Commercial
Commercial
Commercial
Commercial
about the rig
20x20x4 softbox made out of Modulus-X Mx|66|. I find the rigidity of the modulus-x allows you to tilt the box and aim it more aggressively. It’s slimmer and a bit more versatile than a 12” box truss build.
The truss provides a strong support structure for the entire build. We set this box up with a center rib for the cross pipe support. Gaffer Tony Jou employed the use of 8 skypanel S60’s to evenly fill the box. We finished the box up with some full grid diffusion and duvetyne sides. The box hung on 4 1/2 ton chain motors.
Behind the Scenes
Lighting
Overhead Rigging
key grip
Brendan Riel
the crew
DP:
Zoë Simone-Yi
Grip Crew:
Logan Alesso, Eric Fowler, Connor Colby, Vic Roca, Daniel Kusenda, Erik Covarrubias, Johnathan Gonzalez, Jacob Senn, DJ Meyer
built with
Modulus-X™ Truss, LA Rag House, Hollaender, Modern Studio Equipment
by:
Brendan Riel
similar posts
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rig breakdown
ModX Rolling Soft Toplight
by:
Brendan Riel
We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.
The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.
For mobility, we mounted the whole rig on C&C Studio Services tri-casters.
rig breakdown
ModX Rolling Soft Toplight
by:
Brendan Riel
We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.
The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.
For mobility, we mounted the whole rig on C&C Studio Services tri-casters.
rig breakdown
ModX Rolling Soft Toplight
by:
Brendan Riel
We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.
The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.
For mobility, we mounted the whole rig on C&C Studio Services tri-casters.
rig breakdown
ModX Rolling Soft Toplight
by:
Brendan Riel
We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance. The goal was to keep costs down and avoid building duplicate overhead rigs or ground units for each set. So, we designed a rolling, double-layered softbox that could easily move from set to set—and double as an in-frame ceiling piece when needed.
The structure measured 14’x14’ OD and held two 12x12 frames: one with 1/2 grid and one with bleached muslin. The bleached muz was rigged with a pulley system, allowing us to raise or drop the rag when we needed to bring it into the scene as a ceiling element. We punched LiteTile through both rags for soft, consistent coverage.
For mobility, we mounted the whole rig on C&C Studio Services tri-casters.
project BTS
Seamless Muslin Softbox
by:
Brendan Riel
8’x25’x4’ seamless bleached muslin softbox provided most of our soft top daylight ambiance for this spot. ModX top frame with pipe bottom frame. We wrapped the bottom pipe with plastic to protect the muslin from dirt. Seamless was important for car reflections. We baffled the inside of the box with 1/4 grid for added softness.
We helped art hang an 18’ tall 60’ length translight with some truss and motors. Went motors down so we wouldn’t have to run too much cable and picked to beams above with beam clamps.
We planned on doing everything with truss and motors but had to cut some because of budgetary reasons. So we went old fashioned with 2 runs of ladder truss, pipe and pulleys for more lighting points. The pulleys just served as line redirects and provided no mechanical advantage.
project BTS
Seamless Muslin Softbox
by:
Brendan Riel
8’x25’x4’ seamless bleached muslin softbox provided most of our soft top daylight ambiance for this spot. ModX top frame with pipe bottom frame. We wrapped the bottom pipe with plastic to protect the muslin from dirt. Seamless was important for car reflections. We baffled the inside of the box with 1/4 grid for added softness.
We helped art hang an 18’ tall 60’ length translight with some truss and motors. Went motors down so we wouldn’t have to run too much cable and picked to beams above with beam clamps.
We planned on doing everything with truss and motors but had to cut some because of budgetary reasons. So we went old fashioned with 2 runs of ladder truss, pipe and pulleys for more lighting points. The pulleys just served as line redirects and provided no mechanical advantage.
project BTS
Seamless Muslin Softbox
by:
Brendan Riel
8’x25’x4’ seamless bleached muslin softbox provided most of our soft top daylight ambiance for this spot. ModX top frame with pipe bottom frame. We wrapped the bottom pipe with plastic to protect the muslin from dirt. Seamless was important for car reflections. We baffled the inside of the box with 1/4 grid for added softness.
