German manufacturer of wireless LED tubes with integrated batteries and radio control; revolutionized film lighting in 2011 with the first battery-powered Titan Tube.
The Titan Tube (AX1), the flagship product, measures 1,016 mm in length, weighs 1.3 kg, and produces 1,005 lux at a distance of one meter. The integrated lithium-ion battery lasts 4.5 hours at maximum brightness and up to 20 hours at 25% power. The Pixel Tubes feature eight controllable segments, each with 16 LEDs. Smaller models like the AX3 LightDrop achieve 418 lux and weigh only 240 grams. All devices communicate via CRMX wireless technology (Cognitive Radio Multiple Access) and can be controlled via the AsteraApp using Bluetooth.
Sascha Klais founded Astera in 2008 in Lindlar near Cologne, after frustrating experiences with time-consuming cabling as a gaffer. In 2011, the first AX1 Titan Tube was released, revolutionizing the market as the first battery-powered LED tube with wireless technology. In 2018, the company expanded its portfolio with the PixelBrick series, followed by the compact Helios Tube in 2020. The FP1 Titan Tube from 2019 was the first to establish an IP65 protection rating for outdoor shoots in the rain.
For "Blade Runner 2049" (2017), DoP Roger Deakins used Astera tubes for the characteristic neon lighting in the street scenes. The Netflix series "Dark" systematically relied on Titan Tubes for the gloomy bunker sequences, as the color temperature could be seamlessly adjusted to mimic candlelight. Car scenes particularly benefit from wireless installation – no power units, no cable runs through door seals. The typical workflow begins with app programming of all lights on the ground before they are installed in hard-to-reach positions.
Unlike traditional cinema Flo lights or Arri SkyPanels, Astera lights do not require a power supply on set. Quasar Science offers similar LED tubes, but without integrated batteries. In 2021, Aputure presented more affordable alternatives with the MC series, which, however, only cover a color temperature range of 3,200K-5,600K. For large-area illumination, HMI lights remain superior; for pinpoint accent lighting and tight shooting locations, Astera dominates due to maximum flexibility without infrastructure.
Ich schätze besonders die exakte Farbwiedergabe mit CRI 96+ und die Möglichkeit, Magenta-Green-Shifts digital zu korrigieren, ohne Folien zu verwenden. Die gleichmäßige Lichtverteilung über 160° eliminiert Hotspots, die bei punktuellen LEDs auftreten. Durch die App kann ich während des Drehs Intensität und Farbtemperatur anpassen, ohne die Kameraposition zu verlassen.
Die Farbwechsel-Funktionen erlauben mir, Stimmungsverläufe direkt am Set zu entwickeln – von warmem 2.700K für Intimität bis zu kaltem 8.000K für Bedrohung. Bei Nachtszenen kann ich mit den Pixelmodi der Titan Tubes dynamische Lichteffekte erzeugen, die früher aufwendige Postproduktion erforderten. Die lautlose Funktion stört nie die Tonaufnahme.
Ein Astera-Set für 20 Leuchten kostet etwa 15.000 Euro, spart aber täglich 2-3 Stunden Auf- und Abbauzeit gegenüber verkabelter Beleuchtung. Keine Stromkosten, keine Generator-Miete, reduzierte Crew-Größe beim Grip-Department. Die robusten Gehäuse überstehen auch harte Drehs ohne Reparaturkosten – wichtig bei internationalen Produktionen mit viel Transport.
1. Zu welchem Department gehört „Astera"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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