Film

Innovative solutions for filmmakers

Explore lighting, background and flooring products designed to meet the demands of film and broadcast professionals. 

My crew and I liked the ergonomic design and soft light output the Silk 210 gave us in tight sets. The magnetic egg crate was very handy and extremely quick and efficient. I can see this being an asset to any lighting package, especially at the price point that it's offered at. Todd Lapp - Chief Lighting Technician on iZombie season 2
I used Rosco’s SoftDrop on the film Daddy’s Home. As always, trying something new is scary, but being able to pick the degree of 'out of focus' in the printing of the drop was a great option to have. The portability of this material in shipping makes it so much more affordable for the production and therefore more of an option. I will not be surprised if the SoftDrop becomes our standard backing material in studio settings. Julio Macat, ASC - cinematographer
I’ve finally found a light that helps me create magic on every production I do – from the biggest budgets to the smallest one-man-band shoots. It’s Rosco’s new LitePad Vector LED fixture. Barry Andersson - cinematographer

The Challenge

While shooting a short film called Cured, cinematographer Gabe Mayhan needed a small, controllable fixture for a scene he was shooting inside a cramped office space. His concern was finding a light small enough to fit into the location, yet bright enough to light the scene without making the actors uncomfortable.

Mayhan chose the LitePad Vector CCT because of its bright-yet-soft light output and its slim profile, which allowed him to place the light right beside his actors and control the spill with the fixture’s optional Honeycomb Egg Crate.

Rosco Solution

LitePad Vector CCT creates soft, flattering LED illumination and offers a color temperature range of 3000K-6000K. Thanks to its lightweight, compact form-factor LitePad Vector is an ideal solution for on-location lighting or illuminating small studios.

LitePad Vector CCT >

Results

Gabe was totally surprised by the output of the LitePad Vector. From 4 to 5 feet away he was getting a stop over what he needed, so he simply dialed the output back a bit on the on-board dimmer and rolled. “I have to say that I'm going to be hard pressed not to have a handful of the LitePad Vectors on any film I do,” Mayhan reported. “It’s fantastic if you just need one more light and have 20 seconds to get it up and running!”

Results

Gabe was totally surprised by the output of the LitePad Vector. From 4 to 5 feet away he was getting a stop over what he needed, so he simply dialed the output back a bit on the on-board dimmer and rolled. “I have to say that I'm going to be hard pressed not to have a handful of the LitePad Vectors on any film I do,” Mayhan reported. “It’s fantastic if you just need one more light and have 20 seconds to get it up and running!”

 

The Challenge

The filmmakers behind Roland Emerich’s Stonewall needed huge backdrops to convert their Montreal soundstage into New York City’s Greenwich Village in 1969 – the site of the historic Stonewall riots, which was the setting of the film.

Graphic artists at Rosco Digital Imaging modified modern day images of Greenwich Village to match the research from the film’s Art Department. The finished images were printed and turned into three large Day/Night SoftDrops, and two EXTRA-LARGE SoftDrops (one day and one night) that measured 40’ x 180’ – all of which were seamless!

Rosco Solution

SoftDrop offers Rosco’s Academy Award® winning backdrop technology on an all-natural, cotton fabric. Available in Frontlight, Backlight or Day/Night options, SoftDrop is the perfect background choice for any broadcast studio, or television/feature film production.

Custom Backdrops >

Results

The final product was spectacular! Rarely do you see a backdrop featured as prominently in the shot as you do in this film. Having backdrops play so heavily in the scene would normally be a lighting nightmare with traditional, shiny, vinyl drops. Thanks to its matte-finish, the SoftDrops were much easier to light.

The entire Stonewall crew was thrilled with how well SoftDrop performed. “Amazing, really beautiful and realistic,” said art director Vincent Liberali, “it was like taking a time machine back to New York City in the late 60’s.”

Results

The final product was spectacular! Rarely do you see a backdrop featured as prominently in the shot as you do in this film. Having backdrops play so heavily in the scene would normally be a lighting nightmare with traditional, shiny, vinyl drops. Thanks to its matte-finish, the SoftDrops were much easier to light.

The entire Stonewall crew was thrilled with how well SoftDrop performed. “Amazing, really beautiful and realistic,” said art director Vincent Liberali, “it was like taking a time machine back to New York City in the late 60’s.”

Results

The final product was spectacular! Rarely do you see a backdrop featured as prominently in the shot as you do in this film. Having backdrops play so heavily in the scene would normally be a lighting nightmare with traditional, shiny, vinyl drops. Thanks to its matte-finish, the SoftDrops were much easier to light.

The entire Stonewall crew was thrilled with how well SoftDrop performed. “Amazing, really beautiful and realistic,” said art director Vincent Liberali, “it was like taking a time machine back to New York City in the late 60’s.”

Results

The final product was spectacular! Rarely do you see a backdrop featured as prominently in the shot as you do in this film. Having backdrops play so heavily in the scene would normally be a lighting nightmare with traditional, shiny, vinyl drops. Thanks to its matte-finish, the SoftDrops were much easier to light.

The entire Stonewall crew was thrilled with how well SoftDrop performed. “Amazing, really beautiful and realistic,” said art director Vincent Liberali, “it was like taking a time machine back to New York City in the late 60’s.”

 

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