We helped art hang an 18’ tall 60’ length translight with some truss and motors. Went motors down so we wouldn’t have to run too much cable and picked to beams above with beam clamps.
We planned on doing everything with truss and motors but had to cut some because of budgetary reasons. So we went old fashioned with 2 runs of ladder truss, pipe and pulleys for more lighting points. The pulleys just served as line redirects and provided no mechanical advantage.
project BTS
Seamless Muslin Softbox
by:
Brendan Riel
8’x25’x4’ seamless bleached muslin softbox provided most of our soft top daylight ambiance for this spot. ModX top frame with pipe bottom frame. We wrapped the bottom pipe with plastic to protect the muslin from dirt. Seamless was important for car reflections. We baffled the inside of the box with 1/4 grid for added softness.
We helped art hang an 18’ tall 60’ length translight with some truss and motors. Went motors down so we wouldn’t have to run too much cable and picked to beams above with beam clamps.
We planned on doing everything with truss and motors but had to cut some because of budgetary reasons. So we went old fashioned with 2 runs of ladder truss, pipe and pulleys for more lighting points. The pulleys just served as line redirects and provided no mechanical advantage.
Case Study
Frames, Ladder Pods, and Westerns On This Commercial
by:
Brendan Riel
Lots of fun on this 3 day commercial shoot with a couple of different locations for a well known popcorn brand. Our first location was at Air Hollywood. We shot both inside in an airplane buck and outside in the parking lot. For our first setup outside in the parking lot we built a Modulus-X 9” truss rig and secured it onto a 12054 telehandler to hang a hot air balloon basket. I wanted to get the pick point out a little further away from the carriage which is why we didn’t just pick it off the bottom hook of the carriage. We used Modulus-X 9” because I co-own Division and we have it readily available. When building a rig that sticks out further than the telehandler it’s generally good practice to integrate a vertical member into your rig. This distributes the force in the components (in this case a singular piece of truss) sticking out. We secured the vertical portion of the rig to the carriage as well with both a basketed 2” ratchet and SK clamps. The load rating of 9” ModX is insane, so it was never really a worry, but it’s good practice. A 6’ stick of the 9” boasts a roughly 15,000# uniform center load WLL just to give you an idea.
The hot air balloon company took care of attachment for the balloon to the telehandler - they have a special rig they use all the time with film productions.
It was overcast and drizzly but we set up so that if the sun did peak out it would be backlit. Popped a 20x20 chroma blue behind the basket for vfx as they were supposed to be way up in the sky. Whenever I’m worked with a 20x20 frame that doesn’t work tabled I like to put it on either black bird cranks or long johns. It makes it way more manageable to work with. We shaped in some negative fill with a 12x20 water solid and angled a 20x20 water solid swatter overhead. Gaffer Mathias Peralta key’d talent with an M90 thrown through some color and diffused through a 12x grid. He backlit with an 18k on a 60’ articulating boom and blasted through some color on that too.
After we got rained out we finished off a bit of the balloon basket inside still against blue screen and transitioned over to the airplane. We lit with more warm sun to match the hot air balloon look and injected some day blue ambience into the cockpit to simulate the clear sky.
Case Study
Frames, Ladder Pods, and Westerns On This Commercial
by:
Brendan Riel
Lots of fun on this 3 day commercial shoot with a couple of different locations for a well known popcorn brand. Our first location was at Air Hollywood. We shot both inside in an airplane buck and outside in the parking lot. For our first setup outside in the parking lot we built a Modulus-X 9” truss rig and secured it onto a 12054 telehandler to hang a hot air balloon basket. I wanted to get the pick point out a little further away from the carriage which is why we didn’t just pick it off the bottom hook of the carriage. We used Modulus-X 9” because I co-own Division and we have it readily available. When building a rig that sticks out further than the telehandler it’s generally good practice to integrate a vertical member into your rig. This distributes the force in the components (in this case a singular piece of truss) sticking out. We secured the vertical portion of the rig to the carriage as well with both a basketed 2” ratchet and SK clamps. The load rating of 9” ModX is insane, so it was never really a worry, but it’s good practice. A 6’ stick of the 9” boasts a roughly 15,000# uniform center load WLL just to give you an idea.
