Owned and Maintained In House

Lighting

The lighting C&I Studios owns and shoots with. Kino Flo Celebs and Litepanels Gemini panels for soft work, ARRI fresnels for tungsten, Astera and Quasar tubes for the places a stand will not go, and Skypanels and HMIs when a whole room has to come up.

The Lighting We Own

Every fixture on this page belongs to C&I Studios. It lives in house between our Fort Lauderdale and Los Angeles studios, and the crew that maintains it between jobs is the crew that rigs it on set, so nobody is meeting a fixture for the first time at call time. It is laid out below from the smallest build to the largest, so you can see what a single soft key looks like next to a full stage.

Lighting A

The one source kit. An Aputure 600D through a Light Dome II gives a single soft key large enough for an interview or a talking head setup, and a 4×4 solid floppy cuts the spill off the background. Two C stands and two sandbags hold all of it safely. It travels in a car and one person can run it.

Aputure 600D Light
Aputure Dome II
4×4 solid floppy
C stand (x2)
25lb sandbag (x2)

Aputure Light Dome II parabolic softbox from the C&I Studios lighting package

Four by four frame with diffusion rigged on a C&I Studios stage

Lighting B

The standard shoot day. Two Kino Flo Celebs and a six head ARRI 300 kit carry key and fill, Astera and Quasar tubes go into the places a stand will not fit, and the Aputure 600D and 300D handle raw output. Two 30 inch Gem balls give a soft ambient toplight, the Litepanels Gemini panels cover the mid range, and four V flats shape the negative fill.

Two Kino Flo Celebs
Six head ARRI 300 lighting kit
Two 30 inch Gem balls
Eight Astera tubes
Four Quasar light tubes
Aputure 600D
Aputure 300D
Two Litepanels Gemini 2×1
Four V flats

ARRI 300 tungsten fresnel lit on black from the C&I Studios lighting package

Astera and Quasar LED light tubes from the C&I Studios lighting package

Litepanels Gemini 2x1 LED panel with a honeycomb grid on a C&I Studios stage

Lighting C

Everything in Lighting B plus the large format fixtures. Two ARRI Skypanel S360s and two S60s wash a full room or a stage build, two Joker 800 HMIs punch daylight through a window, and an Aputure 1200D adds hard output at distance. Four rolls of ND 1.2 pull the windows down so the exterior still holds while the room is lit to stop.

Two Kino Flo Celebs
Six head ARRI 300 lighting kit
Two 30 inch Gem balls
Eight Astera tubes
Four Quasar light tubes
Aputure 600D
Aputure 300D
Two Litepanels Gemini 2×1
Four V flats
Two ARRI Skypanel S360
Two ARRI Skypanel S60
Two Joker 800
Four rolls of ND 1.2
Aputure 1200D

ARRI SkyPanel S60 LED panel from the C&I Studios lighting package

Tungsten fresnel burning head on with barn doors from the C&I Studios lighting package

Scissor lift adjusting lights at the Los Angeles film production studio

See Every Fixture We Own

This page is the lighting. The complete gear list runs every fixture, stand, flag, silk and grip item we own line by line, alongside the cameras, glass, sound and aerial that work beside them.

Video Production Gear List

Lighting Equipment at C&I Studios

C&I Studios owns the lighting equipment it shoots with rather than sourcing it job by job. This page is that lighting equipment, laid out from the smallest build to the largest. Soft sources, tungsten fresnels, LED panels, hidden tubes and daylight HMIs all live in house between our Fort Lauderdale and Los Angeles studios, and the crew that maintains them between jobs is the crew that rigs them on set. That matters more with lighting than with almost any other department, because a fixture is only as good as the person who already knows how it behaves at full output, which ballast hums on a quiet set and which tube still holds its colour after four years of touring. Nobody is meeting a light for the first time at call time.

Soft Sources and LED Panels

Two Kino Flo Celebs carry the soft work across a room, and two Litepanels Gemini 2×1 panels cover the mid range with or without a honeycomb grid. An Aputure 600D fires through an Aputure Light Dome II to build one large soft key, which is often the whole rig on a seated interview. Eight Astera tubes and four Quasar tubes go into the places no stand will reach, taped to a wall, hidden behind set dressing or rigged overhead. Two 30 inch Gem balls throw a soft ambient toplight, and four V flats shape the negative fill that keeps a face from going flat.

Tungsten Fresnels and Daylight HMIs

A six head ARRI 300 kit covers tungsten, giving hard edged light with barn doors and a lens that focuses from spot to flood. For the larger builds there are two ARRI Skypanel S360s and two S60s, which wash a full room or a stage without stacking fixtures. Two Joker 800 HMIs push daylight balanced light through a window from outside, and four rolls of ND 1.2 bring that window down so the exterior still reads while the interior is lit to stop. An Aputure 1200D adds hard output at distance and an Aputure 300D fills in behind it.

The Grip That Shapes It

Lighting equipment is only half the picture. A 4×4 solid floppy cuts spill off a background, C stands and 25lb sandbags hold everything safely, and the frames, silks, scrims and bounce that live on our three ton grip truck do the actual shaping. Lighting travels alongside the rest of what we own: cinema cameras, cine glass, grip and electric, production sound and aerial. The full inventory item by item is on the video production gear list, and the visual summary of everything we own is on the gear page.

Lighting Across Our Work

The same fixtures light everything we make. Our video production department crews the shoot, our post production department handles edit colour and audio, and our photography team shoots stills under the same sources. Work lit with this lighting equipment is on the our work page. To talk through what your production needs, contact C&I Studios.

Let Us Help With Your Next Production

Tell us what you are making and we will tell you what it takes. Crew, cameras, lighting, grip, sound and post all come from the same team, so a production never gets handed between vendors halfway through.

Whether it is one shoot day or a campaign that runs all year, start with a conversation and we will scope it end to end.

Let Us Help With Your Next Production

Crew, cameras, lighting, grip, sound and post from one team, for a single shoot day or a full campaign.

Tell us what you are making and we will scope it end to end.