from 15° to 60°, allowing them to be operated as both spotlights and washlights. The Fresnels feature a removable optic to work as open face units, as well as the possibility to add a projection lens for even further control.
Astera’s product development and R&D are based in Germany, prioritising durability in every aspect of the design and manufacturing. The company has meticulously crafted these lights to set a new standard in the industry – one that combines the timeless qualities of classic lighting with the efficiency and adaptability of modern LED technology.
www.astera-led.com
FIILEX:
Manufacturing out of Taiwan, Fiilex is well-known for its Q-Series LED Fresnels. They feature patented Dense Matrix LED technology, which has allowed the company to create LED Fresnel lights that offer the quality and control professionals expect, whilst providing the benefits of LED, such as lower power consumption and reduced heat output.
Notably, Fiilex began developing its Dense Matrix LED technology six years before launching the brand, including a feedback loop with gaffers, lighting designers, DPs and programmers, which played a crucial role in achieving the performance and quality expected in its LED Fresnel products.
The Q-Series pack 18+ stops of dynamic range, 2000K to 10,000K continuous tuning + magenta/green shift, with a CRI/TLCI 95/90
typical. The control modes allow for changes in CCT, HSI, RGBW, GEL, CCTRGBW, CCTHSI, CIExy, ICTHS and more. Integrated Lumen Radio CRMX is found in all of these fixtures.
The Q3 Color is a 90W full-colour Fresnel
capable of producing crisp shadows and clean barn door cuts. It features a 15° to 45° beam angle. The Moto Q3 is a motorised version of the same lamp, adding 190° of tilt and 540° of panning, allowing for complete freedom for all adjustments.
The Q6 Color steps-up the power to 185W, offering increased light output and a broader beam range. This model is designed for those who need more powerful illumination whilst retaining the colour accuracy and adjustability that Fiilex is known for.
Finally, the Fiilex Q10 Color is a 900W LED Fresnel with an 11° to 65° beam angle. Aptly recognised as a “modern day 5K”, it is more than capable of replacing old Tungsten fixtures on larger productions. These models maintain the high colour fidelity of the smaller units but scale up the brightness and beam adjustability, catering to professional environments that require robust, powerful lighting solutions.
The K10 is a 900W LED Fresnel with a 12° lens beam angle (18°/30°/50° with optional lens accessories). It offers 2000-10000K tuning, 95 CRI, flicker-free dimming, and extensive control options (DMX, CRMX, sACN, ArtNet). IP-X5 water-resistant with a controllable fan, it delivers high-output, full-colour lighting for professional use.
www.fiilex.com
GODOX:
As a well-known brand in the field of lighting equipment, Godox has been committed to providing comprehensive lighting solutions for photographers, videographers and filmmakers since 1993. In particular, its KNOWLED series proves an unwavering commitment to help filmmaking become more efficient, time-saving and economical.
The company offers a range of LED Fresnel systems known for their versatility, power and precision, catering to various professional lighting needs. They also focus on a modular approach, with an entire Fresnel lens system available depending on the LED fixture in use.
Starting at the smaller end and working our way up, we have the FLS5 Fresnel attachment which is compatible with Godox LED lights that adopt the Godox Mount, such as the ML60,
ML60Bi, ML30 and ML30Bi. This features a beam angle of 10°-35°
At the larger end of the line are the Q8 and Q10 Color Fresnels. The Q8 Color is a 320W 8” LED Fresnel that generates high-quality, full-colour light output. It is battery compatible and brighter than a 1KW Tungsten lamp.
The FLS10 and FLS8 are 10” and 8” in diameter, with their adjustable beam angles being 10° to 35° and 10° to 40° respectively. The FLS10 and FLS8 are compatible with Godox LED Lights that have
a Bowens Mount. Another new addition to Godox’s Fresnel lens system is the BF10, which is compatible with all flat Bowens Mount lights, making it an ideal Fresnel attachment for the M1000R, M600R and M600Bi Pro.
Finally, there is the GF14 attachment which is the largest Fresnel that Godox produces. The GF14 is compatible with Godox G-Mount LED lights, such as the MG1200Bi. Weighing in at 9.6kg, it features an adjustable beam angle of 15° to 45°. Able to amplify the light output of a Godox LED fixture up to 19 times, the GF14 Fresnel Lens on the MG1200BI can produce a whopping 2,790fc at 5m distance with a 5600K CCT. All of Godox’s Fresnels are compatible with barn doors and feature sturdy, robust construction. www.godox.com
NANLUX:
Nanlux’s popular Evoke series has been paving the way for high-powered LEDs, with the Evoke 5000B approaching that of a 9kW HMI or 24kW Tungsten light. As such, equallysophisticated Fresnel attachments were required to make these powerful LED units adjustable and focusable.
The Nanlux FL-45E motorised Fresnel lens does exactly this, being a cutting-edge NL mount optic with remote control and a zoom range from 16° to 50°. It seamlessly integrates with the Evoke 5000B, delivering a powerful illumination of 55,600 lux at 5m (with a CCT of 5600K and 16° focus). The FL-45E can be controlled either by the button on the lens itself, by the Evoke 5000B fixture, Nanlink app, wired controller or DMX console. This allows the Fresnel unit to be adjusted in a variety of shooting locations, whether in a studio or up in
the air on lighting machines.
The FL-45E boasts an IP55 rating, ensuring strong dust and water resistance. In combination with the Evoke 5000B, an exceptionally durable lighting fixture is born. Suitable for harsh environments and providing consistent, stable lighting for exterior shoots lasting all day or in environmentally challenging production scenes. The FL-45E was released in February 2025, together with the Evoke 5000B.
In March 2024, Nanlux released the FL-35E, a motorised Fresnel lens as well, with a zoom range of 15° to 46°, which can be controlled in multiple ways. It is compatible with the Evoke 2400B and 5000B. When used with the Evoke 2400B, it has an output of 25,510 lux at 3m (with a CCT of 5600K and 15° beam angle). But due to its higher power, the FL-35E will safely restrict the output by about 50% when attached to the Evoke 5000B. www.nanlux.com
PROLIGHTS:
series was designed at the company’s R&D facility in Italy and is manufactured in China. It caters to a range of shooting needs, split-up into three different sizes that ensure seamless integration into indoor theatres, studio sets and demanding onlocation shooting.
The S and S IP models feature a 200W Fresnel with a 6” lens. A newly-designed optical system allows a greater zoom range from 9° to 73°.
The M and M IP models boast a 350W source with an 8” lens and beam angle of 9° to 80°. The L and L IP Models, the largest in the range, house a powerful 600W source and an 8” lens and beam angle of 10° to 77°. This entire range is IP65 rated to ensure longevity in difficult shooting environments.
All of these compact, LED Fresnels are Spektra calibrated, significantly boosting
Prolights offers the EclFresnel CT+ series, an innovative range of LED Fresnel fixtures, driven by market demand and the company’s commitment to technological advancement, to develop fixtures that offer top-of-the-line colour rendering, increased energy efficiency and operational flexibility. All whilst positively impacting on carbon footprints whilst addressing an evident gap in the market.
