Welcome to this in-depth exploration of batten lights, a surprisingly versatile and often underutilized tool in the cinematographer’s arsenal. I’m Shane Hurlbut, ASC, and throughout my career, I’ve learned that mastering cinematic lighting isn’t just about knowing what lights to use, but how to use them to shape mood, enhance the story, and create a truly believable world on screen. 

In this lesson, part of our larger Cinematic Light Quality Masterclass, my colleague, gaffer Tom Sigurdsson, and I will guide you through the unique properties of batten lights. We will compare them to more traditional sources, demonstrate practical on-set applications, and reveal how simple materials can unlock extraordinary light qualities.

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THE BATTEN LIGHT: A UNIQUE LIGHT SOURCE

What exactly is a batten light? In essence, it’s a linear fixture, a strip containing multiple light sources arranged in a row. While commercially available batten lights exist, the ones we’ll be focusing on today are custom-built by me. These babies allow us to explore the fundamental principles behind their effectiveness. However, the concepts we’ll discuss apply regardless of the specific fixture you choose.

The defining characteristic of a batten light, and what sets it apart from simply placing several individual lights side-by-side, is creating a unified line of light. Our custom-built battens achieve this by using 85-watt spot globes, each with a narrow 20-degree beam angle. These globes are housed within a simple structure — often constructed from a 1×4 piece of wood and a length of PVC fence post. They have small holes drilled to accommodate the sockets and wiring. This seemingly rudimentary construction is, in fact, key to the batten’s functionality. The PVC housing acts as a natural reflector and, crucially, provides inherent spill control.

This “built-in grip,” as I like to call it, eliminates the need for extensive flagging and shaping that is often required with other light sources. The light emitted from the batten is inherently directional, focused along the line of the fixture. Any spill light that does escape tends to be soft and ambient. This ultimately contributes to a pleasing overall fill. We’ve built these in various lengths — one-foot, two-foot, and four-foot versions — to suit different needs. Initially, we experimented with eight-foot battens, but they proved too unwieldy for practical use.

The mounting system is equally straightforward. A standard mounting pin allows the batten to be attached to a grip head. For overhead placement, a 90-degree pin is handy, providing full pan and tilt control for precise positioning. The simplicity and adaptability of this setup make batten lights incredibly quick to deploy and adjust on set. The individually wired 85-watt spots allow for unique flexibility.

BATTEN LIGHTS VS. FRESNEL LIGHTS: UNVEILING THE DIFFERENCE IN QUALITY

To truly appreciate the unique light quality of a batten, let’s compare it to a workhorse of cinematic lighting: the Fresnel. A Fresnel light utilizes a lens to focus the light emitted from a single bulb, creating a relatively hard, directional beam. This can be incredibly useful for creating defined shadows and dramatic highlights. However, it also tends to produce specular highlights — those bright, reflective areas that can appear harsh, especially on skin or glossy surfaces.

The batten light, despite using individual spot globes, produces a fundamentally softer quality of light. This might seem counterintuitive, but the key lies in the linear arrangement. The multiple light sources, closely spaced along the length of the fixture, blend together to create a single, elongated source. This effectively increases the size of the source relative to the subject, which is the fundamental principle behind soft light. A larger source wraps around the subject more gently, softening shadows and reducing specular highlights.

ON-SET DEMONSTRATION: SEEING THE DIFFERENCE

Imagine our talent, Kyra, positioned on set. We begin by lighting her with a single Fresnel as a backlight. Then, observe the characteristic hard shadow cast by her nose across her face. We also notice the bright, specular highlights on the top of her head, particularly noticeable because of her blonde hair. The light, while directional, feels distinctly “lit.”

Notice the nose shadow (L) and the specular light quality on Kyra’s blonde hair (R)

Now, we switch to a batten light, positioned in roughly the same location and at a similar intensity. The difference is immediately apparent. The hard nose shadow softens considerably, almost disappearing. The specular highlights on her hair are greatly diminished, replaced by a more subtle sheen. The overall effect is more natural, more flattering, and less overtly “artificial.” The batten light, by virtue of its length, wraps around Kyra’s features more gently. Thus, it creates a more three-dimensional and pleasing illumination.

(L) Fresnel Light (R) Batten Light

Furthermore, we can use the batten light to emulate a practical light source within the scene. Perhaps, a window or an overhead fixture. By carefully positioning the batten, we can create a believable edge light that adds depth and separation without drawing undue attention to itself.