The hot air balloon company took care of attachment for the balloon to the telehandler - they have a special rig they use all the time with film productions.
It was overcast and drizzly but we set up so that if the sun did peak out it would be backlit. Popped a 20x20 chroma blue behind the basket for vfx as they were supposed to be way up in the sky. Whenever I’m worked with a 20x20 frame that doesn’t work tabled I like to put it on either black bird cranks or long johns. It makes it way more manageable to work with. We shaped in some negative fill with a 12x20 water solid and angled a 20x20 water solid swatter overhead. Gaffer Mathias Peralta key’d talent with an M90 thrown through some color and diffused through a 12x grid. He backlit with an 18k on a 60’ articulating boom and blasted through some color on that too.
After we got rained out we finished off a bit of the balloon basket inside still against blue screen and transitioned over to the airplane. We lit with more warm sun to match the hot air balloon look and injected some day blue ambience into the cockpit to simulate the clear sky.
Case Study
Frames, Ladder Pods, and Westerns On This Commercial
by:
Brendan Riel
Lots of fun on this 3 day commercial shoot with a couple of different locations for a well known popcorn brand. Our first location was at Air Hollywood. We shot both inside in an airplane buck and outside in the parking lot. For our first setup outside in the parking lot we built a Modulus-X 9” truss rig and secured it onto a 12054 telehandler to hang a hot air balloon basket. I wanted to get the pick point out a little further away from the carriage which is why we didn’t just pick it off the bottom hook of the carriage. We used Modulus-X 9” because I co-own Division and we have it readily available. When building a rig that sticks out further than the telehandler it’s generally good practice to integrate a vertical member into your rig. This distributes the force in the components (in this case a singular piece of truss) sticking out. We secured the vertical portion of the rig to the carriage as well with both a basketed 2” ratchet and SK clamps. The load rating of 9” ModX is insane, so it was never really a worry, but it’s good practice. A 6’ stick of the 9” boasts a roughly 15,000# uniform center load WLL just to give you an idea.
The hot air balloon company took care of attachment for the balloon to the telehandler - they have a special rig they use all the time with film productions.
It was overcast and drizzly but we set up so that if the sun did peak out it would be backlit. Popped a 20x20 chroma blue behind the basket for vfx as they were supposed to be way up in the sky. Whenever I’m worked with a 20x20 frame that doesn’t work tabled I like to put it on either black bird cranks or long johns. It makes it way more manageable to work with. We shaped in some negative fill with a 12x20 water solid and angled a 20x20 water solid swatter overhead. Gaffer Mathias Peralta key’d talent with an M90 thrown through some color and diffused through a 12x grid. He backlit with an 18k on a 60’ articulating boom and blasted through some color on that too.
After we got rained out we finished off a bit of the balloon basket inside still against blue screen and transitioned over to the airplane. We lit with more warm sun to match the hot air balloon look and injected some day blue ambience into the cockpit to simulate the clear sky.
Case Study
Frames, Ladder Pods, and Westerns On This Commercial
by:
Brendan Riel
Lots of fun on this 3 day commercial shoot with a couple of different locations for a well known popcorn brand. Our first location was at Air Hollywood. We shot both inside in an airplane buck and outside in the parking lot. For our first setup outside in the parking lot we built a Modulus-X 9” truss rig and secured it onto a 12054 telehandler to hang a hot air balloon basket. I wanted to get the pick point out a little further away from the carriage which is why we didn’t just pick it off the bottom hook of the carriage. We used Modulus-X 9” because I co-own Division and we have it readily available. When building a rig that sticks out further than the telehandler it’s generally good practice to integrate a vertical member into your rig. This distributes the force in the components (in this case a singular piece of truss) sticking out. We secured the vertical portion of the rig to the carriage as well with both a basketed 2” ratchet and SK clamps. The load rating of 9” ModX is insane, so it was never really a worry, but it’s good practice. A 6’ stick of the 9” boasts a roughly 15,000# uniform center load WLL just to give you an idea.
