A DREAMY LOOK FOR DECODED

Decoded brings to life the story of a mathematical genius in wartime China, with Nanlux’s cutting-edge lighting technology creating surreal, dreamlike visuals that enhance the film’s cinematic brilliance. 

Based on the novel written by Mao Dun Literature prize winner Mai Jia, the film Decoded tells the legendary story of a mathematical genius in the last century who made significant contributions to China during the war. Directed and written by Chen Sicheng (co-written by Christopher McBride), and shot by cinematographer Cao Yu ASC CNSC, the film stars Liu Haoran, John Cusack, Daniel Wu, Chen Daoming and Faye Yu. Together with chief lighting technician Sun Zhigong, the team brilliantly assembled an evocative look, including surreal scenes of the film’s dream world, with the help of the Nanlux professional filmmaking team.      

The project was made under the film industry Industrialisation banner, which Sicheng described as “a collective synergy of film professional’s talents and a discussion of a collective conceptual design.” Sicheng shot his first film, Beijing Love Story in 2013 and 10 years later he directed Decoded. “This film, for me, is a true self-transcendence, or a summary of my 10 years in the film industry. Film is indeed an art form created collectively,” he said.  

For Yu, he believes the film industry industrialisation “combines both liveliness and precision. We have a very thorough plan in the early stage and we also have better technical means,” which allowed them to finish the shoot on time. Referencing other films he shot, such as The Eight Hundred and Legend of the Demon Cat and now this film, Decoded, “they were all produced with absolute industrialisation.”  

Yu further explained that it is flexible enough to allow for inspiration on set. “Sometimes a scene needs to include emotional components and it cannot all be designed rationally. It’s a chemical reaction on the spot, just like hormones. If this chemical reaction can be captured, it will feel particularly lively. The combination of liveliness and precision represents the highest level. I think this is what can be called industrialisation. And we did it.”  

Despite the extensive use of LED lighting and production time constraints that presented challenges for the crew of Decoded, the partnership with Nanlux gave them reliable, high-quality lighting that met both their creative and efficiency requirements on a large-scale shoot.      

SUN AND SUNSET 

The “Red Beach” is one of the stunning surreal dream scenes in Decoded. Shot at Hengdian World Studios, the red beach set was completed entirely indoors, with waves made by Wave Machine. “After we completed the design, we encountered a big problem. We needed very bright and even lighting, where the brightness is nearly the same across all areas,” said Sicheng. In discussions with Zhigong, they talked about combining traditional HMIs, “but we weren’t very satisfied, until we came across the Nanlux 2400B. Its light is even and it has a high light sharpness with lighting similar to HMI fixtures. But it’s also controllable. We wondered if it was possible to combine them into a composite sun”.     

In order to create the artificial sun, the crew used a lighting matrix consisting of 72 Evoke 2400Bs, combined with 16 Evoke 900Cs as fill light directed at the butterfly scrim for diffusion to mimic sunset. “Of course, there’s no real ‘red’ beach for us to shoot on and we wanted it to have a warm feeling,” said Yu. “In the end, we created a sunset in the studio, so we can have sunset all day long, and it can always be at the perfect angle.”     

For Zhigong, having worked in this industry for 30 years, using “LED fixtures for direct lighting, I’ve never been very confident about it. But for this scene (the red beach), I needed the distance between the fixtures to be as close as possible so the shadows might be more defined”.    

As the cinematographer, Yu’s biggest concern was getting the amount of fixtures in time and managing them for that scene. “Our ideal quantity was 72 and I needed to control them. Since it was the time that Nanlux just started to deliver the Evoke 2400B, but Nanlux promised we would have them, and delivered the fixtures before the agreed date as promised.”   

Yu was impressed by the equipment. “Indeed, the quality of the unit and output was impressive. And there was no need for replacements (as promised). The light was very stable and also had no issues on controls. Adjusting the lights were problem free.”  

Nanlux also helped design a frame to place the fixtures as close together as possible. “Sometimes, when I was adjusting the light on the monitor, and looking through that small screen, actors or crew members would occasionally walk by. When they were illuminated by the light, it felt like the sun had come out.”     

Sicheng was stunned when he saw the outcome. “During the scriptwriting stage, I had my own vision. But when we truly entered the studio and saw the art direction, the lighting come to life, and the props in action, we were still incredibly amazed. This lighting setup was revolutionary. It changed some of my previous perceptions of film lighting.”  

With high brightness and uniform light effects, the Evoke 2400B perfectly rendered the warm tones of the sunset, adding a dreamy atmosphere to the scene and enhancing the surreal visual impact of the movie. “On the red beach, our fixture matrix mimicked the sunlight. And at that time in the studio, it really felt like the experience was both real and unreal, like a dream. It truly felt like only film could create such a unique beauty,” he added.  

