Film Production
DIY Lighting Kits
Last Updated on July 29, 2024 by Daily News Staff
Your video shoot is off to a great start. Although you are on a strict, no frills budget, you are getting the quality shots that you desire. A problem arises when you plan for the next phase of your production, a shoot at an indoor location. Your budget will not allow you to pay for professional lighting. Renting pro lights is an alternative, but, that too can get expensive if your indoor shoot is over a course of a few days.
Don’t fret, a cost effective alternative that is available to you just by taking a trip to your local shopping center.
Over the past decade, there have been major developments and breakthroughs in lighting with the introduction of both Compact Fluorescent (CFL) and LED bulb technology, and now with the entry of these alternatives, the sky is the limit.
In the past it was taboo to even think about using fluorescent lighting in video production because the lighting of old cast a sickly green hue that you had to spend so much time white balancing out. This has changed due to these new technologies. Many current professional lighting kits and light boxes use either CFLs or LED lighting.
The facts that these new bulbs do not burn hot, have low power consumption and have a long life span is just a few of the many benefits to productions of most any budget.
The lighting output of these bulbs can be compared to traditional incandescent bulbs and can satisfy your illumination needs without breaking the bank.
EXTREMELY LOW COST
The most inexpensive lighting alternative that I will present to you is called the Incandescent Clamp Light. The price range of this fixture is between $7.00 and $20.00, and consist of a bowl-shaped lighting hood with a mounting clamp attracted to it so that it can be hung easily. You can find these unit and bulbs at places like Lowe’s, Home Depot, Ace Hardware or any home improvement center or hardware store.
Although incandescent is in the name does not mean that you are limited to use traditional light bulbs. CFL and LED bulbs can be used with these fixtures, but, make sure you are following the power rating of the fixture, just like with incandescent bulbs, you cannot go over the limits of what is required for that particular unit. Usually these fixtures can accommodate up to a 150 watt light.
Another benefit is that you can clamp the fixture to almost any surface without damaging it. These units can easily be used as key lighting subjects as well.
I personally own a tungsten professional lighting kit, but because they run so hot and need cool down time before dismantling on the set, I prefer to use my CFL lighting which consist of some professional incandescent light fixtures, stands and umbrellas. I still use my clamp lights and they are still effective.
Although, you are missing features like barn doors to adjust the lighting, stands for mounting the fixtures and other elements that you find in professional kits, you have a useful alternative. You can slowly upgrade to more professional lighting when you budget allows.
Three of these fixtures, plus a pack of CFLs would be under $30 on the low end. For an extremely effective lighting kit, you can’t beat that price.
Another alternative for lighting is work lights. You will also find these units at home improvement centers or hardware stores. The price range of these units are between $19 and $300. These unit use either halogen or in the more recent units, LED.
The benefit of these lights are that they come with their own adjustable stands. They can be added to your clamp light kit and still keep you within your budgetary restraints.
The drawback of this choice is that the least expensive units are halogen and can run hot. They will be brighter than your CFLs, so adjusting them to match your lighting would be more of a challenge.
Choosing the LED version is an option, but be advised, if you get multiple units to make a kit, you will be approaching the price point of a low end pro light kit that will have barn doors, stands, scrims, etc.
Whatever type of lighting that you chose, you can feel confident that your production will not lose the luster that you have worked hard to maintain throughout the shoot. With the recent entry of these lighting alternatives, professional lighting can be attained by video producers of any budget. There is no longer a need to fear losing your audience due to bad lighting.
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documentaries
Vision Films Acquires Jeff Bridges–Narrated Doc “In The Company of Wolves” Ahead of Cannes Premiere
Vision Films acquires In The Company of Wolves: An American Journey, Susan Kucera’s new documentary narrated by Jeff Bridges, premiering at Cannes May 15, with a limited theatrical and TVOD release July 17, 2026.
Vision Films has picked up In The Company of Wolves: An American Journey, an environmental documentary narrated by Academy Award® winner Jeff Bridges and directed by award-winning filmmaker Susan Kucera. The film is set to debut at the 2026 Cannes Film Festival on May 15 at the Olympia Theater, with a limited theatrical rollout and transactional VOD release to follow on July 17, 2026.
A nature documentary that reframes American history
Rather than treating wolves as a backdrop to frontier mythology, In The Company of Wolves positions them—and other animals—as co-travelers through the American story. The documentary traces a sweeping timeline from the shores of England to the birth of the New Republic and into the colonization of the modern American West, exploring how the nation’s evolving relationship with wolves shaped folklore, identity, and the idea of “nationhood” itself.
Kucera describes the project as a shift in perspective: “I think this film stands apart because it reframes the American mythos—moving beyond human ambition to the deeper relationships that shaped the land, and in turn, the nation itself.”
A third collaboration for Kucera and Bridges
The documentary marks the third collaboration between Kucera and Bridges, following previous environmental projects including Living in the Future’s Past. Vision Films CEO and Managing Director Lise Romanoff said the company is “proud to partner with Susan Kucera again” and called the film “a spectacular visual journey and a reminder of the need to respect and preserve our planet’s ecosystem.”
