Black fabric flag on aluminum frame that absorbs 98–99% of light, creating hard shadow edges. Blocks light completely, unlike nets or silks.
Black solids are made of heavy cotton molton with a surface density of 300-600 g/m², stretched on aluminum or steel frames with a profile thickness of 25-40 mm. The material absorbs 98-99% of the incident light and reflects less than 1% back. Standard versions use nickel-plated or black anodized aluminum with detachable corner connectors for transport. Professional versions feature reinforced corners and interchangeable fabric coverings with piping or grommet fastenings.
The first solids were developed by Matthews Studio Equipment in 1955 for Hollywood film studios as an alternative to heavy wooden panels. Mole-Richardson introduced the modular system with standardized C-stand mounts in 1963. In the 1980s, the grip equipment system became established with uniform size designations and accessories. Modern variants made of carbon fiber reduced weight by up to 40% compared to aluminum frames.
Black solids control light spill in artificial light setups and create defined shadow edges for dramatic lighting. In Roger Deakins' work on "Blade Runner 2049," large-format 8' x 8' solids were used to create hard shadow boundaries in interiors. In portrait photography, 2' x 3' solids are used as negative fill to eliminate fill light from reflected walls. Setup is typically done with C-stands and grip arms, with sandbags ensuring stability.
Unlike nets (reduce light intensity) or silks (diffuse light), solids block light completely. Single nets reduce the amount of light by one stop, double nets by two stops, while solids offer 100% shading. Modern LED panels with barndoors are increasingly replacing smaller solids in controlled studio conditions. For exterior shoots, large-format solids remain indispensable as they operate independently of power supply and remain effective under direct sunlight.
Ich nutze 4x4 Solids hauptsächlich als Negative Fill, um unerwünschte Aufhellung von weißen Wänden zu eliminieren und so den Kontrast in Gesichtern zu erhöhen. Bei Available Light-Situationen positioniere ich sie strategisch, um natürliche Schattenkanten zu verstärken - besonders effektiv bei Fensterlicht, wo ich selektiv Bereiche abdunkeln kann, ohne die Lichtquelle selbst zu beeinflussen.
Schwarze Solids sind mein Werkzeug für psychologische Raumaufteilung - ich kann Charaktere buchstäblich ins Licht setzen oder in den Schatten verbannen, ohne die Kameraposition zu ändern. In Dialogszenen nutze ich sie, um Machtverhältnisse zu visualisieren: Der dominante Charakter bleibt im Licht, während sein Gegenüber durch gezieltes Flagging partiell verschattet wird.
Ein komplettes Solid-Set kostet etwa 3.000-5.000 Euro und hält bei professioneller Nutzung 8-10 Jahre, was sie zu einer kostengünstigen Alternative zu aufwändigen Location-Umbauten macht. Der Transport erfordert einen zusätzlichen Sprinter für größere Sets, aber die Zeitersparnis beim Licht-Setup reduziert die Drehtage oft um 10-15% gegenüber rein natürlicher Beleuchtung.
1. Was beschreibt „Schwarzer Solid" am besten?
2. Zu welchem Department gehört „Schwarzer Solid"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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