PARK LIFE 

Another scene involved a fast-moving train, which was also built and lit on set. The filmmakers needed a “long tube light, hundreds of them, because we wanted to simulate the movement of the train,” said Sicheng. Nanlux again came to the rescue, providing a batch of 400 PavoTubes to simulate the chasing effect. The lighting array was controlled via console for the chasing effect, mimicking natural light from outside while the train moves. On the train tracks, Evoke 2400Bs with triangular prisms enhanced the realism of the fast moving train, while Evoke 900Cs provided the hard top light in the train. “I think all hardware upgrades are intended to better serve our content, achieve better mutual understanding and meet each other’s needs. I think the best thing about Nanlux this time is that they met many of our needs in a timely manner,” said Sicheng.    

The pivotal and intricate scene that left a lasting impression took place in the amusement park. In this setting, an array of 96 PavoTube II 60XR full colour tube lights, combined with 16 Evoke 2400B mounted with softboxes on both sides, created a dynamic lighting environment that mimicked the flowing ambient light of a real amusement park. Adhering to the principles of optical physics, this setup simulated and restored the most authentic lighting effects possible. Above the scene, 12 Evoke 2400B illuminated a butterfly scrim, providing a soft and uniform base light that enhanced the overall atmosphere. Additionally, a massive cylindrical softbox was employed, with an Evoke 2400B on each side to light up its interior, effectively forming a gigantic light source. In the film, as the Ferris wheel rotated, 24 Evoke 2400B with square softboxes and eight Evoke 900C with reflectors were used to replicate the vibrant lights of an amusement park, adding a magical and lively touch to the scene. The interplay of these light fixtures not only enhanced the visual appeal but also deeply immersed the audience in the enchanting world of the amusement park. The creative team was immensely pleased with the outcome of the scene, and the ability to seamlessly integrate multiple Nanlux fixtures to achieve the desired outcome.   

Referring back to the film industry industrialisation, Sicheng emphasised that “the cooperation of companies such as Nanlux really helps us, as creators, better tell our own stories and realise our dreams. I also believe that this time, through our film, the audiences will have a deeper understanding of the private enterprises, especially in the film industry. I hope we will have more in-depth discussions in the future”.     

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Evoke 2400B  

The Evoke 2400B offers an unparalleled illumination output, making it an ideal choice for demanding lighting setups. With an impressive 41,910 lux @ 3M (using a 45° reflector at 5600K), the Evoke 2400B outperforms traditional lighting sources, providing powerful output while only consuming 2400W of rated power. This level of efficiency is equivalent to the output of a 4KW HMI or 10KW Tungsten, yet with the benefits of modern LED technology. The CCT range spans from 2700K to 6500K, offering versatility for a range of lighting conditions, from warm tungsten to daylight. 

Designed with filmmakers in mind, the Evoke 2400B is flicker-free, ensuring smooth, consistent lighting without interruptions. It also features 0.0%-100.0% dimming capabilities, allowing for precise adjustments in lighting intensity. One of the standout features is the lack of preheating or cool-down time, enabling quick adjustments and immediate lighting results. The adjustable colour temperature further enhances flexibility, making it easier to match natural light or create dramatic effects. 

With the Evoke 2400B, lighting setups become not only more efficient but also more creative, giving filmmakers the freedom to focus on their craft without the hassle of technical delays. 

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Evoke 900C 

The Evoke 900C is a high-performance LED light designed for versatility and exceptional output, making it an ideal choice for both traditional filming and virtual production. With a rated power of 940W, it delivers an impressive 12,940 lux at three meters (with a 45° reflector at 5600K). Its broad colour temperature range of 1800K to 20,000K allows for precise colour manipulation, while its superior CRI (96), TM-30 Rf (94), and TLCI (96) ensure accurate, lifelike lighting. The inclusion of the advanced RGBLAC colour mixing system—featuring RGB, Lime, Amber, and Cyan—provides enhanced colour accuracy, making the 900C perfect for virtual production environments. 

The light offers various control options, including wired DMX/RDM, Art-Net/sACN, and wireless control via the NANLINK app or LumenRadio CRMX. It also supports multiple lighting modes, including CCT with G/M adjustment, Advanced HSI, RGBW, and GEL modes, providing creative flexibility for a range of applications. Integrated with the Unreal Engine lighting system, the 900C enables real-time virtual environment response, enhancing production value. 

With its IP55 rating, the Evoke 900C is weather-resistant, ensuring reliable performance in harsh conditions. Its 15 built-in effects further expand creative possibilities, making it an ideal tool for film sets, virtual environments, and creative image-making.