Bridges, whose voice anchors the film’s historical and ecological throughline, added that the story “reminds us that the wild and the domesticated have always reflected the deeper story of who we are as a nation — and who we might yet become.” According to the release, Bridges is also using his compensation to support multiple conservation organizations, including The Vital Ground Foundation, which protects and connects wildlife habitat in the Northern Rocky Mountains.
Voices, experts, and an evocative score
The film features commentary from members of the Eastern Shoshone Tribe and Crow Nation, alongside historians and authors who have shaped public understanding of wolves and the American West. Participants named in the announcement include:
- Michelle Paver, best-selling author of the Wolf Brothers series (over 3 million copies sold worldwide)
- David Quammen, science writer (Outside, National Geographic)
- Professor Jon Coleman (University of Notre Dame), author of Vicious: Wolves and Men in America
- Cristina Eisenberg, Native American ecologist and author
- Jason Baldes, Eastern Shoshone conservationist (Intertribal Buffalo Council, Conservation Lands Foundation)
- Cameron Krebs, fourth-generation sheep rancher
Adding to the film’s atmosphere is an original score by Keefus Ciancia, whose credits include True Detective.
Release plan: Cannes first, then theaters and TVOD
For audiences tracking Cannes premieres and documentary acquisitions, the release plan is straightforward:
- Cannes Film Festival premiere: May 15, 2026 (Olympia Theater)
- Limited theatrical release + TVOD: July 17, 2026
For updates, the filmmakers point viewers to the official site: inthecompanyofwolvesfilm.com.
About the companies behind the release
Vision Films is an independent sales and VOD aggregator with a catalog of more than 800 features, documentaries, and series, releasing 2–4 films per month across theatrical, VOD, DVD, and television.
Rangeland Productions, founded by producer Jim Swift, focuses on documentaries and independent films and has previously produced and executive produced projects with Kucera, including Living in the Future’s Past, Breath of Life, and Hot Money.
What to watch for
With its Cannes debut and Jeff Bridges’ continued presence in environmental storytelling, In The Company of Wolves: An American Journey is positioned to land at the intersection of prestige documentary, American history, and conservation cinema—an increasingly crowded space where voice, point of view, and cultural framing matter as much as the visuals.
Related Links
Source: Vision Films
awards and contests
The Largest AI Film Competition Is a Snapshot of Where AI Filmmaking Is Headed
Higgsfield released results from its largest AI filmmaking competition: nearly 8,800 submissions from 139 countries and $500,000 in prizes—highlighting a fast-growing, global, creator-led filmmaking ecosystem.
Last Updated on April 25, 2026 by Daily News Staff
A year ago, “AI film” still sounded like a niche experiment—cool demos, rough edges, and lots of debate about whether it could ever look truly cinematic. Higgsfield’s latest competition results suggest we’ve crossed into a new phase: AI filmmaking is becoming a real, global production lane, driven by independent creators working outside traditional studio systems.
According to the company, its AI Film Competition drew nearly 8,800 submissions from 139 countries, with a $500,000 cash prize pool distributed to independent filmmakers. Beyond the winners, the dataset reads like a market signal: generative tools are lowering the cost of entry for high-end visuals, and the talent pipeline is no longer geographically locked to legacy production hubs.
A global creator map is replacing the old studio map
One of the most telling takeaways is where the work is coming from. Higgsfield reports the largest volume of entries came from:
- India (1,805)
- United States (1,041)
- Germany (278)
- France (230)
- Italy (228)
- Brazil (212)
- United Kingdom (196)
Historically, cinematic action and high-end VFX were concentrated in a handful of established centers—places with the budgets, infrastructure, and specialized crews to pull off complex sequences. Higgsfield’s results point to a different reality: subscription-based, production-grade AI tools are reducing geographic barriers, enabling creators across Latin America, Southeast Asia, and Eastern Europe to compete in the same visual arena.
Higgsfield CEO Alex Mashrabov framed it as a creator inflection point, arguing that the scale of participation signals the next breakout franchise “can come from anywhere on Earth.” Whether or not you buy the blockbuster prediction, the underlying shift is hard to ignore: global access is now a feature of the production model.
The judging criteria hints at what matters next
Another important detail: the prize pool wasn’t awarded for “best render” alone. Higgsfield says the jury—made up of both traditional production veterans and AI-native creators—prioritized storytelling and directorial intent over technical polish.
That’s a meaningful signal for where AI filmmaking is headed. As tools improve, the baseline for visual quality rises. What differentiates creators isn’t just the ability to generate a shot—it’s the ability to direct one: pacing, tone, character, and clarity of vision.
The jury included names and studios spanning both worlds, such as Secret Level (founded by Emmy-winning filmmaker Jason Zada), Buralqy, concept artist Jama Jurabaev, and PJ Ace of Genre.ai—who called it “the best-looking AI film contest” they’ve seen.
