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!