How One Cinematographer Lit Nearly an Entire Film with Tube Lights
Can you light almost an entire movie with just tube lights? Cinematographer Spenser Sakurai did exactly that on his latest project, using Nanlite PavoTube II 30C RGB LED tubes as his primary lighting source. As reported by No Film School, Sakurai shot roughly 700 shots in 15 days with the tube lights serving as what he called "the workhorse" of the production.
Why Tube Lights?
Battery-powered tube lights solve several practical problems at once. They eliminate the need for power cables, speed up setup and teardown, and work in locations where running electricity is difficult or impossible. The PavoTube II 30C delivers up to 2.5 hours of battery life at full brightness, and each tube is light enough for any standard light stand.
For low-budget and indie productions where speed is everything, having lights that are — in Sakurai's words — "nimble, quick, and can basically do everything" becomes a genuine production advantage.
Key Techniques from the Production
Start with existing light. Sakurai's approach always began with the practical light sources already present in a scene — monitors, lamps, windows. He would then supplement with tube lights rather than trying to overpower the ambient environment. This creates more natural-looking lighting and saves significant setup time.
The French Over technique. For dialogue scenes, Sakurai frequently used the French over-the-shoulder shot, which distances the viewer slightly compared to a standard OTS. This framing works particularly well with tube light setups because a single tube can serve multiple functions — acting as a key light for one actor and an edge light for another — as the camera moves between angles.
Pool noodle diffusion. One of the most practical tips from the production: Sakurai used pool noodles fitted over the tube lights as instant diffusion. The foam creates a soft, even wrap of light that is flattering for close-ups. When harder light is needed, simply remove the noodle.
Double diffusion for interiors. For scenes requiring very soft, even illumination, Sakurai ran the tubes through pool noodles, bounced the light off ultra bounce boards, and then passed it through silk. This creates a book light effect that produces professional-looking soft light from relatively small sources.
Color temperature for night scenes. Sakurai set his tubes between 5,600K and 6,500K while white-balancing the cameras around 3,200K. This technique creates a cool, moonlit look without requiring colored gels.
Equipment Used
| Item | Role |
|---|---|
| Nanlite PavoTube II 30C | Primary key, fill, and accent lighting |
| Pool noodles | Quick diffusion sleeves |
| Ultra bounce boards | Bounce surfaces for book lighting |
| Silk frames | Secondary diffusion layer |
| Chicken foot tripods | Compact stands for tight spaces |
The Takeaway
Sakurai's project demonstrates that consistency and technique matter more than expensive equipment. By developing a systematic approach using the same basic lighting setup repeatedly, he achieved a clean, professional look across hundreds of shots. The tube lights' portability, battery power, and color-tuning capabilities made this possible.
For indie filmmakers and small crews, tube lights represent one of the best investments in the current lighting market. They are versatile enough to serve as key lights, accent lights, practicals, and creative effects — often within the same scene.
Nanlite PavoTube II 30C and other tube lights are available for rental at Chill Rental. Contact us for multi-day pricing.
