Opaque black lightproof fabric (Molton/Duvetyne) with 0% light transmission that completely blocks hard light and creates precise shadows.
Professional solids are made of black molton (300-500 g/m²), duvetyne, or special light-blocking fabrics with 0% light transmission. Standard sizes range from 18x24 inches (45x60 cm) to 20x20 feet (6x6 m) for large overhead rigs. Modern solids often use double-layered constructions with a black front and a silver or white back as a reflector. The materials are flame-retardant according to B1 standard and temperature-resistant up to 200°C. Frame solids (flags) are stretched in rectangular steel frames, while overhead solids are mounted as butterfly rigs or on T-bone constructions.
Solids evolved in the 1920s from the black theater curtains of early film studios. Matthews Studio Equipment introduced the first standardized flag sizes in 1935. With the transition to color photography in the 1950s, precise light control became more critical, leading to the development of special film fabrics. Modern solids made of ripstop nylon and reinforced hems became standard from the 1980s onwards.
Roger Deakins used large-scale 12x12-foot solids in "1917" to control harsh daylight in trench scenes and create dramatic contrasts. For interior shots, small flags (fingers, dots) selectively block light sources or create precise shadow patterns on faces. Cinematographer Emmanuel Lubezki systematically uses solids to darken specific areas of the image with natural light and direct attention. Large overhead solids enable outdoor shots even in glaring sunlight by creating consistent lighting conditions.
While nets reduce light (single net = 1 stop, double net = 2 stops) and silks diffuse it, solids block light completely. Scrims reduce light intensity by defined values, while solids create absolute darkness. Digital post-production cannot fully replace solids, as the direction and quality of light must be created on set. Modern LED panels with precise dimming control reduce the need for solids in small setups, but physical shading remains indispensable for daylight shooting.
Ich nutze Solids für präzise Lichtkontrolle – ein 4x4-Fuß-Solid über dem Interviewpartner gibt mir konsistentes, weiches Licht ohne harte Schatten im Gesicht. Bei Available Light kann ich mit einem 12x12-Overhead-Solid die Belichtung um 3-4 Blenden reduzieren und trotzdem die natürliche Lichtrichtung beibehalten, was digital nie so authentisch wirkt.
Solids helfen mir, Stimmungen visuell zu verstärken – scharfe Schattenkanten durch kleine Flags können Spannung erzeugen, während große Overheads die Atmosphäre von grellem Tageslicht zu gedämpftem Drama verwandeln. Ich kann damit gezielt Bildbereiche abdunkeln und den Blick des Zuschauers lenken, ohne dass es künstlich wirkt.
Ein komplettes Solid-Set kostet 8.000-15.000 Euro, aber die Zeitersparnis am Set rechtfertigt die Investition – statt stundenlanger Wartezeit auf optimales Licht kann die Crew sofort drehen. Bei Außenaufnahmen reduzieren Solids wetterbedingte Drehtage und damit Mehrkosten, allerdings brauche ich für große Overheads zusätzliche Grip-Trucks und erfahrene Beleuchter.
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