Set Up's & Results
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Happy End

DoP - Christian Berger, Director - Michael Haneke
Feature Film

The restaurant sequence of the film was recreated in a studio in Paris. For the sunlight we used 100 x 100cm DIFF2, blue  C-Reflectors . The skylight came from three 20m x 6m  light grid truss ...
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By the Sea

DoP - Christian Berger, Director - Angelina Jolie
Feature Film

The truss construction on top of the building was built to have full control over the sun so we could shoot with sun or easily move one of the separate motorized rigs over the building to ...
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Mon Guerlain Commercial

DoP - Christian Berger, Director -Terrance Malick
Commercials

CRLS 100x100 prototype C-Reflector remote heads being tested on set. But of course this can also be done with ropes attached to the 100x100 C-Reflectors. Light weight, easy to extend beyond the rooftop. The beams were ...
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Killing Stella

Dop - Jrp Altman, Director - Julian Pölsler
Feature Film Low Budget

To add some moonlight into the building we used a 100 x 100 violet C-Reflector. We used a 400w K5600 Joker Bug with a source 4 adapter. We shot on iso 800 and T-stop of 2.8. ...
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Mademoiselle Paradis

Dop - Christiane A. Mayer, Director - Barbara Albert
Feature Film

Dop Christine A. Mayer wanted maximum control of the the light for the historical rooms we were shooting. After our support center made 3D simulations of the sunlight, we knew exactly how to build our motorized ...
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Le grand Cahier

DoP Christian Berger, Director - János Szász
Feature Film Low Budget

Easy set up, full control. We angled the reflector with ropes and the amount of light by panning the beam. Since we were a small crew it was important to only have set-ups that could be ...
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Happy End

DoP - Christian Berger, Director - Michael Haneke
Feature Film

To extend the path of the light to get a very naturalistic look we redirected the light via 2 100x100 C-Reflectors blue. To create the feeling of a window we made a bottomer with a 6x6m ...
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Der Tote im See

DoP-Hermann Dunzendorfer , Director - Nikolaus Leytner
TV / Broadcast

Working in rough terrain with the light weight CRLS. It's easy to re-position the C-Reflectors and change the mood of the scene without having to transport heavy and clumsy gear.   IMDB  
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Tiger Zinda Hai

Dop - Arkadiusz Tomiak / Director-Ali Abbas Zafar
Feature Film

Using scissor lifts made easy! Keeping the beams on the ground and extending the C-Reflectors from the lifts to not cast any shadows from the lift on the reflector. Trailer IMDB
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We kill Stella

2016, DoP Walter Kindler, Gerald Helf - Director: Julian Pölsner
Feature Film Low Budget

Creating natural light with a 400W Joker and a 50x50 C-Reflector with very limited space and still be able to create fast and easy setups.
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Le grand Cahier

2012, DoP Christian Berger
Feature Film Low Budget

This was the only location in the film with additional crew to set up the towers. We had storms that day, so luckily no butterflys outside, only 100x100 C-Reflectors that have a much easier time in ...
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Mademoiselle Paradis

Dop - Christiane A. Mayer, Director - Barbara Albert
Feature Film

When the direct sun goes away and we still need to shoot - this is where recreating natural light becomes so important.   Trailer
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Ludwig II

2011, DoP Christian Berger
TV / Broadcast

Cross-lighting to imitate skylight. Due to the C-Reflector surfaces and their precise gradient to the edges of the light you can prevent double shadows and set your light with great precision. Trailer IMDB
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Le grand Cahier

DoP Christian Berger, Director - János Szász
Feature Film Low Budget

"The Notebook" was our second job with Christian Berger. It was a very small movie shot in Hungary and Germany on location. There was little space for gear inside the locations so we tried to keep ...
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By the Sea

DoP Christian Berger, Director Angelina Jolie
Commercials

One of the biggest advantages of the C-Reflectors is the possibility due to the small surface, is to shoot in strong winds. Working directly at the ocean we were still able to shoot when standard butterflys would have ...
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Commercial Cellphone

2016, DoP Mario Minichmayr
Commercials

The CRLS is finding it's way into the commercial world. A new look, a new efficiency to handle the challenges of todays productions. Third floor, no elevator, two location moves to go. But a quality to ...
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Le Grand Cahier

DoP Christian Berger, Director - János Szász
Feature Film Low Budget

Christian didn't want to re-light between set-up's so we lit the whole room in order to help actors. We were also looking out of the windows, so we needed a cherrypicker. But because the reflectors are ...
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By the Sea

DoP Christian Berger, Director Angelina Jolie
Feature Film

We used medium soft 100x100 C-Reflectors as a key light and added blue and black 50 x 50 C-Reflectors to add some punch for the faces. TRAILER IMDB
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Ludwig II

2011, DoP Christian Berger
TV / Broadcast

Ludwig II was our first job with Christian Berger - and our first job with his prototype versions of the CRLS. In this setup we added some "harder" Reflectors into some bigger "softer" ones. Soft - ...

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