Three-layer nylon mesh with 0.8 mm aperture, reduces light by 1.5 stops while creating soft shadows. Standard sizes 12″×18″ to 6'×6', developed 1974 by Conrad Hall.
The net structure consists of 40-denier nylon threads with a mesh size of 0.8 mm per layer. The three layers are thermally welded and mounted in an aluminum frame with spring tension of 12-15 Newtons per square centimeter. Standard formats are 12"×18", 18"×24", and 24"×36" for flag mounting, as well as 4'×4' and 6'×6' for butterfly frames. The color temperature is shifted by a maximum of 50 Kelvin towards warm tones. Special variants like Triple Net Silver use metallized threads for more neutral color reproduction.
In 1974, gaffer Conrad Hall, together with Matthews Studio Equipment, developed the first Triple Net construction for "The Day of the Locust." Hall's requirement was for greater light reduction than Double Net (0.8 stops), but softer shadows than solid ND filters. In 1978, Rosco introduced industrial production, followed by Lee Filters in 1985 with the European Net series. Since 2010, modern versions have used UV-stabilized polyester fabrics and computer-optimized weave patterns for more uniform light distribution.
Gordon Willis extensively used Triple Net in "Manhattan" (1979) for night park scenes to dim streetlights without creating harsh shadows. Typical workflow: positioning 1-2 meters in front of the light source at a 45-degree angle to the camera axis. For daylight balancing, Triple Net is mounted in front of an HMI fixture to simulate sunlight through windows. Advantage over ND filters: preservation of light direction. Disadvantage: moiré effects with certain camera angles to textured surfaces.
Single Net reduces 0.3 stops, Double Net 0.8 stops – Triple Net sits between them with 1.5 stops, followed by the 2-stop Quad Net. Lavender Net combines diffusion with a magenta filter effect. Modern LED panels with stepless dimming are increasingly replacing mechanical net filters but do not achieve the characteristic shadow quality. Silk diffusers offer softer scattering but not precise light reduction. Triple Net remains the standard for traditional tungsten and HMI lighting, especially for period pieces with authentic lighting moods.
Ich verwende Triple Net hauptsächlich als Fenster-Scrim bei Available Light-Situationen, wo ich natürliches Licht um anderthalb Stops reduzieren muss ohne die Schattenrichtung zu verändern. Bei Close-ups positioniere ich das Netz schräg zur Nase-Ohr-Linie, damit eventuelle Moiré-Muster nicht auf der Haut erscheinen.
Triple Net hilft mir dabei, die Aufmerksamkeit subtil zu lenken - ich kann Hintergrund-Practicals dämpfen ohne sie komplett auszuschalten, wodurch die räumliche Tiefe erhalten bleibt aber der Fokus auf den Schauspielern liegt. Besonders bei Dinner-Szenen nutze ich es für warme Kerzen-Atmosphäre ohne überbelichtete Flammen.
Triple Net spart mir täglich 45 Minuten Setup-Zeit im Vergleich zu Dimmer-Lösungen, da der Gaffer die Lichtintensität mechanisch und präzise anpassen kann. Bei 60 Drehtagen amortisiert sich der 340 Euro Anschaffungspreis durch reduzierte Crew-Überstunden, außerdem benötige ich weniger Generator-Kapazität als bei elektrischem Dimming.
1. Zu welchem Department gehört „Triple Net"?
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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.