ASC Master Class: Lighting with FilmGear®’s 24/20K Power Beam

The ASC Master Class is a proving ground for some of the most refined lighting techniques in contemporary cinematography, where ASC members instruct rising talents on lighting, camera techniques, and feature film workflows. For this lesson, the FilmGear® 24/20K Tungsten Power Beam took center stage across three days of intensive lighting setups, demonstrating its precision, output, and adaptability in high-level cinematography.

From Richard Rutkowski, ASC classic noir composition to Ava Berkofsky, ASC razor-sharp spotlighting and Kramer Morgenthau, ASC fusion of tungsten and LED experimentation, each workshop highlighted the Power Beam’s adaptability to shape mood and define space.

Day 1: Richard Rutkowski, ASC

(Sugar, Masters of the Air, Manhattan, The Americans)

Setup:
Rutkowski, ASC and his team rigged a dual 24/20K Power Beam array to simulate late-afternoon sunlight cutting through a window on a house set. The intention was to evoke a classic noir look.

To complement the Power Beams, the team integrated LED mats and warm-toned practicals, subtly diffused to maintain contrast while softening falloff. The setup emphasized depth and atmosphere, grounding the scene in a vintage palette with modern control.

ASC Chief Operations Manager, Alex Lopez: It’s nice to see more reliable beam projectors on the market! These don’t break down mid-shoot, and give us a lot of flexibility on set.”

Rutkowski, ASC: “I love it. It’s a great beam projector.”

Day 2: Ava Berkofsky, ASC

(Insecure, The Front Room, Share)

Ava Berkofsky, ASC, sets up the shot using the 24/20K Power Beam

Setup:
Berkofsky, ASC deployed a single 24/20K Power Beam angled between warehouse racks to produce a focused, directional shaft of light. The lamp’s 0-degree beam angle and refined dimming curve were central to the look, allowing for pinpoint warmth and shadow control.

Under Berkofsky’s vision the light was dimmed and slightly flooded — a deliberate choice to explore tension through restraint. The result was a study in precision lighting: sculpted shadows, concentrated highlights, and a visual pressure that held the frame taut.

Ava Berkofsky, ASC: "We were excited to add the Power Beam to our lighting setup for the class, it really helped shape the look of our scene"

Day 3: Kramer Morgenthau, ASC

(Captain America: Brave New World, Creed II, III, Thor: The Dark World)

Kramer Morgenthau, ASC built on Rutkowski’s Day 1 foundation by pairing a single Power Beam with a 10K Beam Projector. The addition of LEDs introduced a layer of chromatic versatility, extending the Power Beam’s utility beyond traditional tungsten workflows and into more experimental color territory.

The setup sparked a deeper conversation around the Power Beam’s optics and beam angle, with Morgenthau, ASC asking, “How does it keep the light from spreading?”

At the heart of the answer is the Power Beam’s parabolic mirror, which reflects light from the focal point into a collimated beam. The reflected beam passes through collimator rings, lined with baffles to reduce stray light and control spill. These internal structures shape the output into a tight, fixed direction, producing a near-zero degree beam angle.

The reflected beam passes through collimator rings, lined with baffles to reduce stray light and control spill.

Over the course of the ASC Masterclass, the Power Beam proved itself as a reliable and versatile instrument, adapting to each Cinematographers approach.

The conversations expanded how we think about dimension, visual space, and the camera’s relationship to light. These are the choices that shape the cinematic worlds we watch, and the world around us in turn.

FilmGear® was honored to partner with the ASC! Special thanks to ASC President Shelly Johnson, and to MBS and Outpost LA for making the collaboration possible.

For more information on the Power Beams and everything else FilmGear® has to offer, email us at info@filmgearusa.com or call (323)780-8880!

Legendary Gaffer Mazi Mitchell Wields FilmGear®’s Power Beam on Apple TV’s Government Cheese

Mitchell unpacks the look of Government Cheese and drops gems from 25+ years in the game—full sit-down here.

Mazi Mitchell has shaped the visual tone of everything from feature films and prestige television to high-end commercial work. From running the streets with Malik Sayeed and Hype Williams during the golden era of music videos to lighting expansive cinematic projects, his approach has always remained the same: use the right tool for the job.

Now, with Apple Studios’ Government Cheese set to debut in April, Mitchell takes us behind the scenes of the period drama—set in 1969 Chatsworth—where he harnessed the FilmGear® 10/12k Tungsten Power Beam to sculpt its distinct visual tone. We also explore his philosophy on lighting, the lessons he’s learned from cinema giants, and why FilmGear®’s F-Series remains an essential part of his toolkit.