Comprising of six fixtures, the EclFresnel CT+
whites with an average of 30% higher white than previous generations. For those seeking even greater beam control than the impressive 8° to 80° angle range, an optional PC lens kit replaces the Fresnel with a plano-convex optical unit. Prolights engaged extensively with industry professionals, including lighting designers, gaffers and DPs – throughout the development process of these lights, which began shipping in November 2023, with strong
flux across
demand worldwide from film and TV studios, was well as theatres. www.prolights.it
ETC:
Many LED fixtures with Fresnel lenses on the market were designed as LED technology first with Fresnel features added last. ETC set out with reversed thinking. Its goal was to create a true Fresnel – one that barn doors beautifully and has perfect fall-off across the beam – and then add in the features found on modern LED fixtures to complete the user experience.
ETC’s Advance Research Group worked with colourists, DPs, gaffers, researchers and
lay-people to find the best light for on-camera use and came up with the Lustr X8 array. This is a patent-pending mix of eight colours including a Deep Red emitter that includes the long-wavelength reds that are prominent with incandescent fixtures, but had previously been missing with LEDs.
Made at ETC’s HQ in Middleton, Wisconsin, USA, the company has a growing range of LED Fresnels. The fos/4 Fresnel is the flagship on-camera family, with features shared across Panel, Fresnel (in 5”, 7” and 10” apertures), and the Source Four LED Series 3 ellipsoidal, all based around the Lustr X8, 8-colour array. They have battery or mains input, wireless DMX, NFC configuration, full built-in effects engine, and intuitive local control for work without a console.
The Desire Fresnel is a version of the fos/4 7” and 5” Fresnels with some features removed to aim at the theatrical market (such as no
battery input, and no effects). It features a 13° to 55° zoom control, from either the front or back of the fixture. It is a compact unit with a glass Fresnel lens, and small, intuitive UI design.
The ColorSource Fresnel V features five colours with a motorised zoom, offers wireless DMX and NFC configuration, and is principally aimed at the theatrical market, but has gained traction in small TV studios. Its light quality is higher than that of similar priced competitors, and with ETC’s standard five-year fixture/ten-year array warranty makes it a much better investment.
In March ETC also announced the ColorSource Fresnel V Max variant – taking
the same compact form factor of Fresnel V and adding a new LED array that nearly doubles the output to 10K lumens. www.etcconnect.com
K5600 LIGHTING:
Fresnels have always been a serious subject matter for K5600. Ask them, and they will enthuse about how the Fresnel has been a key instrument in lighting portraits or scenes since the beginning of photography and film, and how the Fresnel lens remains a remarkable optical tool.
The beam of a Fresnel light is unique. It features a hot spot in the centre, which decreases progressively to the edge of the beam. The more illuminated centre is what brings the attention of the viewer to a designated area. Whether it’s the eyes of the comedian or a detail in a room, a Fresnel light will point it out. It’s part of the storytelling using light.
All other available optical systems don’t have this ability. A soft light sprinkles light everywhere, whilst a Par will have a narrow parallel ray of light with no spread from a lens. An ellipsoidal source will produce a narrow, even
beam with very crispy shadows. But shadows are another specialty of the Fresnel lens – single, sharp, but not too much, as the result needs to look natural. And last but not least, a great Fresnel light ought to provide the ability to cut the beam neatly with a barndoor.
All of the Alphas from K5600 Lighting do
all of the above and more, such as ability to point straight down and to remove the Fresnel lens for extra-wide coverage. With the Alpha HMI range from 800Wto 18KW, or with the 300W and latest the 30W Alpha LED, K5600 guarantees the specifications and features you would expect from a typical Fresnel.
The Alpha 9K and Alpha 18K have been upgraded with new and improved ventilation in all positions, plus a more compact and powerful striker, which is now fitted on the focussing system avoiding wear and tear on high-voltage cables, which are now replaced by copper rods improving hot restrike considerably. www.k5600.com www.k5600.eu
Daisy Jones And The Six (concert lighting designer)
Gaslit (TV series) (2022)
MATT ARDINE ICLS
By Ron Prince
Fact File:
Age: 41
Born: Boston, USA
School: Huddersfield and New Zealand.
Training: Film-making studies degree, Emerson College, Boston
Lives: North Hollywood
Hobbies/ passions: Biking and running
Everything Everywhere All At Once (2022)
Spiderman: Far From Home (2019) (gaffer: Los Angeles)
Ghost In The Shell (2017) (gaffer: Los Angeles)
What fascinates you about light?
I got into lighting because it’s both creative and technical. I wouldn’t want to be a writer, where it’s just completely creative with no technical. Lighting is one of the crafts that really combines technical intricacies and artistry in one.
How did you get into lighting?
Where did you train?
I started making skate videos in highschool, and learned about working with the camera and editing. By my senior year, I took all of the video and film production classes that my school offered. My teacher even suggested I make an independent study on cinematography. Teaching myself through my own independent study, I came to realise how much cinematography is about lighting.
I then attended Emerson College in Boston, where I studied filmmaking. During this time, I knew that I wanted to be an editor or cinematographer. While editing my first music video, I realised that being stuck in an editing room was a miserable experience for me. I wanted to be a cinematographer, but also enjoyed classes about theatre, event
and film lighting.
After college I moved to LA, and continued along my chosen path, picking-up occasional jobs as a DP, but working more and more as an electrician and a gaffer, which I really fell in love with, especially work that involved lighting design. That’s the road I have followed since then, and I now jump between lighting projects in different industries – movies, commercials and events.
What films inspired the ‘young’ you to becoming a gaffer?
Requiem For A Dream (2000, dir. Darren Aronofsky, DP Matthew Libatique ASC, gaffer Phil Testa); American Beauty (1999, dir. Sam
There’s no better way to get information than via the ICLS
Mendes, DP Conrad Hall ASC, chief lighting technical Tom Stern ASC AFC); and Moulin
Rouge (2001, dir. Baz Luhrmann, DP Donald McAlpine ACS ASC, gaffer Steve Mathis).
Each of those were shot and lit very differently, and were unlike anything I had seen before. The boldness of the cinematography and lighting struck me at a formative time during my last two years of high school, and started me thinking that lighting might be how I wanted to make a living.
What does ICLS membership mean to you?
What’s great about the ICLS is the willingness of members to share knowledge and experience. I enjoy the Zoom calls, and love the Discord channels, where amazing questions are asked and amazing answers are given, or where someone breaks down a scene in a production they lit. There’s no
Images: Matt variously featured working on Wolfs and with one of the Academy Award for Everything Everywhere All At Once
better way to get information as a gaffer than via the ICLS.
How do you keep up with new developments in lighting technology?
Along with the ICLS Discord, I also use Instagram, as many manufacturers post on there, as do DPs and gaffers about the jobs they’ve done. I also attend CineGear Expo in LA and LDI in Las Vegas, which is more based on event/concert lighting and is where you can find new products not originally intended for the film industry.
Thoughts on modern LEDs?
The proliferation of LEDs has been exponential and what you can do with them now is amazing. Apart from big HMI and Tungsten units to throw substantial amounts of light, everything else I use is exclusively
LED. The ability to make any colour and dim the lights without colour-shifting, are the #1 reasons for me.
Also, a lot my work is based on utilising the power of the lighting console. This allows me to hang the lights we need for a whole scene and then tweak the intensity and colour shot-byshot. The added bonus of working that way is that power distribution is a lot easier and much smaller power sources are needed.
