Adjustable barn doors made of anodized aluminum that shield the lens from stray light and reflections. Doors rotate 360° and tilt 45°.
Professional French Flags are made of anodized aluminum with a matte black inner coating to prevent reflections. The flags typically measure 10x7 cm to 15x12 cm and can be rotated 360° and tilted 45°. The total weight ranges from 200-800 grams, depending on the size. High-quality models like the Arri MMB-2 or Vocas MB-435 feature quick-release mechanisms and millimeter scales for reproducible settings. Mounting is done via standard 15mm or 19mm rods with a 60mm spacing between the rods.
The first sunshade devices emerged as early as the 1920s as simple, fixed tubes. In 1954, French cinematographer Henri Alekan developed the adjustable flag system for Jean Cocteau's "Beauty and the Beast," from which the term French Flag is derived. Panavision standardized the 15mm rod system in 1967, followed by Arri's 19mm standard in 1975. Modern variants have incorporated quick-release mechanisms since the 1990s and carbon fiber constructions since 2010 for weight savings.
In Roger Deakins' work on "Blade Runner 2049" (2017), precisely adjusted French Flags were used to shield against intense LED panels, controlling characteristic neon reflections. Emmanuel Lubezki utilized special wide-angle French Flag models for natural lighting conditions in "The Revenant" (2015). The French Flag is typically readjusted by the 1st AC during camera movements to ensure constant protection in changing light conditions. Critical focus scenes require millimeter-accurate adjustments, as even a 2-3mm deviation can cause visible vignetting.
Unlike a rigid lens hood, the French Flag offers variable adjustment to changing light situations. Modern matte boxes with integrated top and side flags are increasingly replacing separate French Flag solutions, but they increase system weight by 300-500g. Digital post-production can remove lens flares, but it requires an additional 15-20% of post-production time. For Steadicam use, ultra-light carbon versions (under 150g) are employed, while handheld shots often rely on compact clip-on systems.
Ich justiere den French Flag millimetergenau nach dem Sonnenstand und überprüfe im Sucher, ob die Klappen ins Bild ragen - besonders kritisch bei Weitwinkel unter 25mm. Bei Kamerafahrten lasse ich meinen 1st AC kontinuierlich nachjustieren, da schon kleine Winkelvariationen die Schutzwirkung zunichte machen können.
Ich nutze den Sonnenschutz gezielt als Gestaltungsmittel - teilweise lasse ich bewusst einzelne Lens Flares durch, um emotionale Höhepunkte zu unterstützen. Bei Gegenlichtszenen bestimme ich gemeinsam mit dem DoP, welche Lichteffekte die Stimmung verstärken und wo harte Abschattung die Bildkomposition stärkt.
Ein hochwertiger French Flag kostet 800-1500€, amortisiert sich aber durch eingesparte VFX-Costs für Lens Flare-Entfernung - rechne mit 200€/Tag für digitale Nachbearbeitung versus 50€ Mietkosten. Bei Außendrehs spare ich durch präventiven Lichtschutz bis zu 15% der geplanten Color Correction-Stunden.
1. Was beschreibt „Sonnenschutz" am besten?
2. Zu welchem Department gehört „Sonnenschutz"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.