Sculpting the Look of Government Cheese

A period piece like Government Cheese demands a sharp command of time, place, and atmosphere. Directed by Paul Hunter and shot by cinematographer Matt Lloyd, ASC, the team grounded their visual language in two key references: Roger Deakins’ work on A Serious Man and Robby Müller’s sun-drenched naturalism in Paris, Texas.

For the main character’s home interiors, Mitchell relied on the FilmGear® 10/12kW Tungsten Power Beam, using it to shape the subtle transitions of time throughout the day. The unit’s punchy photometrics and crisp shadows helped Mitchell define distinct spatial moods between character perspectives and flashbacks.

“Everything you see in the daytime interiors—morning, midday, sunset—was primarily lit with the Power Beam. We’d add a bit of atmosphere in the room, and that shaft of light gave us a beautiful sunlight effect. Since it was tungsten, I could dim it down to warm it up even more. And being a 12K, I had plenty of stop to hit the exact level of dimming and warmth we needed.”

The unit’s degree of control—from its dimming curve to its 0-degree beam angle—proved crucial as they battled Southern California’s famously unpredictable spring weather.

“Seasons are shifting now—we had June Gloom in April and May, which gave us a flat, low-contrast look. That’s when we had to lean on lighting instruments to lift the contrast and bring sharpness back into the image.”

Learning the Language of Light

Before becoming one of the industry’s most sought-after gaffers, Mitchell was cutting his teeth on music videos—where instinct and adaptability meant survival. One of his defining early moments was flying out with the savant, Malik Hassan Sayeed, to Cancun for the 50 Cent video, Just A Lil Bit, armed with nothing but experience and a local crew he had never met.

“No one spoke English, and my Spanish wasn’t great, but I realized lighting is universal. A 10K is a 10K anywhere in the world. If I could point and explain what I needed, we could get the job done. That was the moment I learned to be comfortable with being uncomfortable.”

That same fearless approach carried him through years of work with mythical auetuer, Hype Williams, whose instinctual, high-concept visuals pushed Mitchell to expand his lighting vocabulary.

“Hype would show up on set and just absorb the environment. He’d ask a few questions, go back to his lab, then return with references. That forced me to work on the fly, to build my own basket of tools. Now, I have a full toolbox—but back then, I was still figuring out what went inside.”

Mazi Mitchell and Warren Washington in Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996)

History With FilmGear®

Through decades of evolution in lighting technology, one constant for Mitchell has been FilmGear®. When he’s not using the Power Beam, Mazi turns to the F-Series. Whether bouncing an 18K HMI as a soft key or using it directly for backlight and ambiance, it’s a system that’s earned his trust.

“FilmGear® units are reliable, sturdy, and accurate. I’ve been using them for eight years now. The F-Series has become my go-to because I know exactly how they respond in different scenarios.”

From the sunlit exteriors of Government Cheese to the controlled warmth of its interiors, Mazi Mitchell’s lighting approach reflects both his deep experience and his instinct for storytelling through tone. With tools like the FilmGear® 10/12K Tungsten Power Beam and the versatile F-Series, he was able to bring the period world of 1969 Chatsworth to life—shaping each scene with precision, consistency, and character. For Mitchell, it’s never about overcomplicating the process; it’s about using the right light for the right moment. And with FilmGear® in his kit, he knows he can always deliver exactly what the story calls for.

We take pride in our lights being engineered by filmmakers, for filmmakers. Talking with Sebastián and Franmiris gave us valuable insight into not just their creative process but also how our work at FilmGear® helped realize their vision. If you want to grow your own lighting arsenal, contact our team at info@filmgearusa.com or call (323) 780-8880 for more information!

Written and Interviewed by Jibran Kabani

Lighting Insular: How FilmGear®’s F-Series Withstood the Elements

The duo unpack their lighting approach for Insular and dig into the conventions shaping Dominican cinema — full interview here.

For over a decade, Dominican DP Sebastián Chelin and Gaffer Franmiris Lombert have forged a powerhouse visual partnership, collaborating on projects like Bantu Mama (streaming on Netflix) and Travis Scott’s music video, Yosemite. Their latest feature, Insular, follows a refugee who survives an illegal boat trip and struggles to adapt to life in the raw, isolated beauty of the Dominican coast. On-location shooting required innovative lighting solutions, so the duo relied on FilmGear®’s F-Series lights to withstand heavy rain, rocky shores, and brutal winds.

