Italian Griffon lamp with reflector — cold white HMI light, classic on European sets since the '70s. Compact, reliable, lower power draw than Fresnel.
The Derussa was long the workhorse of European productions—an Italian HMI Griffon lamp that became standard from the 1970s onwards because it did the right thing at the right time. Compact, cool white light, significantly less power-hungry than the Fresnel behemoths of the era. You'd pack it in the van, set it up, and it worked. No surprises. That was why it caught on—not because of spectacular features, but because of reliability and practicality.
The Derussa's reflector design allowed for a focusable, relatively compact construction. The HMI burner principle delivered that cool, daylight-like color temperature (around 5600 K) from the outset, which harmonized perfectly when shooting with daylight film or later with digital sensors. Unlike tungsten-based lights—where you had to achieve color balance through gels and diffusion—the Derussa was a straightforward base. You could mix it directly with window light or HMI backlight without much fuss.
On set, the difference was most noticeable during longer shooting days. A 4K or 6K Derussa consumed significantly less power than an equivalent Fresnel setup—this paid off on location shoots where generator capacity was scarce. Heat generation was moderate, which became relevant when lighting in confined spaces. Cinematographers appreciated the relative flicker-freeness of HMI technology (if the ballast was correct), which could be critical at higher frame rates.
Today, Derussa lights have become rarer in newer productions—LED panels have taken over much of that workflow. But in the archives of European films from the 70s, 80s, and 90s, Derussa shadows are visible everywhere. Anyone shooting with archival material or in a classic style will still encounter or intentionally use the Derussa because this light simply has its own look: present, direct, without the softness of modern LED setups. It's less a matter of technical superiority than of aesthetic continuity—and therein lies its longevity as a reference.