Telescopic aluminum pole that spans between floor and ceiling to mount lights without ceiling fixtures; load capacity up to 80 kg at 8 m span.
Standard wall spreaders consist of two telescoping aluminum tubes with an outer diameter of 50-60mm. The tensioning system uses a threaded spindle or ratchet mechanism, generating a clamping pressure of 800-1200 Newtons. The contact surfaces are equipped with non-slip rubber pads (Shore hardness A70-80) and have a contact area of 80-120cm². Professional systems like the Manfrotto 032 or Matthews Studio Equipment Pole Cat feature 16mm studs or 28mm receivers for mounting lighting adapters. Heavy-duty variants achieve spans up to 8 meters with a reduced load capacity of 80 kilograms through double extension.
Matthews Studio Equipment introduced the first commercial Wall Spreader in 1979 under the name "Pole Cat," developed for the growing demands of mobile TV productions. Manfrotto followed in 1983 with the Model 032, distinguished by its lower weight and more compact transport dimensions. In 1995, Avenger revolutionized the segment with the D520, featuring a quick-release system that reduced setup time from three minutes to one. Since 2010, modern systems have integrated safety overload clutches and LED weight indicators.
Cinematographer Roger Deakins extensively used wall spreaders on "Skyfall" (2012) for lighting the Shanghai sequences in practical locations without ceiling mounts. The systems allow for precise positioning of Kino Flos or LED panels in rooms with sensitive surfaces. Typical workflows involve two crew members for installation and adjustment, with alignment done using a spirit level. Disadvantages arise with uneven ceilings (tolerance max. 15mm) and with vibrations from camera movements that transmit to the clamped system.
Wall spreaders differ from C-stands in their residue-free installation without sandbags or clamps. Magic Arms offer greater flexibility in light mounting but achieve only 30% of the load capacity. Suction cup systems like the Manfrotto 241 only work on smooth surfaces and can carry a maximum of 15 kilograms. For ceiling heights exceeding 5.50 meters, scaffolding systems or permanently installed track systems are used, which, however, require lead time and permits.
Ich setze Wand-Spreizer ein, wenn ich in engen Räumen arbeite und trotzdem eine gleichmäßige Ausleuchtung von oben benötige, ohne dass Stative im Kameraschwenk stehen. Besonders bei Available Light-Situationen kann ich so gezielt Aufheller oder Negativfill exakt dort positionieren, wo ich die Lichtstimmung kontrollieren muss, ohne die Location zu beschädigen.
Für mich ermöglichen Wand-Spreizer die authentische Beleuchtung in Real Locations, ohne dass das Setting durch sichtbare Lichttechnik verfälscht wird. Ich kann Schauspieler frei im Raum bewegen lassen, während die Beleuchtung unsichtbar von oben arbeitet und die gewünschte Atmosphäre schafft, besonders bei Intimszenen in Privatwohnungen oder historischen Gebäuden.
Wand-Spreizer reduzieren meine Locationkosten erheblich, da keine Schäden an Decken oder Wänden entstehen und damit Kautionen wegfallen. Ein 4er-Set kostet 1.200 Euro, spart aber täglich 2-3 Stunden Auf- und Abbauzeit gegenüber komplexeren Rigging-Lösungen, was bei einer 40-köpfigen Crew schnell 2.000 Euro pro Drehtag ausmacht.
1. Zu welchem Department gehört „Wand-Spreizer"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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