"During tests, we noticed something interesting—the F9K outperformed another light with the same wattage," says Chelin. "The reflector’s construction made a real difference."

Insular’s visual tone was shaped through a deliberate embrace of immersive international cinema. Inspired by films like Antonioni’s L’Avventura and La Notte, the Brazilian thriller Bacurau, and the surreal Swiss Army Man, Chelin and Lombert set out to create a raw, organic world. “Instead of forcing artificial lighting, we worked with natural light, deep shadows, and the textures of the environment.” he says. The F-Series played a critical role in maintaining consistency in extreme conditions, ensuring every shot aligned with the film’s minimalist aesthetic.

“We had to navigate rough terrain—no paths, no tracks.” recalls Lombert. A local coconut salesman, Alex, used a machete to clear a trail for the team as they set up in dense jungle. “The FilmGear® lights were incredible—lightweight yet powerful.” Lombert says. They enabled the team to shoot in caves, across unpredictable landscapes, and, perhaps most impressively, recreate sunlight inside a cave with precise adjustments. “It was an intense, unforgettable experience.”

Sebastian framing the sequence.

Dominican cinema is still finding its voice. Since the film law was introduced in 2010, the country has produced 30 to 40 films annually—a significant achievement for such a small Caribbean nation. “Our biggest challenge is unlearning Hollywood conventions,” Chelin explains. “We often reference big-budget films, but we work with smaller crews and tighter budgets. Bon to Mama was a turning point—I realized we need to embrace our own storytelling methods and use the resources we have to create something uniquely ours.”

For Insular, this meant harnessing the coastal landscape’s raw beauty and blending it with natural elements to create a true sense of isolation. By minimizing artificial light and letting the environment speak for itself, Chelin and his team made a film that felt deeply authentic. As Framiris puts it, “Dominican cinema is one of contrast. One second, you’re in paradise—then boom, a rainstorm hits, and you can’t see in front of you. That’s not just the weather; it reflects bigger social and cultural contradictions. You have to adapt—fast.” The F-Series made this vision possible, proving itself as a reliable lighting partner.

Franmiris & the team rig up the F9K to mimic sunlight.

Franmiris raising up FilmGear®’s F9K.

We take pride in our lights being engineered by filmmakers, for filmmakers. Talking with Sebastián and Franmiris gave us valuable insight into not just their creative process but also how our work at FilmGear® helped realize their vision. If you want to grow your own lighting arsenal, contact our team at info@filmgearusa.com or call (323) 780-8880 for more information!

Written and Interviewed by Jibran Kabani

Local 728 Gaffer Jacob Abrams Shapes His Lighting Style with the Power Beam & MEGA

FilmGear® Ambassador and Local 728 Gaffer Jacob Abrams stopped by the shop and discussed how he uses the 10/12K Tungsten Power Beam & MEGA 1200C for his bold, natural lighting style—including a recent Toyota commercial and a Chase Atlantic music video. Jacob’s lighting approach is all about recreating natural realism by mimicking the sun:

“I use the Power Beam to replicate the sun, setting it further back so the light shapes itself naturally. I prefer a large, distant source that I can refine with diffusion rather than stacking smaller units up close—it just feels more natural.”

Jacob's "portable sun" philosophy is central to his lighting approach. For a recent Chase Atlantic music video—shot entirely inside an airplane—he used the Power Beam to mimic sunlight streaming through the cabin windows, timed perfectly to match the plane’s movement.

“We had a Power Beam on a Roadrunner stand and kept it simple—just a push and pan to track the light across the windows. It was a tactile way to sell the movement of the plane banking and turning.” (Stills below.)

Jacob’s preference for high-output lighting was also key in his Toyota commercial, which featured extreme environments. “We used the Power Beam to punch shafts of light through the cave set up—like sunlight breaking in from above. For a surfer at sunset, we went with a strong backlight.”

For these dynamic scenes, he needed a fill light that was both powerful and adaptable—that’s where the MEGA 1200C came in.

“The MEGA has a great punchy beam angle, and the pixel control is perfect for fire gags and effects. It makes me look like a hero because we’re not wasting time swapping fixtures.”

Jacob’s signature naturalistic style isn’t just about raw output—it’s about control and usability, which is why he trusts FilmGear® lights.

“Usability is huge for me. I love that the flood/spot adjustment is smooth and easy, even when tilted way up. The dual tilt brakes seem like a small thing, but they make all the difference in a tight setup.”

