A versatile filmmaker, DP, and producer in his own right, Paul served as gaffer for The Prospect in order to focus solely on the lighting. To craft the film’s aesthetic, he collaborated with cinematographer Ross Turner and directors James Lacy and James Bone on art direction and lighting. Paul notes, “We wanted to show the gritty realism of our lead character’s life growing up in London without many advantages. Gemini 2x1’s ability to dim all the way down below 5% - without any flicker or loss of color accuracy – saved the day on a really critical and challenging scene.”
The Brute Squad crew built a set with three different rooms, all of which were lit with a combination of Litepanels lights including: the Gemini 2x1, Gemini 1x1 and Astra 6X Bi-Color LED Panels. An important aspect of the shoot was the ability to create beautiful and realistic lighting effects, save them as presets, and then call them up instantly via remote DMX control.
“Because of the short timeframe of this shoot, the DMX control was really important. The lights were all mounted on booms or rafters, so we couldn’t go around on a ladder and manually change each light as the scene dictated,” Denver says. “Instead, we were able to program a preset for each room and then just push a button for the lighting scheme with proper color temp and brightness as we moved from room to room. It was a tremendous timesaver for our crew.”
An established talent in the Los Angeles indie filmmaking scene, William Hellmuth is a strong believer in how important lighting can be in shaping a story. His unique lighting approach is on full display in his latest feature film, Drive All Night. William says, “My approach to cine-style lighting is typically very minimal. I like to lean into what the environment is already giving me and enhance the natural light – and the Litepanels Gemini 2x1 and Gemini 1x1 are perfect for that.”
Cinematographer Justin Aguirre’s new horror film, Sleep Tight, will make viewers do anything but. With Litepanels’ Gemini Soft LEDs, Justin relied on a variety of lighting effects to dial up the “creep factor” and help create the film’s moody, suspenseful feel. “With lighting, it’s not just about what looks the coolest. I like to use lighting to spur interest and get viewers thinking,” Justin says. “I tend towards lower-key light and a lot of contrast to convey the emotion of the scene, and I’m not afraid to go dark.”