SHL Film and TV lighting

SHL Film and TV lighting SHL film lighting is based in London and the midlands, We have a full range of film and tv lighting equipment and studios for hire

Barely ever takes a day off.SHL London — film and TV lighting hire.Get in contact.
13/06/2026

Barely ever takes a day off.

SHL London — film and TV lighting hire.
Get in contact.

.Lane_ ‘s take on the x World Cup lighting.“When and told me about this project, I knew straight away how rare so...
26/05/2026

.Lane_ ‘s take on the x World Cup lighting.

“When and told me about this project, I knew straight away how rare something like this was. Nike. Palace. England. World Cup commercial. These don’t come often, and when they do, you show up and give everything you’ve got.

It started on the recce. Lots of location moves, and I were in constant discussion ensuring we needed to be nimble, quick to rig and de-rig and utilise the time given across multiple locations.

The shoot itself matched that energy. Built around a nimble package of S60Cs, global 2400Bs, and Asteras. and (Director) wanted the look to feel gritty and naturalistic. Our lighting approach established many different tones: strong flash frontal, natural sun rakes, fluorescent, and shaping and motivating existing light. It was important that scenes felt distinct from each other in tone and style. Oh, and shooting Wayne Rooney dressed as Shakespeare delivering a monologue was definitely a highlight.

The biggest challenge came on the final day, Recreating Stonehenge. To pull it off, my rigger Lee Doran and his team rigged two telehandlers: one carrying a 12x12 softbox comprised of Vortex 8s and S60Cs for our soft overhead moonlight ambient, and the other a 15KW backlight built from x4 Nanlux 2400Bs and x1 Nanlux 5000B. We also had an old school toy to play with, 100KW lightning strikes. All of it shot through the night with rain and fire SFX. The field had turned into a complete bog, but we kept going. Watching it back genuinely felt like we’d created something special.

Working with Jack is something I genuinely value. We’ve built a real trust and the freedom to experiment, whether that means bringing new tools to the table or unearthing legacy kit to see what we can pull out of it together. Having that creative openness pushes me to bring more to every job.

I can’t thank my team enough on this one: “

Above the Influence Gaffer Eliot Morris shares his take on lighting of the campaign.“Toby Leary’s (DOP) deck referenced ...
19/05/2026

Above the Influence

Gaffer Eliot Morris shares his take on lighting of the campaign.

“Toby Leary’s (DOP) deck referenced an on-camera flash style of still photography. This paired with a tight budget, and shooting on a long zoom lens 50-75ft away from the subject, from a bridge - we went for 2x 18k Silverbullets straddled together, pushing through a very light diffusion frame to try our best at unifying the source whilst retaining a readable level of light on camera to sell the effect.”

Cover Gaffer Jasper Clarkson shares his take on lighting covered for the campaign.

“Thanks to Toby and El’s plans, taking over on the day of the shoot was made super simple, our only concerns were weather and wind, which is a super important thing to always be prepared for on exterior days, our sparks were all experienced with their knots, and we had enough people to go ahead and start prelighting the evening setup for Saliba on the bus stop. Having low wattage LED’s for our evening setup meant only needing a 2.5kw genny and not needing to bring the 50k Isuzu over”

above the influence Gaffer Eliot Morris shares his take on lighting of the campaign.“Toby Leary’s (DOP) deck referenced ...
18/05/2026

above the influence

Gaffer Eliot Morris shares his take on lighting of the campaign.

“Toby Leary’s (DOP) deck referenced an on-camera flash style of still photography. This paired with a tight budget, and shooting on a long zoom lens 50-75ft away from the subject, from a bridge - we went for 2x 18k Silverbullets straddled together, pushing through a very light diffusion frame to try our best at unifying the source whilst retaining a readable level of light on camera to sell the effect.”

Cover Gaffer Jasper Clarkson shares his take on lighting covered for the campaign.

“Thanks to Toby and El’s plans, taking over on the day of the shoot was made super simple, our only concerns were weather and wind, which is a super important thing to always be prepared for on exterior days, our sparks were all experienced with their knots, and we had enough people to go ahead and start prelighting the evening setup for Saliba on the bus stop. Having low wattage LED’s for our evening setup meant only needing a 2.5kw genny and not needing to bring the 50k Isuzu over”

If you haven’t used an .power on location yet, here’s the short version of why they’re worth it.They deliver 230V AC — s...
15/05/2026

If you haven’t used an .power on location yet, here’s the short version of why they’re worth it.

They deliver 230V AC — same as a wall socket — from a 20kg battery you can carry in one hand. 3.6kW continuous, 18,000W peak, charges fully in 2.5 hours from a standard plug. Silent. No fumes. IP54 so it handles bad weather.

That’s enough to run an Aputure 1200d at full power for around two hours, or a 600d for three-plus. And because it’s completely silent, you can position it right next to your talent if you need to.

In stock at SHL and ready to add to your next hire.

06/05/2026

This is what a Fresnel attachment does to your fixture. Watch the beam.

The FL-12 snaps straight onto FM and FE mount heads — manual zoom from 15° to 30° on a single ring, clean uniform beam, smooth natural falloff at the edges. IP66 rated so location conditions aren’t a concern. Barndoors included.

One attachment. Completely different light.

Eight tiny lights that punch way above their weight. The .europe MC Pro 8-Light Kit is in stock and ready to hire.Each l...
04/05/2026

Eight tiny lights that punch way above their weight. The .europe MC Pro 8-Light Kit is in stock and ready to hire.

Each light is about the size of a credit card, runs on a built-in battery for two hours, and magnets onto pretty much anything. Useful for filling in the gaps, hiding inside set dressing, or just adding a bit of colour where a bigger fixture can’t reach.

Full RGBWW, 2000K–10,000K, LumenRadio CRMX, DMX, Sidus Link app control, IP65. The whole kit charges in the case — AC or D-Tap.

The 15 built-in effects are a nice bonus too. Fire, lightning, TV flicker, cop car — proper useful for practicals.

‘Click Clack. Ft. Hans Zimmer’ ‘s Take on the lighting process of this momentous video.“This was Produced by and we we...
20/04/2026

‘Click Clack. Ft. Hans Zimmer’

‘s Take on the lighting process of this momentous video.

“This was Produced by and we were approached, booked and recce’d by the middle of December with the shoot not till the first week of January (a rare occurrence!). With Directing and DOP , the concept, beautifully classic with a twist, clean artistic beauty.

Raye’s ‘Click, Clack Symphony’ was a three day shoot over multiple locations, day 1, Ealing in Pitzhanger Manor, day 2 in Stage A and finally the big exterior ending down in Devils D**e. For day 1 and 2 we had the main exterior window’s or roof light work at Pitzhanger and a 6M wide by 7M tall blue screen wall at SHL, all being lit by either of the .official Evoke 2400 or 1200 range, they are such a great range of lights and they pack such a great punch. Litemat 2’s and 4’s overhead on booms as our top light in confined area’s, Skypanel S60’s as soft fills or toplight whenever needed, ’s as eye light and Forza 60c, if you know, you know! Then on day 3 we had the Nanlux Evoke 5000 helping to add a little fill on a surprisingly bright but freezing cold day!

Incredible artist and crew, everyone collectively pulling out all the stops to achieve a great end goal!”

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