To hear more about how FilmGear® lights shape Jacob’s work, tap the interview button below!

At FilmGear®, our motto is Engineered by Filmmakers, For Filmmakers. Through real on-set experiences with gaffers like Jacob, we're able to continually reengineer and upgrade our products to best serve filmmakers across the globe. If you'd like to learn more about our family of lights or share your experiences, please reach out to our team at info@filmgearusa.com or call (323) 780-8880!

Written and Interviewed by Jibran Kabani

FilmGear®’s MEGA: Game Changer for the Space Light Industry

Building upon our long beloved line of Helios LED space lights, the Mega 1200C represents the culmination of decades of evolution in FilmGear®’s space light engineering. This 4-headed RGB fixture is more than just a space light in a pinch: its design integrates support for skirted hanging rigs from the ground up–or perhaps more appropriately from the ceiling down.

Since its inception, FilmGear®’s space light has stunned gaffers with it’s impressive output and award-winning design quality. After the original 500W, 700W and 1000W bi-color Helios made such a splash, we evolved into the world of RGB space light technology with the Helios 700C. But we didn’t stop there, we continued to innovate and make an even more powerful model, the Helios 1100C, to fill out production stages across the globe.

FilmGear®’s MEGA 1200C arrives as an unexpected but no less spectacular evolution of the modern space light. The light’s output is among the most impressive on the market at 1200W in comparison to its competitors. Its beam angle boosted by our proprietary TIR lenses, the MEGA allows for better coverage with fewer units which can be a major cost saver for production stages the world over.

SLT Jonathan Pino comments: “Rigging the MEGA as a space light was so easy–the hanging wires are well balanced and the handle placement helps a lot with the weight.”

The MEGA boasts cutting-edge UI for seamless remote operation through Timo-Two Lumenradio powered wireless CRMX/DMX. With the latest firmware you can smoothly operate an armada of MEGAs from your board and light up the whole studio without fiddling with outdated controls.

As gaffer A. Lizotte puts it: “The MEGA 1200C has a very user-friendly interface that gives owner/ops a healthy menu of options to play with when filming.”

In terms of durability, FilmGear®’s build quality is the most robust you’ll find in any fixture. IP65-rated to protect from dust and water, the MEGA holds strong in a wide variety of shooting conditions, so you don’t need to worry about it short circuiting while it’s rigged up high in the rafters.

A. Lizzotte was impressed by the light’s durability, saying: “The MEGA works great under adverse weather conditions”

And beyond its pure capabilities as space light, the MEGA offers something you won’t find in as much abundance with other competitors, versatility. Capable of more beyond being yoke mounted, this light can be modularized into a multi-head fixture with some simple attachments that transform it into a two-headed unit or even a massive MEGA wall, able to match the output of the biggest HMI fixtures available. With the right rigging you can cover all your bases on set with an army solely comprised of MEGAs.

With the space light form factor being a favorite for gaffers worldwide, we are excited to provide a new option that pushes the capabilities of space lights to new limits with the MEGAs powerhouse output, cutting-edge software, unmatched durability and broad versatility.

We aim to continue to expand the space light market and we believe the MEGA to be the new standard-bearer. Please give us a call at (323)780-8880 or email sales@filmgearusa.com to inquire further about the MEGA and everything else FilmGear has to offer!

New Year • New Gear

FilmGear® Lights Up 2025

As 2025 begins, FilmGear® is proud to reaffirm its position as a leader in engineering innovative cinematic lighting solutions. This year, as we continue to honor our legendary line of hot lights, we are also releasing an expansive variety LED systems that deliver massive output while adapting to the realities of harsh sets.

Here’s a peek into what’s new:

Ruby 1200B: Portable LED Power Beam

- 1200W output with an impressive 5-50° beam angle range

- 2700K-6000K color temp. range

- IP65-rated for water and dust resistance ready for any environment

- Wireless CRMX powered by LumenRadio

MEGA-brute: Plug & Play

- 2,700W and 3,600W output for unparalleled brightness in LED lighting

- High-output, plug-and-play simplicity

- IP65-rated for rugged performance

- Wireless CRMX powered by LumenRadio

We are also taking some existing LED fixtures to a new level:

Aurora 700C + 1200C: New Take on Signature RGB LED Panel

- Aurora 1200C: 2x1 panel for expansive coverage

- Aurora 700C: 1x1 panel for compact flexibility

- IP65-rated durability for both models 

- Wireless CRMX powered by LumenRadio

Zenith 900C Plus: Versatility for RGB Power LED

- 900W RGB LED output powered by signature TIR lenses

- New 13°, 20° and 45° attachments for a broader range of versatility

- IP65-rated water and dust resistance 

- Wireless CRMX powered by LumenRadio

At FilmGear®, we’re committed to delivering cinematic lighting that empowers your creative vision. Whether it’s the revolutionary Ruby 1200B, the unmatched versatility of the MEGA family, or the cutting-edge color system of the Aurora panels, we’re raising the bar in 2025.

