Case Studies



by Toshihiko Kizu

As many cinematographers have already noted, the greatest advantage of using Cineo fixtures is the quality and intensity of the light as well as the fact that they have a low power draw for a great amount of output. I also liked that they are color consistent and could easily be controlled by dimmers or DMX units. I wanted to use them for my thesis project since I believed that Remote Phosphor technology fixtures could not only give me precise control of lighting the scenes but also speed up production, allowing me to be more creative on set.

I was very lucky to have Matchstix for this project because they ended up being the perfect solution to solve a lighting challenge I was facing. In one scene, our character is supposed to be lit by a flickering TV. It was necessary to show the body of the TV in order to establish the geography of the room. While I could have potentially hidden lights right next to the TV, I wanted to avoid cheating the position of the light. I decided to take away the screen and “guts” of the TV and hide Matchstix inside of the body. Matchstix worked for this application because they were small and cool enough to fit in the TV, but were intense enough that we could gel them as well as add diffusion in place of the TV screen. I did end up adding some small fluorescent fixtures as well for the purpose of color variation, but it was obvious that they had much less intensity than the Matchstix. Another great thing was that it was easy to control the intensity with a dimmer to execute the TV flickering gag. The Matchstix were the perfect fit for this situation, and the lighting for the scene worked well thanks to them.

Toshihiko Kizu is a second-year cinematography fellow at the American Film Institute Conservatory. You can see more of his work at

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