Decentralized production is no longer theoretical
The Grand Prize winner is also a case study in how AI changes collaboration. 1st Place ($150,000) went to Muhannad Nassar (Detroit) and Simon Meyer (Germany) for “GRANDMA vs WASP.” The pair reportedly never met in person, instead using an asynchronous workflow across time zones with Higgsfield’s Cinema Studio.
That’s not just a fun anecdote—it’s a preview of a parallel production ecosystem where teams form around taste and capability rather than geography. If the toolchain is centralized in the cloud, the “studio” becomes a workflow, not a building.
Winners show two pathways: new creators and experienced pros
The rest of the top placements reflect how broad the adoption curve is becoming:
- 2nd Place ($100,000): Nikolay Shestak for “CUPID,” using Higgsfield to execute concepts that would normally be budget-prohibitive. He plans to apply the prize toward an independent superhero film.
- 3rd Place ($50,000): Brothers Ash and Aram Gevorkyan for “SCRATCH,” created in five days. Ash noted audiences mistook it for a studio-backed theatrical release and asked for a link to the “full movie.”
What’s emerging is a two-lane future: newcomers using AI to enter filmmaking for the first time, and established creatives using it to expand what they can produce independently.
Money is starting to loop back into production
Higgsfield also highlights something that looks a lot like early-stage industry deal flow: one top winner is reportedly reinvesting prize money back into the platform to produce a feature-length film, and the project has already attracted involvement from a major Hollywood figure.
That matters because it suggests AI-generated work isn’t staying in a separate “AI corner.” It’s beginning to intersect with the traditional financing-and-distribution ecosystem—especially when the output looks cinematic enough to be taken seriously.
The market is growing—and the infrastructure is consolidating
The competition results land in a market that’s expanding quickly. Citing Grand View Research, Higgsfield notes the global AI video generator market was estimated at $788.5 million in 2025 and is projected to reach $3.44 billion by 2033 (a 20.3% CAGR).
Higgsfield is positioning itself as an all-in-one workflow layer, combining its own models with third-party options (including OpenAI’s Sora and Google’s Veo, among others) so creators can choose the best model per task without rebuilding pipelines. The company says it serves 20 million+ users who have generated 50 million+ videos, and it reports a most recent valuation of $1.3 billion.
What to watch for next
If you’re tracking where AI filmmaking is going, this competition offers a few clear “watch points”:
- More global breakout creators as the cost of cinematic visuals continues to fall
- Decentralized teams forming around projects, not locations
- A shift from “can it look good?” to “can you direct it?” as quality becomes more accessible
- Traditional industry crossover as AI-native projects attract recognizable partners
Want to see the winning films and action scenes? Higgsfield has them here: https://higgsfield.ai/contests/make-your-action-scene
Source: Higgsfield press release distributed via PRNewswire (March 18, 2026).
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Entertainment
One More Christmas Begins Production as Great American Media Unveils 2026 Holiday Original
Great American Media has announced One More Christmas, a new original holiday film starring Candace Cameron Bure and Jonathan Scarfe, now in production for Great American Christmas 2026. The film adds another early title to the network’s seasonal lineup as it heads into its sixth year of Christmas programming built around faith, family, hope, and redemption.
In the film, Bure plays Anna, a woman who has been divorced from James Campbell, played by Scarfe, for five years. The former couple reunites over Christmas after their daughter invites the family to a Smoky Mountain cabin to meet her serious boyfriend. What starts as an uneasy holiday gathering shifts when a major ice storm traps Anna and James together, forcing them to revisit the past and consider whether their story is really over.
Why It Stands Out
The setup gives One More Christmas a built-in second-chance romance angle, but the family dynamic may be what gives it the most emotional pull. Great American Media is clearly leaning into the kind of heartfelt, values-driven storytelling its audience expects, while continuing to build Candace Cameron Bure’s presence across its holiday slate.
Bure is also serving as an executive producer on the film. Great American Media said she will star in two original movies for the 2026 season and executive produce another holiday feature still to be announced. Bill Abbott, President and CEO of Great American Media, said Bure continues to help define the tone and quality of the network’s Christmas programming.
Creative Team
One More Christmas is executive produced by Candace Cameron Bure, Jeffery Brooks, Ford Englerth, and Tim Owens for CandyRock Entertainment, with Eric Jarboe and Holly Hines executive producing for Happy Accidents. The screenplay is written by Taylor Kalupa and Masey McLain.
CandyRock Entertainment, Bure’s joint venture with Ford Englerth and Jeffery Brooks, has produced and distributed more than 40 television and film projects focused on family-friendly entertainment.
What to Watch For
As Great American Media continues to expand its holiday lineup, One More Christmas looks positioned as one of the network’s early attention-grabbers for 2026. Between Bure’s ongoing creative role, Scarfe’s addition, and the familiar mix of Christmas setting and emotional reconciliation, the film fits squarely within the network’s brand while giving viewers a story built around family tension, weather-forced closeness, and possible renewal.
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