Curious to learn more? Contact us at (323) 780-8880 or info@filmgearusa.com. Let’s make 2025 your most inspired year yet.

FilmGear®: Engineered for Filmmakers, by Filmmakers.

Behind the Scenes: The MEGA 1200C Stars in Its Own Feature Video

The MEGA 1200C, FilmGear®'s latest brute-style LED, takes center stage in its own feature video. From a 36-head UFO rig to a dual-mounted 8-head setup, the MEGA proved its adaptability and IP65 durability while powering through water-soaked conditions. Go behind the scenes and see why the MEGA 1200C is the ultimate all-in-one performer!

MEGA UFO

A 36-head MEGA 1200C rig was modularized, mounted to a telehandler, and lifted 15 feet into the air, creating the striking illusion of a UFO beaming up the talent. In the pouring rain, it seamlessly demonstrated its IP65 weatherproofing, running wirelessly via CRMX at just a fraction of its powerful 10,800W output.

MEGA DOUBLE MOUNT

This dual 8-head configuration electrified the breakdancing scene, highlighting every explosive move with the MEGA’s patented 19º TIR lenses and bold 7-in-1 LED color mixing system—all seamlessly controlled via iPad.

MEGA SINGLE MOUNT

With its IP65 weather-sealed body, the single-mount braved harsh conditions—including a practical tropical rain scene—proving its resilience without missing a beat.

Evolved to Do It All
The MEGA 1200C is the ultimate multifaceted lighting solution. Built to handle any challenge, it's ready to elevate your next project. Watch the MEGA feature video to see its versatility in action and make the Mega your go-to choice. To learn more, reach out at info@filmgearusa.com or call (323) 780-8880.

Written by Jibran Kabani

HYBRIDIZATION IN HOLLYWOOD

FilmGear® Brings HMI & Tungsten Together in the Revolutionary Hybrid Power Beam

This year, FilmGear® transformed the film lighting landscape with the revolutionary Hybrid Power Beam. This single fixture brings the best of tungsten and HMI lighting into one beam projector, allowing DPs and gaffers to seamlessly switch between warm amber glows and crisp daylight.

Industry Leaders on the Hybrid Power Beam

Our partners at  Production L’elo, Sony Pictures, and Local 728 Gaffers have embraced the Power Beam’s versatility to elevate their productions. The Hybrid Power Beam’s dual capabilities not only save time but also streamline production costs.

Nicola Tomassin, Gaffer of Production L’eloi (pictured below), shares:
"These units save so much time! I use the Hybrid Power Beam almost every week!"

Inside the Innovation: How the Hybrid Power Beam Works

 Local 728 Gaffer and FilmGear® Technical advisor, Vincent Valentin, shares his insights on the features driving Power Beam’s technology:

“The Power Beam’s innovation lies in its adjustable lamp lock and reflector system, enabling users to shift between tungsten and HMI without hassle, all while preserving beam integrity and color quality. On fast-paced sets, the flexibility of having dual color temperatures at your fingertips is unmatched.”

Hybrid Power Beams at Cinegear 2024

At CineGear LA 2024 Cinematographer and gaffer Brian ‘DeCon’ De Contreras was especially excited about the prospect of the Power Beam Hybrid!

“All of these Hybrid Power Beams can run as both HMI and tungsten, it’s the coolest effect! In Atlanta, I get asked so many times for these beams. These are so freaking cool!”

As we close out another year, our team at FilmGear® remains dedicated to innovation that balances creativity and practicality on set. The Hybrid Power Beam has proven its ability to streamline workflows, enhance production efficiency, and provide unparalleled lighting adaptability for our industry partners.

We continue to refine our technology and push the boundaries of film lighting, and we’re excited to see how our engineering will further support your production needs.

Engineered by filmmakers for filmmakers, FilmGear® looks forward to illuminating your sets in the coming year. Reach out to us by calling (323) 780-8880 or emailing info@filmgearusa.com! Merry Christmas and Happy New Year!

Written By: Jibran Kabani