The hot air balloon company took care of attachment for the balloon to the telehandler - they have a special rig they use all the time with film productions.
It was overcast and drizzly but we set up so that if the sun did peak out it would be backlit. Popped a 20x20 chroma blue behind the basket for vfx as they were supposed to be way up in the sky. Whenever I’m worked with a 20x20 frame that doesn’t work tabled I like to put it on either black bird cranks or long johns. It makes it way more manageable to work with. We shaped in some negative fill with a 12x20 water solid and angled a 20x20 water solid swatter overhead. Gaffer Mathias Peralta key’d talent with an M90 thrown through some color and diffused through a 12x grid. He backlit with an 18k on a 60’ articulating boom and blasted through some color on that too.
After we got rained out we finished off a bit of the balloon basket inside still against blue screen and transitioned over to the airplane. We lit with more warm sun to match the hot air balloon look and injected some day blue ambience into the cockpit to simulate the clear sky.
rig breakdown
Par Can Condor Rig
by:
Brendan Riel
Par can array rigged to a JLG 1250AJP. 3 rows of 5 par cans each, spaced out 33” apart. Uniformed height and width distances for a balanced look.
This lighting apparatus played in shot and was meant to simulate a fictional ship yard practical.
Frame built out of 1-1/4” speedrail and attached to the basket with steel pipe. Hollaenders for the frame connection points and cheeseboros for the condor connection points. Kickers on the ends added more rigidity and safety.
rig breakdown
Par Can Condor Rig
by:
Brendan Riel
Par can array rigged to a JLG 1250AJP. 3 rows of 5 par cans each, spaced out 33” apart. Uniformed height and width distances for a balanced look.
This lighting apparatus played in shot and was meant to simulate a fictional ship yard practical.
Frame built out of 1-1/4” speedrail and attached to the basket with steel pipe. Hollaenders for the frame connection points and cheeseboros for the condor connection points. Kickers on the ends added more rigidity and safety.
rig breakdown
Par Can Condor Rig
by:
Brendan Riel
Par can array rigged to a JLG 1250AJP. 3 rows of 5 par cans each, spaced out 33” apart. Uniformed height and width distances for a balanced look.
This lighting apparatus played in shot and was meant to simulate a fictional ship yard practical.
Frame built out of 1-1/4” speedrail and attached to the basket with steel pipe. Hollaenders for the frame connection points and cheeseboros for the condor connection points. Kickers on the ends added more rigidity and safety.
rig breakdown
Par Can Condor Rig
by:
Brendan Riel
Par can array rigged to a JLG 1250AJP. 3 rows of 5 par cans each, spaced out 33” apart. Uniformed height and width distances for a balanced look.
This lighting apparatus played in shot and was meant to simulate a fictional ship yard practical.
Frame built out of 1-1/4” speedrail and attached to the basket with steel pipe. Hollaenders for the frame connection points and cheeseboros for the condor connection points. Kickers on the ends added more rigidity and safety.
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legacy grip
We demonstrate unique rigs &
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we Are
legacy grip
We demonstrate unique rigs &
practical solutions in the world of gripping.
play video
we Are
legacy grip
We demonstrate unique rigs &
practical solutions in the world of gripping.
play video
we Are
legacy grip
We demonstrate unique rigs &
practical solutions in the world of gripping.
play video
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Legacy Grip 2025 All Rights Reserved
By subscribing you agree to with our privacy policy and provide consent to receive updates from our company.
Legacy Grip 2025 All Rights Reserved
By subscribing you agree to with our privacy policy and provide consent to receive updates from our company.
Legacy Grip 2025 All Rights Reserved
By subscribing you agree to with our privacy policy and provide consent to receive updates from our company.
Legacy Grip 2025 All Rights Reserved