The importance of being green/ environmentally-friendly?
I really try hard to achieve a low carbon footprint in my lighting plans, using as small a generator as possible. But it doesn’t matter how low-wattage your lights are if you are still powering the set with a large generator. Obviously, there are some big batteries out-there now, 500kWh units, but if you end-
up having a longer shooting day than expected, you just might run out of power. And then there’s the problem of how you charge your batteries overnight, especially if you’re shooting multiple days on-location. I really want batteries to work, but it’s difficult. The best option, which currently in LA is the most difficult option, is getting power drops at the location from the grid. That’s the cleanest source. But arranging that takes a lot of advance notice. Currently, you need to work with the local utility companies a month or two in advance to get the power drop in place. It also costs a lot of money and production managers currently are not overly-eager to take that out of their budget.
On my last three movies I’ve had meetings with the studio ‘eco departments’ to discuss what my strategies are. So, it’s in the mindset, but going green does cost a lot more and there’s some way to go.
Favourite lighting equipment?
I’ve been a big fan of Digital Sputnik Lights – there’s something about their beam angles, output, colour and dimming features that are great and remain largely unmatched as of yet.
I use the Elation Proteus Maximus a lot. It’s a powerful, bright moving light with all the bells and whistles, and it’s also IP65-rated. When I’m lighting night exterior scenes, my condors typically have two of them along with Creamsource Vortexes above, giving me a rig that is dust and water-tight that can sit for
several days whatever the weather.
My favourite gadget is the Rosco DMG Dash CRMX with the Dot diffuser accessory. A few DPs I work with love top light, but when they notice you can’t see the actors’ eyes, we just bring in the DMG Dash with the Dot to give a little eye light.
The best projects you have worked on so far?
Wolfs (dir. Jon Watts, DP Larkin Seiple). It was about five months of filming – two months in New York and three in LA – and was simply a great experience. Larkin was the DP, and I was able to bring-in my programmer, David Kane ICLS. The three of us attended college together, and we’ve been working together for 20-something years. Having two of my best friends alongside me was awesome. Plus, we got to do some cool things, like lighting-up five blocks of New York City for car chases, and then three months later shooting the car interiors on an LED volume. When we arrived in LA, ICLS member, Bobby Dechellis was our rigging gaffer.
I also really enjoy working as a lighting designer on concert scenes or musical moments in a movie, where the lighting is choreographed and emotionally-connected with the music. I’ve done a bunch of those, like in Daisy Jones And the Six, Freakier Friday and the Transparent TV musical.
Of course, Everything Everywhere All At Once (dirs. The Daniels, DP Larking Seiple) is another favourite. It was pretty low-budget, with no rigging crew, and we had no idea we were making a film that would go on to win seven Oscars. But the directors and the
I really try hard to achieve a low carbon footprint in my lighting plans
producer made everyone feel we were part of a filmmaking family. We sometimes had to wear multiple hats. For example, Michael Beckman ICLS was my best boy, rigging gaffer and fixtures foreman. We were always ahead of the game, setting-up the next scene, and we kept the outcome of making a great movie in our minds.
Tell us your most hilarious moments? Getting out of a party bus with some of the cast and crew on Everything Everywhere All At Once and stepping right onto the red carpet at the Oscars. Then taking the same bus to the Vanity Fair afterparty, where
we didn’t have invitations, but the golden statuettes in our hands meant security just waved us through.
Greatest achievement?
Having a good work-life balance – being gaffer and also a dad. I’ve turned-down a lot of amazing movies because they were shooting out-of-town, as I really didn’t want to be away from my family for months on end. I am proud of the productions I’ve worked on, but glad that I’ve been able to stick around LA and be with my family.
What tips do you have for people who want to work in lighting?
Make your own film and learn the crafts – how to direct, shoot and edit. You will then better-understand the importance of lighting to convey emotions in any given scene.
Also, there are many good books out-there. The Set Lighting Technician’s Handbook by Harry Box is brilliant. It’s something every person who wants to get into lighting ought to read – 500-pages covering day-to-day practices, equipment and tricks of the trade.
Also… be likeable. People hire people they think are going to enjoy working with. How can the lighting department become more diverse and inclusive?
I think it’s very important for the industry
to improve diversity and inclusivity, and that involves giving access and training to people who would not normally get the opportunities. I was lucky enough study at college, but so many people don’t have that.
There are lots of organisations in LA and around the US, that are helping. I have taught lighting classes at Ghetto Film School in LA, and participate in Zoom filmmaking workshops with people in Vermont. My wife’s a teacher, and sometimes her co-workers contact me to do a class on lighting for sixth graders. There are all sorts of ways to help people from different socio-economic backgrounds into the business. What is the most important lesson your working life has taught you?
Stay calm during the chaos! You want to be the person who can live calmly within the chaos and deliver solutions.
What’s next for you?
Some of the directors I’ve worked with before have new projects coming down the pipe, and there’s also rumour of a sequel to one of the films I lit recently. In the meantime, I’m focussing on commercials and live events as well training for my next Ironman.
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COURT ON CAMERA
By Frans J. Weterrings III ICLS
Captured on Kodak 35mm film by Thai DP Sayombhu Mukdeeprom, director Luca Guadagnino’s Challengers takes audiences into the competitive heart of professional tennis, as three ambitious players become embroiled in a love triangle involving lust and the ruthless desire to win at all costs.
(Josh O’Connor), his former best friend and Tashi’s former suitor.
Well-received by critics and at the box office, the film was noted for the way in which its colourful camera work explores the muscularity, sexiness and frailties of human physiology, all while tennis-balls get convincingly smashed, expensive racquets are battered into splinters and sweat drips in slow-mo.
Captured on Kodak 35mm film by Thai DP Sayombhu Mukdeeprom, director Luca Guadagnino’s Challengers takes audiences into the competitive heart of professional tennis, as three ambitious players become embroiled in a love triangle involving lust and the ruthless desire to win at all costs.
Told in non-linear episodes, over the course of 13 years, the story follows Tashi (Zendaya) a failed tennis prodigy turned coach, who has
transformed her husband Art (Mike Faist) from a modest player into a world-famous grand slam champ. To jolt him out of a losing streak, she pressures Art to play at an ATP Challenger event in New Rochelle, NY – close to the lowest rung on the pro-tennis tournament ladder. Passions soon run high when Art stands across the net from the once-promising, now burnt-out Patrick
Challengers was lit by gaffer Frans Weterrings III ICLS, using standard ARRI HMIs and Tungsten fixtures, in combination with Creamsource Vortex8 fixtures and DMG-line LEDs. The lighting package was supplied by Red Herring MPL Inc, supported by MBS, except for several 100k SoftSuns, which were supplied by Luminys.
“I had not worked with Luca or Sayombhu before, but Yorick Le Saux AFC, with whom I worked on Little Women (2019), recommended me. Yorick had worked with Luca before on I Am Love (2009) and A Bigger Splash (2015).
The philosophy behind the lighting for Challengers was for the overall look to be natural, perhaps slightly heightened in colour saturation. Sayombhu wanted the final result to feel as though the camera had been dropped into regular real-life situations. So it was all about supplementing the existing ambience we found at our interior and exterior locations, and bouncing soft light into most day sets.
