Spotlight without Fresnel lens using a parabolic reflector; lamp position adjustment varies beam angle from 15–65°.
Classic open-face fixtures utilize halogen incandescent bulbs from 650W to 10,000W, while modern LED variants achieve 100-1000W with comparable light output. The parabolic reflector, made of polished aluminum, focuses the light from the centrally positioned source. The flood-spot mechanism moves the lamp along the optical axis by 15-25mm, allowing the beam angle to be varied between 15 degrees (spot) and 65 degrees (flood). Typical examples include the Arri 650 Plus or Dedolight DLED4.
Mole-Richardson developed the first professional open-face fixture, the "Mighty Mole," in 1963 for the emerging field of location filming. Ianiro followed in 1968 with the Redhead series, which became an industry standard. In the 1980s, Lowel and Arri introduced compact variants for the ENG segment. From 2010 onwards, LED open-face lights like the Aputure LS series revolutionized the market with lower heat generation and variable color temperature.
Open-face fixtures are suitable as hard light sources for fill and effect lighting. Roger Deakins used Redheads for the characteristic backlight design in "No Country for Old Men" (2007). For exterior shots, they serve as fill light or to simulate artificial light in windows. The uneven beam creates natural-looking brightness gradients. Without diffusion, hard shadows with distinct edges are produced, which are used for dramatic lighting.
In contrast to Fresnel fixtures, they lack uniform light distribution and stepless focusing. PAR lights offer harder, more directional light with less flexibility. Modern LED panels are increasingly replacing classic open-face lights due to better color rendering (CRI >95) and dimming without color temperature shift. For budget productions, halogen open-face fixtures remain relevant due to their low acquisition cost.
Ich verwende Open-Face hauptsächlich als Gegenlicht oder hartes Seitenlicht, da die ungleichmäßige Charakteristik natürlicher wirkt als Fresnel-Licht. Die schnelle Spot-Flood-Verstellung ermöglicht mir spontane Anpassungen der Lichtführung, besonders bei engen Zeitplänen. Bei LED-Varianten schätze ich die konstante Farbtemperatur und das kühlere Arbeiten am Set.
Open-Face-Licht hilft mir, psychologische Spannung zu erzeugen, da die harten Schatten und ungleichmäßige Ausleuchtung Unruhe vermitteln. Für Thriller oder Drama setze ich bewusst auf die raue Lichtqualität, während ich bei romantischen Szenen eher diffundierte Alternativen wähle. Die direkte, ungefilterte Lichtcharakteristik unterstützt authentische, documentary-style Atmosphären.
Open-Face-Scheinwerfer bedeuten niedrige Anschaffungskosten ab 200 Euro und geringen Stromverbrauch bei LED-Modellen, was die Generatorkosten reduziert. Die kompakte Bauweise spart Transportvolumen und Auf- bzw. Abbauzeit. Bei Halogen-Varianten kalkuliere ich höhere Stromkosten und Lampenwechsel ein, dafür entfallen teure Vorschaltgeräte.
1. Zu welchem Department gehört „Open Face"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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