Perforated cutout screen (wood or plastic) that breaks up light and casts shadow patterns — creates leaf dapple, window grid, or urban texture fast.
You need window light, but you don't have windows—or the right architecture for the scene. This is where the cukaloris comes in. The thing is a perforated stencil made of plywood, plastic, or specialized scrim, which you hang in front of a light source. The light passes through the cutouts and casts characteristic shadow patterns on surfaces, faces, walls. Depending on the design, it can create foliage, window panes, chain-link fences, or abstract urban structures—without needing any real architecture present.
On set, it works like this: You mount the cukaloris about 12–30 inches in front of an HMI, a softbox, or a Fresnel. The closer it is, the sharper the shadows; the further away, the softer and more diffused the pattern becomes. For close-ups, you work with smaller, more detailed stencils—window frames with actual mullions, for example. For wide shots, you need larger patterns. A proven trick: Rotate the stencil millimeter by millimeter during the shot (if the camera is fast enough) to animate the pattern—it looks more natural than static light.
The choice of material determines efficiency. Wooden cukalorises withstand heat better and are robust, but plastic versions are easier to transport and cost less. For very hard light (sun, open-faced lights), you need dense material; for subtle interiors, scrim with a painted pattern is sufficient. In the studio, I often build them myself from MDF and a jigsaw—allowing maximum control over the designs and saving budget.
Important: Cukalorises and flags are not the same. A flag blocks light completely; the cukaloris filters and structures it. You often combine both—a flag provides the edges, the cukaloris adds the internal movement. Also, pay attention to heat buildup: With strong lights, the material can be damaged. Check distances, use heat-cloth in between if necessary.
In color cinematography—especially in thriller scenes with a dark, urban mood—the cukaloris is your best friend. Draw a prison cell onto an actor's face without building one. This saves set construction and gives you full flexibility in the edit.