Adjustable metal flaps on lighting fixtures that precisely shape and limit light spill, reducing unwanted bounce by up to 80%.
Standard ears are made of black anodized aluminum with a thickness of 1-2mm and are attached to the luminaire body via hinges with an adjustment range of 90°. Typical dimensions vary between 8cm x 12cm for compact LED panels up to 25cm x 35cm for large tungsten luminaires. Professional versions feature heat-resistant handles made of phenolic resin and locking mechanisms for precise positioning. Four-ear systems (barndoors) cover the entire circumference of the luminaire, while two-ear versions only allow for side shading.
The first ears appeared in 1923 at Paramount Studios as an advancement of the separate shadow masks used until then. Lighting supervisor George Folsey developed the system for the emerging panchromatic films, which required more precise light control. In the 1940s, Mole-Richardson established the four-ear standard, which remains an industry norm to this day. Modern LED luminaires increasingly integrate motorized ears with DMX control for remote operation.
In "Blade Runner 2049" (2017), DoP Roger Deakins extensively used ear setups to create the characteristic geometric shadows in the Wallace Corporation scenes. Ears eliminate stray light on lenses and reduce lens flares by up to 80%. In portrait setups, they precisely limit backlight to the hair and shoulder area without affecting facial lighting. During night shoots, they prevent unwanted illumination of image backgrounds. The workflow typically includes rough positioning by hand and fine-tuning during camera rehearsals.
Flags offer larger shading areas (up to 120cm x 180cm) but require separate stands and longer setup times. Snoots create circular rather than rectangular light shaping and are suitable for spot effects. Modern alternatives include programmable LED arrays with virtual ears and projector-based systems with digital gobos. However, ears remain the first choice for basic light shaping in 90% of all productions due to their mechanical reliability and real-time adjustment.
Ich justiere Ohren permanent während der Aufnahme, besonders bei bewegter Kamera, um Streulicht vom Objektiv fernzuhalten. Die oberen Ohren setze ich meist bei 45°-60° an, um Deckenreflektionen zu vermeiden, während die seitlichen das Licht präzise auf den Darsteller begrenzen. Bei Zoom-Fahrten muss ich die Ohren entsprechend nachjustieren, da sich der Bildausschnitt ändert.
Ohren helfen mir, den emotionalen Fokus zu steuern – enge Ohr-Settings isolieren Charaktere visuell und verstärken Intimität oder Bedrohung. Für Verhörszenen lasse ich die seitlichen Ohren eng stellen, sodass nur ein schmaler Lichtstreifen das Gesicht trifft. Die harten Schattenkanten unterstützen Film-Noir-Atmosphären besser als weiche Diffusoren.
Scheinwerfer mit integrierten Ohren sparen mir täglich 30-45 Minuten Setup-Zeit gegenüber separaten Flag-Systemen, was bei 12 Drehtagen etwa einen halben Drehtag Ersparnis bedeutet. Die Anschaffungskosten liegen nur 15% über Standard-Scheinwerfern, aber ich spare Transportkosten für zusätzliche Grip-Ausrüstung und benötige weniger Crew-Mitglieder für Licht-Adjustments.
1. Zu welchem Department gehört „Ohr"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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