From the start, it was hinted to me that Sayombhu and Luca didn’t want to wait for lighting, so I strove to give them the ability to shoot in any direction with minimal tweaking, keeping the looks natural but letting the colours in the wardrobe and set design pop a little, for that slightly heightened look. There wasn’t a particular emphasis on beauty lighting, and it wasn’t hard to make our leads look good anyway. However, we did make sure Zendaya always had a little more fill, a little more beauty light.
Although we were shooting on 35mm film, I have tried to always light the same way on film and digital. I tend to do a lot of films that shoot on celluloid, so my approach was the same as it always has been.
My lighting package included standard ARRI HMIs and Tungsten fixtures, and the LEDs
I used included Creamsource, LiteGear and Rosco DMG-line fixtures. I used Vortex8s or LiteGear LiteTiles large overhead softboxes. I love the colour of the DMGs and the LiteTiles allowed me to put up a larger source with little weight. I also had a Cineo R15, as it’s a big broad source I could send down a block on a putt-putt.
I tried to bounce soft light into most day sets, which helped Sayombhu’s ability to shoot in all directions. We added some simple highlights into the backgrounds, but never over complicated things. Our night scenes involved a lot of practicals with DMG Double Maxi Mix, SL1, Mini Mix and Dash as larger and smaller soft-sources.
On the exteriors we could go bigger and used lifts with soft top-lights, plus condors with Vortex8 arrays and Elation Proteus Maximus
It wasn’t hard to make our leads look good
movers for background and edges. In the event of bad weather these fixtures have become a staple as they have high IP-ratings. My board op, Tim Boland, could easily change the intensity of the lights on the lifts and condors as Sayombhu moved around.
Lighting this film was pretty simple for the most part, except for the three-set tennis match between Art and Patrick that features at different points throughout the story, and we spent a lot of time discussing our best options to keep lighting continuity across that sequence.
This match itself, which takes place during a sunny afternoon, was actually shot over the course of several days and at different times of day. Due to the size of the tennis court and the complication with the existing grandstand
seating, we were unable to control the sunlight by covering the set using butterflies on cranes.
Working with my lighting team, I came up with the solution of having a pair of Magni scissor lifts with two 100K SoftSuns on each. We went with SoftSuns for two reasons. One, we were doing a lot of off-speed and the SoftSuns are flicker-free, an still have a ton of broad punch. Also, they helped to extend our shooting day and during overcast days, they gave us some lighting direction to match the days when we shot in the sunshine.
Also, Saymobhu often filmed some sequences at high-speed, and the SoftSuns are great because they are flicker-free up to 10,000fps. Sayombhu and I tried to get production to follow the sun on our shoot days. Sometimes that worked, other times it didn’t, and that’s when the SoftSuns became our saviours.
One of the other sequences that presented a lot of problems was a large, night exterior party scene at a mansion with a tennis court overlooking the sea in the moonlight. We had water on one side, cliffs of another and a large house between the set and the place where we could position a lift.
Using a 12x12 LiteGear Lite Tile box, Josh Dreyfus, my rigging gaffer, was able to extend the lighting rig over the house and suspend it above the tennis court. When we ran into a weight issue with reach, it was easy to take out a single strip to lessen the load and allow us to get over the court.
For our moonlight source, we used a 16-light Vortex array on the largest Magni lift, which could extend to 167ft and was sited far away in the background, and that created a really nice effect in-camera. I worked with the art department to put string lights around the party and motivated a pair of DMG Maxi fixtures. Other lifts had smaller Vortex arrays alongside the Proteus Maximus movers. During the shoot, it became a game of turning, dimming and lifting the lights as Sayombhu moved around.
I have had the same crew with me for a long time. Thomas TK Keenan has been my best boy for a while. With Robert Cuddy, Steve Sikora, Ed Lalli and Chris Husta as my SLTs, I don’t ever have to micro-manage a thing. They know what I’m going to ask for before I ask. Tim Boland is more than a programmer. He can design and build all the crazy things I schemeup. Also, with all the lighting and control systems we have on-set these days, a programmer is an integral part of your crew. If you lose your network or the MA has a failure, you’re dead in the water. Josh Dreyfus, an excellent gaffer in his own right, was my rigging gaffer, proving an invaluable resource and meticulously rigging every set.
Collaborating with Sayombhu was a great pleasure. I work a lot with DPs from overseas and really enjoy the varied approaches to filmmaking they bring.
Sayombhu has incredible energy and on a film like this it was necessary to have this from the top down!”
I strove to keep the looks natural, but let the colours in the wardrobe and sets pop a little
GET IN TOUCH
If you have photos and a story to tell about a particular scene you have worked on as gaffer, please let us know!
A three day event that includes seminars, workshops, masterclasses, discussions forums & panels, educational content & demos alongside an incredible equipment expo.
Encompassing all departments of filmmaking & production.
Women in Cinematography A Deep Look into AI in filmmaking Lighting, Colour and Grading
Join sessions hosted by WIC focusing on improvements for Women in Film.
Hosted by ITC, this 2-tier session will dive into advancements, tools, and where AI sits in pre & post production.
With a wealth of discussions, find out what you need to know to create the ‘look’ you need.
GROWING PAINS OF VP
By Jeff Webster ICLS
When the behind-the-scenes episodes of the first season of The Mandalorian aired, they highlighted the possibility of shooting a high-quality TV show inside an LED volume using Unreal Engine. This promised believable, parallaxing backdrops and lighting, without the need for traditional lighting, green/bluescreen or rotoscoping. Though this was an oversimplification, the excitement spread rapidly, leading to VP stages emerging globally. However, challenges with this new
Whenever someone asks me about virtual production (VP), I emphasise that it’s just a tool, not a solution for every production issue. Successful use requires careful planning, understanding of the volume space and its limitations, plus an eye for detail so as to avoid inconsistencies within the camera frame.
technology became evident, and soon it seemed this incredible technology might not be as tame and manageable as some people once imagined. Volumes constructed only a few years ago are already being dismantled due to their high costs and sub-par outcomes, but hopefully these challenges can be addressed with a better understanding of the technology.
Setting expectations:
Producers often believe VP will save time,
money and labour. However, many face slow volume productions with escalating costs due to time-consuming content adjustments, colour discrepancies, frame-rate issues, software crashes, reboots and other new problems. These perpetual issues have left many crews disillusioned by VP. Time is always money, but time moves more slowly in a volume. The time crunches, usually enforced by the ADs and producers, can force bad decisions and short-cuts to be made, where you may end-up needing to rotoscope the shot
I see a bright, rich, colouraccurate future for this powerful filmmaking tool
instead of using the video wall background, which would defeat the purpose of shooting in the volume to begin with. Scheduling must take into consideration the volume control team (VCT) tasks and add buffer-times in for crashes, bugs, restarts, etc.
Oftentimes it is the DP and VCT who are the last ones making adjustments to the content, because once the lighting and camera teams have done their job, there is usually a tweak or two that needs to be done to the finishing
touches. It’s an extremely tedious job, and the content doesn’t always behave the way you would expect it to. It may seem like they are the slow ones, but when doing in-camera VFX, this time must be taken or else they will turn into post-production VFX.
