LIGHT DIFFUSION and STOPS
A Gaffer's Guide to Light Diffusion and Stop Loss
Lighting is everything in cinematography, and as a gaffer, understanding diffusion is essential for shaping the mood, texture, and feel of a shot. The right diffusion choice can make or break a scene, subtly softening shadows, spreading highlights, or controlling contrast. But not all diffusions are created equal—each has its own characteristics and light loss properties.
Here’s a breakdown of some common diffusion types and their respective stop loss values:
Light Loss for Common Diffusion Types
White Diffusion "216": 1 1/2 stops
1/2 White Diffusion "250": 3/4 stop
1/4 White Diffusion "251": 1/3 stop
1/8 White Diffusion "252": 1/4 stop
Opal "410": 1/2 stop
Light Opal Frost "420": 1/4 stop
Hampshire Frost "253": 1/4 stop
Heavy Frost "129": 2 stops
Grid Cloth "430" / Silent Grid Cloth: 2 1/2 stops
Light Grid Cloth "432" / Silent Light Grid: 2 stops
1/4 Grid Cloth "434" / Silent 1/4 Grid: 1 stop
Full Tough Spun "214": 2 1/2 stops
1/2 Tough Spun "215": 1 1/2 stops
1/4 Tough Spun "229": 3/4 stop
Artificial Silk: 1 2/3 stops
1/4 Silk: 2/3 stop
China Silk: 1 stop
Unbleached Muslin: 2 stops
Bleached Muslin: 2 stops
Understanding Diffusion in the Real World
In an ideal world, every diffusion option would be available, and the perfect light source would always be chosen for the job. But in reality, time, budget, and resources dictate the choices. Often, it comes down to what’s on hand and what’s already built. That’s why every DP has their go-to diffusion preferences.
Personally, I favor 1/4 Light Grid and Hampshire Frost when there’s a healthy budget. If it's a tighter production, 251gets the job done. These diffusions wrap light around subjects beautifully, softening without sacrificing too much intensity.
Breaking Down Common Diffusions
Opal (410): A common choice, but one I rarely reach for. It tends to make bad light worse. However, it can work well with soft lights that don’t need much diffusion.
Hampshire Frost (253): Ideal for blending multiple light sources, such as nine-lights, into a single soft shadow.
250: Acts as a dimmer for non-dimmable lights, softening edges while maintaining shape.
216: A heavy diffusion best for large lights like 6K and up. If you're using it on smaller sources, you might as well turn the light off.
Heavy Frost (129): Creates an extremely smooth and even light source, perfect for indirect lighting or reflective surfaces.
Grid Cloth (430) / Light Grid (432): Popular for large frames due to its durability and ability to diffuse without excessive stop loss.
Spun Diffusions (214, 215, 229): Originally used for quartz lights, spun diffusion remains useful for softening small, intense sources.
Muslin (Bleached & Unbleached): A go-to for ultra-soft light. It’s fantastic for creating a natural, indirect glow.
When to Use What
Each diffusion has its place, and knowing when to use what can make a major difference in a shoot:
For Eyelights: Opal or Silk in small frames (2x3) help create beautiful catchlights.
For Broad Soft Lighting: 250 and 216 spread light evenly without harsh shadows.
For Shiny Surfaces & Reflections: 129 works wonders for controlling highlights.
For Overhead Sun Diffusion: Half Soft Frost is excellent as it maintains exposure while reducing harshness.
For Maximum Softness: Full Grid Cloth or Bleached Muslin will create the smoothest results.
Final Thoughts
At the end of the day, diffusion is an art form. The best approach is always to experiment, understand how different materials shape light, and find what works best for your style and the production’s needs. And of course, be prepared for another gaffer to tell you you’re wrong—that’s just part of the craft.
Happy lighting!
A Gaffer's Guide to Light Diffusion and Stop Loss
Lighting is everything in cinematography, and as a gaffer, understanding diffusion is essential for shaping the mood, texture, and feel of a shot. The right diffusion choice can make or break a scene, subtly softening shadows, spreading highlights, or controlling contrast. But not all diffusions are created equal—each has its own characteristics and light loss properties.
Here’s a breakdown of some common diffusion types and their respective stop loss values:
Light Loss for Common Diffusion Types
White Diffusion "216": 1 1/2 stops
1/2 White Diffusion "250": 3/4 stop
1/4 White Diffusion "251": 1/3 stop
1/8 White Diffusion "252": 1/4 stop
Opal "410": 1/2 stop
Light Opal Frost "420": 1/4 stop
Hampshire Frost "253": 1/4 stop
Heavy Frost "129": 2 stops
Grid Cloth "430" / Silent Grid Cloth: 2 1/2 stops
Light Grid Cloth "432" / Silent Light Grid: 2 stops
1/4 Grid Cloth "434" / Silent 1/4 Grid: 1 stop
Full Tough Spun "214": 2 1/2 stops
1/2 Tough Spun "215": 1 1/2 stops
1/4 Tough Spun "229": 3/4 stop
Artificial Silk: 1 2/3 stops
1/4 Silk: 2/3 stop
China Silk: 1 stop
Unbleached Muslin: 2 stops
Bleached Muslin: 2 stops
Understanding Diffusion in the Real World
In an ideal world, every diffusion option would be available, and the perfect light source would always be chosen for the job. But in reality, time, budget, and resources dictate the choices. Often, it comes down to what’s on hand and what’s already built. That’s why every DP has their go-to diffusion preferences.
Personally, I favor 1/4 Light Grid and Hampshire Frost when there’s a healthy budget. If it's a tighter production, 251gets the job done. These diffusions wrap light around subjects beautifully, softening without sacrificing too much intensity.
Breaking Down Common Diffusions
Opal (410): A common choice, but one I rarely reach for. It tends to make bad light worse. However, it can work well with soft lights that don’t need much diffusion.
Hampshire Frost (253): Ideal for blending multiple light sources, such as nine-lights, into a single soft shadow.
250: Acts as a dimmer for non-dimmable lights, softening edges while maintaining shape.
216: A heavy diffusion best for large lights like 6K and up. If you're using it on smaller sources, you might as well turn the light off.
Heavy Frost (129): Creates an extremely smooth and even light source, perfect for indirect lighting or reflective surfaces.
Grid Cloth (430) / Light Grid (432): Popular for large frames due to its durability and ability to diffuse without excessive stop loss.
Spun Diffusions (214, 215, 229): Originally used for quartz lights, spun diffusion remains useful for softening small, intense sources.
Muslin (Bleached & Unbleached): A go-to for ultra-soft light. It’s fantastic for creating a natural, indirect glow.
When to Use What
Each diffusion has its place, and knowing when to use what can make a major difference in a shoot:
For Eyelights: Opal or Silk in small frames (2x3) help create beautiful catchlights.
For Broad Soft Lighting: 250 and 216 spread light evenly without harsh shadows.
For Shiny Surfaces & Reflections: 129 works wonders for controlling highlights.
For Overhead Sun Diffusion: Half Soft Frost is excellent as it maintains exposure while reducing harshness.
For Maximum Softness: Full Grid Cloth or Bleached Muslin will create the smoothest results.
Final Thoughts
At the end of the day, diffusion is an art form. The best approach is always to experiment, understand how different materials shape light, and find what works best for your style and the production’s needs. And of course, be prepared for another gaffer to tell you you’re wrong—that’s just part of the craft.
Happy lighting!
Vlad Z
Gaffer/BestBoy