PRODUCTS INVOLVED
iFFORTE LTX FORTE SPIKIE T2 ROBOSPOT
Clayface, DC’s first horror film, opened at number one at the US box office and number two in the UK, last weekend
We caught up with the film’s gaffer, Jonny Franklin, to hear how he worked with DoP Rob Hardy BSC / ASC to turn the streets of Liverpool into Gotham after dark.
Jonny – whose recent projects include Mission: Impossible – Dead Reckoning, Bugonia and The Acolyte– tells us how he created lighting that felt like ‘another character within Gotham’, and why Robe’s iForte LTX became such a useful part of the rig.
What made you choose Robe iForte LTX fixtures for Clayface, and what were you looking to achieve with them?
I’d previously used the iForte LTX on Masters of the Universe, so I was already familiar with what the fixture was capable of. One of the things that initially attracted me to it was the incredible output and long throw, but equally important was the amount of control you have over the light.
Working with our DoP, Rob Hardy BSC / ASC, we wanted to create a Gotham that felt atmospheric, textured and full of depth. We had the freedom to be quite adventurous with our lighting, using colour, contrast and different layers of light to give each environment its own character.
On Clayface, we were shooting a lot of night exteriors around Liverpool, transforming locations into the streets of Gotham. We often had iForte LTX fixtures rigged on machines, giving us the flexibility to illuminate buildings, pick out areas deep in the background or create strong backlights without having to physically reposition the lamps.
What I really like about using moving lights in film is that they give you another level of creative freedom. You can shape and position the light exactly where you want it, and when the camera moves or the composition changes, you can adapt almost instantly. That flexibility was a huge part of why we chose them.
Were you using them for specific types of lighting, key effects or particular scenes where their capabilities really came into their own?
We used them for a huge variety of applications, from backlighting entire streets and illuminating buildings to creating more precise, controlled lighting effects.
One particularly interesting example was a scene in Matt’s penthouse apartment, where we had several interactive lighting elements, including a searchlight that would occasionally sweep through the space. We could have achieved that in a more traditional way by having someone physically operate a lamp, but the iForte LTX gave us far greater precision and repeatability.
I worked closely with my board operator, Nathan Porter, to dial in the movement, intensity and timing of the searchlight so it would hit specific beats within the action. Nathan could then execute those cues during the take, giving us a really controlled effect that could be repeated consistently.
We also had a nightclub sequence where we used a combination of iForte LTX, FORTE and SPIKIE fixtures. There were lots of moving elements and different styles of lighting happening simultaneously, all of which needed to be programmed and adjusted quickly. Having that level of control over the fixtures allowed us to create a much more dynamic environment while still being able to respond to the needs of the camera.
What advantages did the iForte LTX offer on set compared to other fixtures you’ve used, such as output, beam quality, white light quality and framing?
There’s a lot I like about the iForte LTX. The output is fantastic, particularly when you need to throw light over considerable distances, but it’s the combination of power and control that makes it such a useful fixture.
The ability to precisely shape and frame the beam is a huge advantage. You can isolate areas of a building, pick out details in the background or create a very specific shape of light without necessarily needing additional flags or cutters. That becomes incredibly useful when your fixtures are positioned high up on machines or somewhere that’s difficult to access.
The white light quality was another important factor. We found it particularly good when we needed natural-looking skin tones, which is especially valuable from a fixture that can also produce such dramatic lighting effects.
Another massive advantage, especially on Clayface, was the IP65 weather protection. We were working on the rainy streets of Gotham, often with fixtures exposed to the elements for long periods. Knowing we could leave them outside without having to constantly worry about protecting them from the weather made a real difference to how we worked.
Were there any particular challenges on Clayface that the iForte LTX helped you overcome, such as long throws, night exteriors, time pressures or achieving a specific look?
One of the things Rob and I wanted to achieve with Clayface was a lighting style that had real depth and texture. Gotham is such an interesting world to work in because you can push the lighting in ways that might feel out of place in a more conventional setting. We wanted to create environments that felt atmospheric and distinctive, while still feeling believable within the world of the film.
A big part of that was building layers into the image. Rather than simply lighting a street or a building, we wanted to create pockets of light, areas of darkness and interesting textures throughout the frame. The lighting needed to have a feeling and a life of its own, almost becoming another character within Gotham.
That approach can become quite challenging when you’re working across large night exteriors. You might have a street that needs backlighting, buildings that need picking out and areas deep in the background that need some interest, all while allowing the camera freedom to move.
The iForte LTX was brilliant for this because we could concentrate light exactly where it was needed. Rather than flooding an entire area, we could pick out individual elements, shape the beam and build up those layers of light to give the image more depth.
Being able to make those adjustments remotely was particularly valuable. If we wanted to change the balance of the background or introduce a new highlight, we could do it from the lighting console without sending someone up to physically adjust a fixture. On a large night exterior, that can make an enormous difference.
Did using the iForte LTX help save time or make the lighting process more efficient? For example, did their flexibility reduce the need to reposition fixtures or make changes between setups quicker?
Absolutely. In film and television, one of the biggest considerations is always time. No matter how ambitious the lighting is, you need to be able to adapt quickly as the shooting day progresses. Ultimately, time is money, and anything that allows us to work more efficiently without compromising the image is incredibly valuable.
Having fixtures that can be controlled entirely from a lighting console means we can make adjustments in seconds or minutes that might otherwise involve moving equipment, repositioning machines or sending crew up to adjust lamps. We could even make significant changes between takes, which is a huge advantage when you’re trying to maintain momentum on set.
Across the stages, locations and machines, we had roughly 20 iForte LTX fixtures at our disposal. I also kept two in our floor package so we could quickly put them on a stand or machine whenever something unexpected came up. Having that flexibility meant we could react to changes without disrupting the flow of filming.
It’s also a fixture I have a lot of confidence in now. I’m currently using a large number of iForte LTX and ROBE T2 fixtures, alongside RoboSpot systems, on my next production. That probably says more about how much I value them than anything else.