Working in a volume you have new crew who you must interact with in the VCT. But, working as a team with them and learning how each of you can improve and help the other out, the better the product you end-up with. I work very closely with our VCT in order to achieve faster results and better integration of our lighting with their system, either Unreal or StageCraft.
Experience is key:
With time and experience in a volume, the VCT is able to build-in the proper controls ahead of time, so that when the DP wants to make adjustments to something virtually, the time to complete tasks is reduced because the controls are there. They know to ask for a prep camera with the proper LUT and monitoring so as to match colour accurately before the shooting crew shows-up, keeping an eye on the frame-rate of the content during prep and reducing processor-heavy content. This also allows the DP and gaffer to pre-light the physical set with proper colour on the monitor, since you cannot pre-light by eye with the narrow-band RGB spectrum of the video walls.
For a gaffer, the more time you spend in the volume, the easier and faster it will be to achieve the desired look. It’s not always simple and we still scratch our heads trying to figure out how on earth we will light the scene to merge the virtual and physical lighting.
Sometimes the hard sun won’t cover the set or reach to where we want, or certain light patterns aren’t projecting correctly because of the way the volume is built. Volume experience helps to know what will not work early enough to provide input to the proper departments so adjustments can be made in a timely manner.
A tool that is helpful at informing these decisions early is VR scouting. Using VR for volume scouting has become commonplace, enabling discussions about virtual and physical light synchronisation on the actual volume stage. This evolving technology, particularly in Unreal Engine’s newer builds, has made virtual lighting more intuitive. Unlike earlier, where lighting had to be predetermined or “baked in”, current UE upgrades allow live lighting adjustments without overloading the system.
It’s all about the prep:
Preparation is key, a sentiment every production professional understands. But with VP, the emphasis on preparation should be intensified. Each set must be designed virtually before the shoot, aligning with the real-world
set’s colour, reflectivity and scale. This work, typically a post-production task, has shifted to the prep phase. Cinematographers, directors and production designers collaboratively craft the virtual content, along with VAD artists. The goal is a seamless blend between the real and virtual sets.
Volume stages have tight space constraints, so minimising departmental overlap is crucial. Lighting plots need to be drafted earlier so riggers can install overhead lighting and grip equipment before the set-dressing comes in. In order for the VCT to accurately match content, the lighting needs to be set. This means a prelight at least a couple days before the shooting crew arrives, which is not always easy for production to approve because of equipment and labour costs.
The more time you spend in the volume, the easier it will be to achieve the desired look
On our LucasFilm projects, we’ve been privileged to film on adjacent stages while the volume stage is prepared. This allows for periodic check-ins and adjustments before the actual shoot day. Not every production enjoys this luxury, especially if most days are location shoots with only a brief stint in a volume.
I was recently hired on a production as a ‘volume gaffer’, to be the eyes and ears helping to prep the volume whilst the DP and gaffer were shooting nights on-location. We spent our time pre-building lighting cues, matching virtual lighting to physical lighting, and testing-out the connection between Unreal Engine and the lighting desk. This decision led to smoother shoot days and less lost time on avoidable situations.
Don’t be afraid of failure!
Our Lucasfilm volume family has grown and adapted together over the years. While we aim for perfection, occasional failures serve as welcomed learning experiences. That’s what it’s all about when it comes to new technology such as this. It is not perfect, but, when leveraged appropriately, VP offers unparalleled cinematic potential.
Images: Courtesy of Jeff Webster ICLS
SPECIAL FEATURE•IMAGE
Our specific LED volume:
Our volume has a diameter of around 75’ and walls 20’ tall with a full ceiling of video panels. This is due to the fact our lead character has a mirror-ball as a helmet and reflects everything. However, I don’t believe future volumes necessarily need a ceiling of video panels. Often, the ceiling will need to be replaced anyway because of viewing angle issues. Instead, you could rig soft boxes of fullspectrum studio lighting that could be controlled
add hard light effects as the video wall only provides soft light quality. These are just a few examples.
Know the limitations:
As a gaffer there are many limitations to lighting in a volume. I’ll list out a few here:
from spilling onto the video wall, as well as providing better skin tones. This also allows more points for stunt rigging, special effect rigs, etc.
The more time you spend in the volume, the easier it will be to achieve the desired look
Choosing sets for your volume:
When choosing sets to put into a volume, we have found the following:
• Exteriors with hard sun or moonlight can be hard to sell when the set is flat and directly meets the walls of the volume. However, soft, dawn or dusk lighting sells well.
• Most interiors work well, whether those be day or night. However, content with large bright sources (such as windows or openings that take-up a large portion of the walls or ceiling of the volume), against a dark interior can prove problematic, as you will wash out the dark areas with uncontrolled light. Large solids and light control grids may be utilised when the source is out of frame, but often that is unavoidable and you will end up with a flat background that will need to be replaced later.
• Any process work or animated loads, such as ships flying or other travelling vehicles, are ideal candidates for the volume, since you get realistic reflections and light movement. However, you will still need to
• Hard light: we often try to bring hard light into the volume, it helps to sell the illusion since the video walls can only provide soft light. However, it can be difficult because sets often end directly at the bottom of the video wall and since you can’t light through the video wall, the light needs to be set-up above on a truss or on the mezzanine deck. This will give you adjustability, but you will miss lighting a part of the floor which will create a bad seam into the virtual content. We have solved this by lighting through the large opening of the volume and orienting the set to allow a backlight from that direction. This isn’t always possible.
• Light spill: do your best to not spill any light onto the video walls themselves. This will lighten-up the black areas between the pixels (and the pixels themselves) and create a flat-looking, low-contrast background.
• Overhead rigging points: frequently there are only a few places to rig overhead in a volume. We have solved this by dropping motor chains through open module holes of the video wall ceiling and/ or opening pre-determined large “wild” sections of panels to allow for unobstructed
Preparation is always key, but with VP the prep should be intensified
light to shoot through the ceiling.
• Video wall colour: the RGB spectrum of the video is fine for viewing, but for lighting subjects it does not provide a fullenough spectrum to allow for accurate skin tones and other nuanced/balanced colour. We try to light with full-spectrum studio lighting as much as possible, especially when lighting skin.
In the end, trust your instincts and light as you would a normal set. You can use whatever type of light you prefer: Tungsten, HMI or LED. We have used all of these at certain times and achieved fantastic results.
New technology that can help:
With the introduction of four-colour RGBW and five-colour RGBCA video panels, we now will have much better colour-rendering for realistic subject lighting. These panels incorporate a fourth emitter to illuminate subjects with improved spectral quality. This broader spectrum gives more colour accuracy to skin tones, costumes or props that tend to have an overly-saturated and red tone in a traditional RGB-only volume.
Studio lighting has been ahead of the curve of broad-spectrum lighting sources, but behind on video playback colour spaces and accurate gamma selection. We are now starting to see lighting manufacturers understand the need for better video playback on their lights so that we get expected results when running video content.
In the past, we would play video files in
the Rec709 colour gamut, through a media server of some sort, that would output direct RGB values to the lights. The light would either display the output as RGB (uncalibrated and not pretty) or have a predetermined calibrated colour space to deal with the fourth, white diode (calibrated but not expected since the colour space is different).