FINE-TUNING THE BATTEN: ADJUSTING FOR LENGTH, INTENSITY, AND COLOR

While the inherent design of the batten light provides excellent control, we have several options for further shaping its output.

MODULATING LENGTH: 

Because each bulb in our custom battens is individually wired, we can easily control the effective length of the light source. 

If the full four-foot length is wrapping around the subject too much, perhaps catching the nose undesirably, we can simply switch off one or more bulbs. This would effectively shorten the light to a three-foot, two-foot, or even a one-foot source. Ultimately, this can provide incredible on-the-fly adjustability.

CONTROLLING INTENSITY: 

Even though we’re using spot globes, we can still scrim the batten to reduce its intensity. This follows the principle championed by the legendary cinematographer Conrad Hall, who often used lights at full spot and then scrimmed them down. 

This technique provides maximum control over the beam spread and a softer quality of light compared to simply dimming a flooded Fresnel.

ADJUSTING COLOR TEMPERATURE: 

Adding color correction gels is simple. We often use quarter (1/4) or half (1/2) CTB (Color Temperature Blue) gels to cool down the light, matching it to daylight or creating a specific mood. 

Because the face of the spot globes doesn’t get excessively hot, we can simply tape the gels directly to the fixture. It can serve as a quick and efficient solution.

A SAMPLE LIGHTING SETUP: RATIOS AND PLACEMENT

Let’s consider a practical lighting scenario. We’re aiming for a naturalistic, subtly dramatic look. Here’s a possible setup and the reasoning behind it.

KEY LIGHT: 

We might use a harder source, such as a Fresnel or a spotted batten. Then, we position it on one side of the camera, creating a defined light and shadow pattern on the subject’s face. This light is measured at an 8.5 with an ND6 filter on the camera. Therefore, it establishes our primary exposure.

FILL LIGHT: 

To soften the shadows created by the key light, we introduce a large, soft fill source. A favorite of mine is a “King Pipe Light,” essentially a DIY fixture consisting of multiple bulbs diffused through a large frame (in this case, a 4×8 frame). 

This fill light is positioned near the camera, providing a broad, even illumination that wraps around the subject. We measure this at a 1.4, approximately two and a half stops below the key light. This creates a pleasing contrast ratio, maintaining a sense of depth and dimension.

BACKLIGHT: 

Finally, we add a batten light positioned behind and slightly above the subject. This serves to separate the subject from the background, creating a subtle edge or rim light. We measure this at a 4.5, which, in our setup, is about a half-stop under the key light. This subtle backlight is crucial for preventing dark hair from blending into a dark background. However, it should never be overly bright or distracting.

Now, let’s take a look at how the Fresnel Lights stack up to the Batten Lights in a scenario with Kyra in a detective’s office.

(L) Fresnel Light (R) Batten Light

This approach — lighting from the camera side, using a harder key, a softer fill, and a subtle backlight — is a foundation I often rely on. It creates a natural, three-dimensional look with a pleasing wrap of light around the subject.

BEYOND THE BATTEN: THE MAGIC OF FOAM LIGHTING

Now, let’s transition to a different, but equally powerful, technique for creating beautiful, soft light: bouncing light off foam insulation. This approach, born from a serendipitous discovery, allows us to emulate the qualities of natural light. Even within the controlled environment of a soundstage.

The story goes back to my early days of shooting music videos. We were creating ripple water effects, and I asked the key grip to bring in a piece of bead board (a type of foam insulation) to bounce some fill light onto the performer. As he walked the beadboard past the light source illuminating the water, I was struck by the incredibly soft, flattering quality of the light reflecting off the foam. This “mistake” became a revelation.

THE BOTTOM LINE: CINEMATIC LIGHT QUALITY MASTERCLASS

Batten lights and foam bounce techniques represent just two approaches in the vast landscape of cinematic lighting. The most important lesson, however, is to cultivate a constant awareness of light in the real world. Observe how light interacts with different surfaces, how it shapes form, and how it creates mood. Take mental “snapshots” of these qualities and then strive to recreate them on set, using whatever tools are at your disposal.

This lesson has only scratched the surface of what’s possible with cinematic lighting. To truly master the art and craft of shaping light, I invite you to join us for the complete Cinematic Light Quality Masterclass. Within this comprehensive masterclass, we’ll delve into a wide array of lighting techniques, explore different light sources, and provide you with the knowledge and skills to elevate your filmmaking to new heights. 

Don’t just illuminate your scenes! Sculpt them with light, tell stories with light, and create images that resonate with emotion and power.

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