Lit by C&I Studios

Lighting

A vast selection of lighting gear for whatever your production may need.

Lighting Is the First Decision

Every other department can be adjusted after the fact. A performance can be recut, a soundtrack replaced, a color pass pushed warmer or cooler. Light is fixed the moment the camera stops, so we scout for it, plan it against the script and build it before anything else on the shoot day. On a location that means walking the room at the hour we intend to shoot. On a stage it means the rig goes up before the set does.

Finished portrait lit by a single large soft source with the background falling to black

Light Sets the Tone

Lighting is the fastest way to tell an audience how to feel, and it works before a single word is spoken. The same person in the same chair reads warm and open under a soft even wash, then guarded and tense under one hard source with the shadows left alone. Drop the key and raise the contrast and a room turns frightening. Lift the fill and warm it and the same room turns playful. Whether a piece needs to land as fun, serious, tender, tense or genuinely scary, the light gets there before the script does. That is why lighting makes or breaks a production, and why a project that got casting, location and camera right can still miss.

Portrait lit with a single soft key falling off into black at C&I Studios

Laughing portrait lit with a magenta key against a deep blue background

Portrait lit low and soft with the background falling away behind her

Lighting With Color

Color changes how a shoot feels. A magenta rim, a teal wash, neon behind the subject. All of it sets the mood before anything else in the frame does. We work with colored light and neon all the time and we own the fixtures for it. Astera and Quasar tubes, ARRI Skypanels and Aputure COB heads will hold any color you want, so whatever look you are after we can build it.

DJ lit with a teal colour wash and a long exposure light trail at C&I Studios

Jeep grille picked out with magenta accent light in a studio

Motorcycle rider lit entirely by red tube fixtures on stands with a blue accent

Our Lighting Inventory

Our inventory covers the range a real set asks for. Kino Flo Celebs and Litepanels Gemini panels for soft work, ARRI fresnels when an edge has to stay hard, Astera and Quasar tubes for the places a stand will never reach, Aputure COB heads through domes when one large key is the entire rig, and ARRI Skypanels and Joker HMIs when a full room or a stage has to come up at once. All of 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.

ARRI 300 tungsten fresnel lit on black in the C&I Studios lighting inventory

Astera and Quasar LED light tubes in the C&I Studios lighting inventory

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

ARRI SkyPanel S60 LED panel in the C&I Studios lighting inventory

Tungsten fresnel burning head on with barn doors on a C&I Studios set

LED panel light from the C&I Studios lighting package

The Full Gear List

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

Access to Any Light You Need

Whatever we do not own, we can get. Our rental relationships run through major cities globally. Anything we bring in arrives with the same crew and on the same schedule as the rest of the kit. Between what we own and what we can source, there is no lighting requirement we cannot cover.

The gear is the easy part. Our gaffers and grips are on sets with this equipment every week, so whatever turns up on the truck gets rigged and running with ease. We crew up to whatever size the job calls for.

Interview lit on location with a large soft source and the room practicals left in shot

Portrait lit with tube practicals standing in frame beside stands and an umbrella

Scissor lift adjusting lights at the Los Angeles film production studio

Night exterior portrait lit with a battery powered source on a stand

Cinematic Lighting at C&I Studios

Cinematic lighting is the difference between footage and an image. A camera records only the light that is already in front of it, so every quality an audience reads off a frame was decided by whoever placed the sources. C&I Studios treats lighting as the first decision on a production rather than something handled once the camera is built. We own a deep lighting inventory across our Fort Lauderdale and Los Angeles studios, the crew that maintains it between jobs is the crew that rigs it on set, and anything the inventory does not cover we source from rental houses in major cities globally. The result is that a scene gets lit to what the shot needs instead of to whatever happened to be loaded in the truck.

Why Lighting Decides the Image

Move a source three feet and a face changes character. Push the same fixture through a diffusion frame and what read hard and clinical starts reading like a window. Contrast decides whether an image feels considered or flat. Direction decides where an eye lands first. Color temperature decides what time of day an audience believes it is, and how a skin tone sits against a wall. None of this is recoverable in a grade. Color correction can shift a look, but it cannot move a source, it cannot put an edge on a shoulder that was never lit, and it cannot rescue a face that went flat because there was nothing shaping the fill. Lighting is the one department whose mistakes are permanent by the time the footage lands.

Lighting Sets the Tone Before the Script Does

The same person in the same chair reads warm and open under a soft even wash, then guarded and tense under one hard source with the shadows left alone. Drop the key and raise the contrast and a room turns frightening. Lift the fill and warm it and the same room turns playful. Whether a piece needs to land as fun, serious, tender, tense or genuinely scary, the lighting carries that message to an audience faster than dialogue or edit ever will, which is why it makes or breaks a production and why a project that got casting, location and camera right can still miss.

What We Carry

Soft work runs on Kino Flo Celebs and Litepanels Gemini panels, with Aputure COB heads fired through domes when a single large key is the whole rig. ARRI fresnels cover the tungsten end and give a hard focusable edge with barn doors. Astera and Quasar tubes go into the places no stand will reach, taped to a wall, hidden in set dressing or rigged overhead. For the bigger builds, ARRI Skypanels wash a full room or a stage without stacking fixtures, and Joker HMIs push daylight balanced light through a window from outside. Grip does the rest of the shaping. Solids, floppies, frames, silks, scrims, bounce, C stands and sandbags all travel with the lighting, because a fixture on its own only makes output and it is the grip that turns output into a look.

Access to Any Fixture Made

Whatever we do not own outright, we can source. Our rental relationships run through major cities globally, which covers the larger builds that call for more output than any owned kit carries. Anything we bring in is folded into the same crew and the same schedule as the rest of the lighting, so it is handled by the people who are already rigging the shoot. Between what we own and what we can source, there is no lighting requirement we cannot cover.

Lighting Across Our Work

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

Bring Us 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.

Bring Us 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.