In his Joshua Tree studio, cinematographer Timur Civan recently lensed a new music video “Resurrection” for gothic country artist Blood Nebraska. Working in collaboration with director Bhavani Lee, the video features a poetic interplay of light and shadow, which Civan achieved using Snapbridge with Color Bounces from DoPchoice and Lightbridge.
The music video, starring Blood Nebraska’s Jesse Dvorak (known for founding the online arts community Art and Void), pictures the musician performing in a haunting, liminal space with a mysterious woman in flowing, veil-like dress. Combined with a smoke effect, each slow-motion sequence of the film has a dark solemnity reminiscent of a Rembrandt painting–with a gothic twist.
Through years of practice, Civan has cultivated a single-source lighting technique, which is at the heart of the ethereal luminance that defines “Resurrection”. This style relies on a single light source, in this case a Rayzr 7 300W Fresnel, reflected multiple times using Lightbridge Precision Reflectors. “Once you learn how to work with the Precision Reflectors, your whole approach to lighting changes,” says Civan. “You’ll never point a light directly at the subject again.”
For the video, the cinematographer bounced the Fresnel off a 15×15 Precision Reflector positioned inside a Snapbridge–the versatile lighting tool that seamlessly combines a Lightbridge Reflector within a DoPchoice bounce. “Once you start working with a tool like Snapbridge, you realize how flexible and purpose-built it is,” says Civan. “It’s a soft source, but it can give you that touch of sharpness and depth when needed.” Shot on the Fujifilm GFX100 II medium-format camera, the music video captures an eerie, but intimate mood.
The Snapbridge system allowed Civan to blend hard and soft lighting, resulting in a natural luminance that elevates the otherworldly costume and makeup. To further nuance the effect, Civan added Snapbridge Color Bounces for close-up beauty shots. “I’ve been using the split panels—the ones with unbleached muslin or daylight blue—to add complexity to the light. Adding a slight blue tint to the bounce can help correct skin tones, and gives the light a richer quality,” he explains. “You can have a soft push to fill the frame, with a shaft of light adding contrast. It gives you that window-lit feel without the need for a diffuser. It’s subtle, but it makes all the difference.”
The result was a visually compelling music video that complemented the haunting tones of Dvorak’s song. “The Snapbridge system is so versatile,” Civan reflects. “You can go from a soft glow to a sharp beam just by swapping reflectors. It’s fast and efficient, which is invaluable when you’re working with a small crew.” The Snapbridge and Color Bounce combination proved essential in crafting the unique visual narrative.