When leveraged appropriately, VP offers unparalleled cinematic potential
We are now starting to see manufacturers provide colour space selection and gamma (essentially dimmer) curves so that video will play back as expected through the light. Because we are getting to the place where we are running more and more video content through our studio lighting fixtures, there is now a need for studio lighting manufacturers to have colour-space and
gamma selection, like a video wall processor.
I have been in many conversations with people who want to run video out of Unreal Engine directly to lights and have them behave as expected, allowing for low-resolution volumes to be built out of studio lighting fixtures, and not relying on the soft, ambient light quality of the standard video wall panel.
VP in the future:
VP technology is moving forward at break-neck speeds providing filmmakers with the control and versatility that they desire: live-lighting abilities in Unreal Engine, broader spectrum video wall colour, standardised colour space control for studio lights and more. We are seeing that there is a desire for VP to succeed and, as technicians, we must provide the manufacturers and software designers with the
guidance and feedback they need in order to build us a better future.
As the film industry sets realistic expectations and gains more experience in VP, we can hopefully see it grow into something great. If we keep pushing the limits of the technology and let the art drive our creativity, I see a bright, rich, colour-accurate future for this powerful filmmaking tool.
THE COMPLETE PACKAGE
Q&A with Assimilate’s Jeff Edson (CEO) and Mazze Aderhold (Chief Innovation Officer), plus Dan Walters ICLS lighting console programmer.
Give us a brief history about Assimilate?
Jeff: Assimilate started in 2004 and over its 20 years has helped to drive many fronts of the media and entertainment market. The debut product was Scratch, which was the first to deliver real-time playback of 2K DPX files on a PC, the first to deliver the Red One RAW camera workflow, and the first to provide 3D stereo workflow. It was used to deliver the first major motion picture, Journey To The Center Of The Earth (2008, DP Chuck Shuman, gaffer Sylvain Bernier), in 3D.
Scratch drove the idea of colour correction on PC and Mac workstations, and was also
the first to deliver end-to-end virtual reality (VR) workflows. The company started and remains distributed around the world, with the team being based on all continents and development centred in Groningen, The Netherlands.
How did Live FX come about, and when?
Mazze: Development of Live FX began in 2021, coming out of the pandemic. It was clear that virtual production was going to become core going forward, as projects were forced to limit travel/locations, but still be able to provide believable environments. We launched Live FX
and Live FX Studio at the end of 2022, taking full advantage of our many years in production and post to bring the widest toolset to the virtual production market.
This initially included basic lighting capabilities. At NAB 2023, in collaboration with The Studio-B&H and Quasar Science, we launched the Image Based Lighting (IBL) component of Live FX. The continued collaborations we formed with the Quasar team, and all of the other major lighting companies since then, have shaped and defined the features that exist today for lighting. The lighting features continue to be driven by the lighting companies and user community.
All the lighting features in Live FX have been developed 100% upon user feedback
We see our capabilities here as a core to Live FX. Did gaffers and desk-ops help in the development of Live FX too?
Mazze: Indeed, they did. We have to admit that we’re still fairly new to the lighting industry and as such fully-rely on feedback from professionals, when it comes to develop our software further. We can honestly say, that all the lighting features in Live FX have been developed 100% upon user feedback, which really turned out to be great for both sides.
Dan: Live FX is equally aimed at gaffers as well as lighting programmers and deskops. Assimilate has worked from the start
with manufacturers like Creamsource, who have an option to adjust the colour space of a Vortex fixture. This allows gaffers to truly colour-manage their lights to align them with the source material and content on an LED volume. Being able to set colour spaces on fixtures gives some meaning to the Red, Green & Blue values sent out of Live FX. Rec 709 and Rec 2020 are the most commonly used ones in a production environment, but sRGB, P3-D65, P3-DCI and ProPhoto/Plasa E1.54 are all supported by the Vortex fixtures as well.
Gaffers and lighting programmers, like me, have been consulted and given a role in the development of Live FX, particularly its integration with professional on-set workflows around sACN and fixture patching.
What productions has Live FX been used on?
Jeff: Live FX is still a new tool to the industry, but its reception has been nothing but amazing so far. It has been used as the media server for many productions from music videos, commercials, high-speed motion control shoots, vehicle shots and major motion pictures and streaming shows like Helicopter Heist (2024, gaffers Thomas Neivelt & Tobias Juhl) and many shows that are soon to be released.
Dan: We used Live FX on Mission Impossible: Dead Reckoning – Part One (2023, DP Fraser Taggart,
fixtures running the full length of the three train carriages.
I also deployed Live FX with Creamsource’s Vortex range on an upcoming project. I can’t share too many details, but we have been using the ColourSpace support within CreamOS to ensure accurate replication of the content through our large arrays of Vortex image-based lighting.
What platforms does Live FX run on?
Mazze: Live FX runs on PC and on Mac, and the hardware requirements are based on use. Many lighting users run it on their laptops, but on larger sets a desktop machine is required. Basic configurations should include: a very good processor, the best graphics card you can afford, and very good storage. Options for SDI support require add-on cards, but NDI and texture sharing are also supported natively.
Let’s take a deeper dive into connectivity?
Jeff: Live FX can be run by a single person during the shoot and is also fully-compatible to be controlled by a lighting console via DMX over sACN. Any physical fixture is represented as a virtual fixture inside Live FX, which again can be remotely controlled through either a Web-UI or a lighting console. This even works with video fixtures, such as the Kino Flo Mimiks. Live FX can basically act as a DMX interface for these fixtures.
More importantly though, every fixture in Live FX, no matter how many DMX channels and universes the physical fixture entails, is presented with a maximum of 51 DMX channels to a lighting console. This effectively brings down the amount of DMX channels to be controlled from the lighting console, which more often than not has an arbitrary limit of universes it can control. So instead of controlling say 10 universes that a high-pixelcount fixture requires, the lighting console only needs to control the 51 channels of the virtual equivalent inside Live FX, and Live FX then controls all necessary DMX channels and universes of the physical fixture.
Tell us how Live FX integrates with / controls lighting setups?
gaffer Martin Smith ICSL), to assist in replaying plate shots shot on location and feeding the video into lighting
Jeff: Any DMX-enabled light can be controlled by Live FX and used for image-based lighting. We also support so-called video-fixtures, like the Kino Flo Mimiks, which are not driven via DMX, but Require an actual image
to be sent their way. All fixtures in Live FX can be colour graded, colour managed and modified in real-time.
Tell us how Live FX is used with LED walls and volumes?
Mazze: Live FX features a very new approach in terms of UI – it is incredibly easy to learn and to use with either live video feeds, or playing clips on disk. For the latter, we carry 20 years of experience in the video world, supporting a plethora of different formats, including camera RAW formats of all major camera manufacturers.
Due to our history in colour grading and post production, Live FX allows for advanced colour management, making sure the lights fit perfectly into what the LED volume produces. Add to that our extensive set of colour tools, shader support and unlimited amount of universes to use and you have an extremely flexible media server for image-based lighting.
How much advance-planning is needed to make sure things go smoothly during a shoot?
