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 frames and was lit with 4 and 6K’s K5600 Alphas.
For the greenscreen we used Skypanel 60’s on DMX.
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 ...
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 ...
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 ...
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. ...
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 ...
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 ...
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 ...
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
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
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.
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 ...
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
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
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 ...
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 ...
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 ...
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 ...
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
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 - ...