Film Firelight & Fire Effects: The Medusa Light

Firelight. It’s primal and evocative. It can instantly infuse a scene with unparalleled atmosphere and realism. Yet, taming its wild flicker and translating its raw beauty into a controlled, cinematic image presents a unique set of challenges for any filmmaker. How do you harness that organic glow? Or capture that dancing shadow play? All the while, without succumbing to underexposure or logistical nightmares? Acclaimed cinematographer Shane Hurlbut, ASC, offers a brilliant solution. The “Medusa” light. 

In an excerpt from his comprehensive lesson, Film Firelight: Candles, Oil Lamps & Fire Effects, part of our new On Set Series: Cinematic Light Sources, Shane breaks down how he tackled complex firelight scenarios. Specifically, on the set of the period piece, The Greatest Game Ever Played. 

This is a lesson in creative problem-solving and achieving stunning visual narratives.

Watch the Excerpt from Film Firelight: Candles, Oil Lamps & Fire Effects

LIGHTING THE BILLIARD ROOM SCENE IN “THE GREATEST GAME EVER PLAYED”

To understand the genius of the Medusa light, we first need to step into the specific scene Shane Hurlbut designed. The billiard room in “The Greatest Game Ever Played.” He envisioned a space with a stark, potent emotional feel. 

“It almost feels like a boxing ring,” Shane explains, “where there’s only the light over the billiard table. And then sketchy, kind of scrapy lights illuminating and bringing up the walls from above.”

To achieve this, his team hung an entire lighting grid overhead, adding small Dedo light sources to create textured streaks on the walls. Although a real fire burned in a fireplace within the scene, a common issue quickly became apparent. The natural firelight alone proved insufficient to properly expose or shape the main character, Harry Vardon (Stephen Dillane), threatening to leave him lost in darkness. This immediately signaled the need for augmentation.

CREATING FIRELIGHT EFFECTS: THE BIRTH OF THE “MEDUSA”

Shane then reveals his inspiration for crafting a dedicated firelight effect. 

“It starts with reading American Cinematographer,” he recalls, referencing an article on the legendary Allen Daviau, ASC, and his work on “Van Helsing.” Daviau had pioneered a technique of taking standard photo flood bulbs and dipping them in various strengths of CTO (Color Temperature Orange) Rosco “bulb dip” paint — full, half, or quarter strength — to create an inherent fire-like color.

Building on this, Shane developed his own version of the “Medusa.” 

“This is my version of the Medusa,” he demonstrates with microphone flexible Gooseneck mounts. “And I put the bulb on the end of it, dipped them all.” 

This setup, with multiple CTO-dipped bulbs on flexible arms, allowed him to shape the fire effect precisely, making it “as wide or as tight as you want.” This customizable tool became key for generating convincing firelight. Especially for closer shots.

CHALLENGES AND SOLUTIONS IN LIGHTING

However, implementing such a device isn’t without its hurdles. In the wide establishing shot of the billiard room, Shane notes that he wasn’t able to hide the Medusa in the frame. 

Consequently, for that wider perspective, he had to rely on the real, practical fire in the scene to sell the effect. Augmented by practical lamps on the set sourced by the production designer, which added beautifully to the room’s ambiance.

Even with the real fire and the practical lamps, the challenge of illuminating Harry Vardon persisted. The combined firelight still wasn’t enough to properly rim or separate him from the shadowy background. 

Therefore, Shane’s team strategically hung another Dedo light from the overhead grid. This fixture provided a crucial back-top light, ensuring Vardon didn’t “just fall into blackness.” 

This highlights a vital principle: “Once again,” Shane emphasizes, “the fire cannot do the job. You’re having to do and emulate and hide sources to be able to pull it off.”

USING THE FLICKER BOX FOR ULTIMATE REALISM

With the Medusa positioned for closer shots, bringing its warm, CTO-colored light onto Harry Vardon’s face, one final element was crucial for ultimate realism: movement. This is where the “Magic Gadget,” as Shane calls it — the flicker box — came into play.

“The Medusa is down low, and it’s working its magic,” he describes. “When you see that scene, you can see the flicker is happening really beautiful on his face. It looks very realistic. And it’s got the nice undulation, and this was all put into a flicker box.” 

These specialized units have multiple adjustable toggles and often feature different pre-programmed firelight settings. The team achieved a convincing “dancing light” effect by connecting the Medusa light to a flicker box. By setting it to a realistic fire pattern, they truly emulated an organic movement.

THE BOTTOM LINE: FIRELIGHT THROUGH INGENUITY & AUGMENTATION

Shane Hurlbut, ASC’s breakdown of the Medusa light technique offers a powerful insight into the world of practical lighting. What we’ve learned here is that creating believable firelight is rarely about relying solely on the practical source itself. Instead, it demands careful observation, creative problem-solving, and skillful augmentation. 

By understanding the characteristics of fire, drawing inspiration from masters like Allen Daviau, and employing tools like custom-built rigs and flicker boxes, cinematographers can gain precise control over one of filmmaking’s most atmospheric elements.

This matters because authentic lighting elevates storytelling. It immerses the audience in the world you create. Whether it’s the subtle intimacy of a candle or the dramatic intensity of a larger flame, mastering these techniques allows you to shape mood and emotion effectively.

This look at the Medusa light is just a glimpse into the comprehensive knowledge shared in Film Firelight: Candles, Oil Lamps & Fire Effects. To dive deeper into augmenting practicals, learn about lighting with oil lamps, witness the creation of the “Trash Can Light,” and understand how to balance firelight with ambient exposure for period pieces and beyond, explore the full lesson. 

It’s the premiere installment of our new On Set Series: Cinematic Light Sources. This series is designed to bring you directly onto the set with industry-leading ASC cinematographers.

Ready to ignite your lighting skills?