Mazze: Not too much. If the operator knows Live FX already, things can be set-up really quickly. Depending on how big the setup is, one day of programming everything into Live FX is enough. The good thing about Live FX is that it is incredibly fast to operate and changing and adding things is just a matter of a
few clicks. That being said, what needs to be communicated upfront is what the lights are supposed to do, how many lights there are, whether they are segmented (multipixel) lights. Nothing out of the ordinary, in other words.
Where can people get trained to use Live FX?
Jeff: To get trained, the first stop should be our YouTube Channel, where we have a playlist, dedicated to image-based lighting workflows. After sitting through six videos, you’ll be ready to run your production with Live FX.
the basics and the rest has been exploration of a hugely powerful system. I honestly think I’m only using 1% of its capability.
Next, we have a very active community on Discord, which is incredibly helpful with real-world experience. And if everything else fails, time is of the essence and smoke appearing on-set, you can reach out to our support team via email. We also have worked closely with the ICLS on training.
Dan: I used the online tutorials on Assimilate’s YouTube channel to get a grip of
Where can you obtain / get hands-on with Live FX? How much does it cost?
Mazze: You can buy it right off of our webstore. Pricing starts at monthly subscription level for $345 per month. We also offer a 3-month project license at $895, annual license at $1,495 and permanent license for $2,495. However, we do have discount promos going with the Local 728 and the ICLS, so watch that space and make sure to
We have a very active community on Discord, which is incredibly helpful with real-world experience
use the discounts provided for members. What trade shows will you be at in the next 6 to 12 months?
Jeff: Last year we worked with our lighting partners, such as Aputure, Quasar Science, Creamsource, LiteGear and Kino Flo, at many trade shows, and we’re doing the same in 2025. We are currently planning to be at Cine Gear in Los Angeles, BIRTV in Beijing, NAB in New York and IBC in Amsterdam. Make sure to stop by and talk to our team when you see us.
What new features are coming down the pipe?
Mazze: The recently released version 9.8 ships with a performance boost on macOS, now being 100% metal based. We also added a whole bunch of features to the Stage Lighting tab in Live FX, allowing for even more flexibility to sample image content and map it to a fixture. That and many other, smaller things that have been requested by the community are built into 9.8. Stay tuned for the remainder of the year – we have more great things in the making!
Your ultimate gateway to unparalleled lighting in virtual production
Map any fixture
Unlimited universes via DMX, Art-Net & sACN, incl. video fixture support through SDI, NDI & HDMI
GDTF Template Integration
Streamline your workflow, say goodbye to manual DMX patching
Color Grading & Color Management
100% color accurate workflow using Live FX’s proven color engine and grading tools
Lighting Console Support
Drive Live FX with any lighting console or via integrated Web-UI
ICLS CORPORATE MEMBERS
4WALL ENTERTAINMENT
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AVENGER
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APUTURE
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ARRI
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BETTER WAY LIGHTING
Our LED strips are trusted by gaffers, rigging teams and console ops who carry the weight of the shot. With precision colour, blinding output and best-in-class thermal engineering, they’re built to perform under pressure, with no flicker, no fade and no excuses. Every detail is designed around your reality: long days, tight timelines and zero room for failure. www.betterwaylighting.com
BLACKOUT LIGHTING CONSOLE
Blackout Lighting Console LLC is the developer of Blackout, a professional Art-Net/sACN DMX lighting control application designed exclusively for the iPad. Founded by Jeff Brink – a Local 52 NYC Electrician, Programmer and Local 600 Drone Operator – the company aims to simplify and enhance lighting control for film and television productions. www.blackout-app.com
CHROMA-Q
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CINELEASE INC
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CINEO LIGHTING
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CREAMSOURCE
Since 2005, Australia-based Creamsource has delivered highperformance LED lighting for film and TV. Known for innovation and collaboration with top gaffers and cinematographers, Creamsource designs purpose-built fixtures like the Vortex24, Vortex8, Vortex8 Soft, Vortex4, and Vortex4 Soft, as well as the SpaceX, Micro Colour and Bender. Creamsource lights have powered major productions including Dune, The Mandalorian, The Batman, Black Panther, Stranger Things and Rogue One, earning a reputation for reliability on sets big and small. The new lighting control app, Slyyd, brings intuitive wireless control to set lighting workflows. www.creamsource.com
DOPCHOICE
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ETC
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FIILEX
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GAFFERS CONTROL
Established in 1999, Spots Unlimited started as a group of four gaffers who bought their first truck together, which evolved to a larger group of gaffers who work together and share trucks. Gaffers Control was born from a number of factors of the changing industry: small crews needing to be able to use a simple control; evolution of LED fixtures offering more options and more departments using WiFi networks on-set. The first unit was shown to people in the industry, and from their positive comments, Gaffers Control went into production and is now available worldwide. www.gafferscontrol.com
GODOX
Founded in 1993 as a high-tech manufacturing facility specialising in lighting and audio equipment, Godox has now become a lighting equipment expert and innovator of gear for photographers, videographers, filmmakers and more. Driven by the mission of offering great lighting and audio solutions, Godox has been always pushing the boundaries of technology, and constantly bringing professional products to the industries. KNOWLED brand, with the vision of taking film production to a new height, provides class-leading lighting fixtures to enhance the working efficiency of the pros. Every detail of KNOWLED products undergoes repeated trails and tailored for the pros. Products under KNOWLED brand are designed with cutting-edge technology, top-notch quality, and unparalleled performance. www.godox.com
KINO FLO
Since developing a colour science department for its True Match tubes in the 1980s, Kino Flo has been at the forefront of LED design and manufacturing, creating a colour-correct, colourstable line of Tungsten and daylight LED emitters. The company has maintained colour quality for more than three decades across all product models. From film to digital cinema cameras, to other colour critical industries, such as smart phone calibration and art restoration studios, Kino Flo is recognised for unrivalled colour management. www.kinoflo.com
LIGHT BRIDGE
After developing the CRLS with DP Christian Berger AAC BVK for ten years on-set, we introduced CRLS cine reflectors in 2017. His vision and unique thought-processes for lighting brought about a fresh take on the use of reflected light. The Light Bridge GmbH, was founded by Jakob Ballinger in 2016, is based in Vienna, Austria, and specialises in producing film equipment aimed at enriching life with light. The company’s mission is to increase knowledge of the physical and emotional effects of light. They host Light!Room, a creative resource where lighting professionals can search, discuss and exchange experiences, fostering the evolution of revolutionary tools. www.thelightbridge.com
LITEGEAR
Founded in 2006 by Al DeMayo, Mike Bauman and Jeff Soderberg, LiteGear is an LED lighting equipment company for professionals in cinema, TV and HD Video industries. What started as a provider of flexible LED lighting for use in cinema and TV lighting applications, grew into a major supplier of a wide range of advanced motion picture LED lighting to suit every on-set need. The innovation and development of LiteRibbon, LiteDimmer, LiteStix, LiteMat, and LiteTile continue to have a major impact on lighting and art departments across the globe. LiteGear offers technical expertise that assist gaffers and technicians with creating solutions to unique challenges on-set.
www.litegear.com
LCA – LIGHTS CAMERA ACTION
LCA supplies top-tier lighting, grip, power and rigging solutions for the film, broadcast and video industries. From LEDs and textiles to distribution and consumables, LCA stocks trusted brands like Creamsource, DoPchoice, Nanlux, Rosco, LiteGear and more. With offices in London, Berlin and Paris, their experienced team supports productions of all sizes across the UK and Europe. Whether you’re lighting a major motion picture or a commercial, LCA is your go-to for the latest gear and expert service.
www.lcauk.com
LUMENRADIO
LumenRadio is a Swedish tech company headquartered in Gothenburg, with sales and engineering support offices in Germany, Norway and the US. LumenRadio delivers solutions built on patented wireless technology for lighting control, building automation and industrial communication. www.lumenradio.com
LUMINEX NETWORK INTELLIGENCE
Luminex Network Intelligence is a Belgium-based manufacturer of data distribution equipment for professional lighting, audio and video applications in the entertainment industry. We offer a complete range of network switches, DMX converters, nodes and splitters. Offering easy-to-deploy and cutting-edge technology for AV designers and technicians to build complete data distribution systems for events and venues of any size. At Luminex, we act as a bridge connecting both the IT and the AV worlds so that our users do not need to worry about combining these two diverging interests. www.luminex.be
MACCAM
Our journey is rooted in community. Built and run by a family passionate about storytelling, we strive to support yours with exceptional lighting solutions and service. Whether you are a blockbuster studio or an aspiring filmmaker, we are here to bring your ideas to life. Starting from humble beginnings, we have grown into a trusted partner for filmmakers, studios and creatives around the world. www.maccam.tv
MBS EQUIPMENT COMPANY
MBS Equipment Company, a division of The MBS Group, is the world’s largest source for lighting, grip and expendables. The company is also an innovator, having developed some of the film industry’s most advanced lighting technology. Collaborative, solutions-driven and invested in the success of its clients, MBS Equipment Company supports more than 618 stages, 1,000 productions a year from its extensive network of over 127 locations in eight countries. The company is headquartered in Sylmar, California with studio-based operations throughout North America and the UK.
www.the-mbsgroup.com
MOSS LED
Since 2009, Moss LED has been innovating LED products for cinema, television and the live entertainment industries. We are an industry leader in flexible LED lighting, dimmers, power supplies and cabling systems. These are just some of the film and TV shows that we have had the pleasure of being a part of; Star Trek: Discovery, Star Trek: Strange New Worlds, The Flash, The Boys, The Madness, The Handmaid’s Tale and Stranger Things. In addition to film and TV productions, our products are utilised 24/7/365 in demanding environments such as casinos, skyscrapers, restaurants, bars and nightclubs. www.mossled.com
NANLUX
Nanlux, one of the leading brands from Guangdong Nanguang Photo & Video Systems Co., Ltd., specialises in developing and manufacturing high-quality LED lighting fixtures. The Nanlux team listens to customer feedback, focusses on detail design, and continuously improves the user-experience, ensuring the best technical support to help creators achieve their vision. Nanlux’s latest remarkable fixture, the Evoke 5000B, is the world’s first 5000W LED bi-colour spotlight with green/ magenta adjustment. It offers a high-output, quick set-up, energy-efficient lighting solution for professional productions, replacing traditional HMI and Tungsten fixtures. www.nglbg.com
PANALUX
Panalux is a leading provider of lighting and power solutions for film, TV, commercials and live events. With a global presence in the UK, France and South Africa, they offer technical expertise and top-notch customer service. Their team provides advice and support, while their R&D department delivers innovative solutions like the Panalux Sonara LED range and eco-friendly i-Series and h-Series. Alongside proprietary gear, Panalux offers a broad inventory of high-end equipment and a versatile transport fleet. Part of the Panavision Group, Panalux complements services offered by Light Iron, LEE Filters, Island Studios, and Direct Digital. www.panavision.co.uk
POWER GEMS
Well-known in the TV and film industry for the design and supply of 1000Hz high-speed HMI ballasts, Power Gems has a new lowcost LED range. The GEM6 is a six-way LED wireless controller, while the GEM40 combines a 3kW power-supply with a 40-channel LED driver for sound stage use. The GEMpsu produces variable voltages (12V to 48V) so you always have the right power supply for every job. GEMboost boosts 2.5-6V from a Li-ion Cell or USB Power Bank to a fixed 12V supply, for up to 36W of compact built-in power. The 70W LED bi-colour GEMtile is a broadcast-quality replacement ceiling tile for standard 600mm (2ft) commercial office style fixtures and the lightweight GEMwash LED wash fixture is ideal for economic blue and greenscreen or wide-area lighting.
www.powergems.com
PROLIGHTS
Prolights is a global leader in professional lighting. We design and develop cutting-edge lighting technologies, driven by a passion for innovation and a commitment to customer satisfaction. Sustainability is at the core of everything we do. We believe in inclusion as a driver of growth and in the talent of people as the keys to building the future together. Prolights is a brand owned by Music & Lights, an Italian company specialising in the production of technologies for the show business industry.
www.prolights.it
ROSCO
Founded in 1910, Rosco is a leader in products for the entertainment and film & TV industries. Best-known for lighting filters, the company offers product lines in more than a dozen categories, including LED fixtures, lighting effects equipment, flooring, green & bluescreen paint and backdrops for film, TV and broadcast. Rosco has been recognised with four Academy Awards for the development of innovative products and systems for the production of feature films. Headquartered in Stamford, CT, Rosco maintains fully-staffed businesses in France, Canada, Spain and the UK.
www.rosco.com
SUNBELT RENTALS FILM & TV
With a comprehensive and technologically advanced rental inventory of lighting, camera, access, grip, power and temporary infrastructure, Sunbelt Rentals offers a full production solution from prep-to-wrap. Providing the expertise, equipment and solutions you need to deliver your production smoothly and cost-effectively. Sunbelt Rentals is a low-carbon equipment rental provider, and we are committed to doing right by our customers, our communities, our people and our planet. Think of us as the crew behind your crew. Skilled technicians, in-house production experts and best-inclass maintenance teams who will do whatever it takes. www.sunbeltrentals.co.uk/ sectors/film-tv/lighting
VECTORWORKS
Spotlight is the industry standard for entertainment design software. With extensive drawing, modelling, database, documentation and collaboration tools, Spotlight helps you to go from initial concepts to delivering a successful show or event in a single workflow. www.vectorworks.net
WAVELENGTH LIGHTING
At Wavelength Lighting, we are all about illuminating your creative vision! As a local, family-run business, we’re not just here to sell lighting equipment – we’re here to make sure your idea shines. Whether you’re shooting a film, capturing a moment in photography, lighting-up a space, or hosting an event, we are here to meet all your lighting needs. Deeply rooted in our community, we pride ourselves on treating our customers like part of the family. From equipment rentals, sales, repairs, technical support, custom lighting solutions or just some friendly advice, we’re here for you every step of the way. Our passion for innovation, quality and customer care shines through in everything we do. Give us a call or stop by the shop to see how we can illuminate your next project! www.wavelengthllc.com
ICLS CORPORATEMEMBERS:
Scan here now and join the ICLS today!
Airstar – www.airstar-light.com
Aputure Lighting – www.aputure.com
ARRI – www.arri.de
Astera Distribution Limited – www.astera-led.com
Avenger / Videndum Media Solutions – www.videndum.com
