Shooting creative science films in the Netherlands
Brief
Shooting creative science films in the Netherlands
Schmidt Sciences approached me to work with TU Delft on a film about their spectrometry machine; one of only two in the world. The brief originally felt like a straightforward corporate piece; show the space, show the people, keep it clean and informative. Nothing unusual, right?
It’s a piece of kit designed to study how molecules behave by firing controlled light waves at them and analysing the response. The idea is similar to how astronomers read gases on distant planets: you look at how light interacts with matter, and from that you learn what’s happening inside.
We can’t actually see the light in the machine plus the gas they use is see-through. So how do we show the process? Well animation will play it's part, but on set we still wanted capture the machine and its people working.
They wanted a film that didn’t just explain the science but showed the machine in a way that felt intentional and cinematic. So cue some creative light & lens choices... Shooting creative science films in the Netherlands
Creative shift with cinematography
For a standard corporate film / doc you’d keep the lab true to how it naturally is. Bland, clean lighting and capture the whole process as a videographer would, with long maybe more drawn out, scientifically accurate moments. However, we wanted to break away from that mould.
Once we started talking through the environment and the workflow, it became clear there was room to push it further. The director had a great early reference of a manufacturing company who told their story in a punchy commercial way. So the project shifted from a standard promo into something more stylised, which suits how I like to work.
Instead of covering everything evenly, we focused on specific moments in the workflow. The small, precise actions that make up the process. Treating these as scenes gave the film more structure and intention.
We leaned into:
controlled lighting to shape a usually flat environment
lenses that isolate detail or distort space & extreme close ups. Shooting on primes rather than zooms (slower but more of a desired look).
framing for 4:3 as most action were very precise and central so why not lean into an aspect ratio that enhanced that. It also felt lie a statement of intent when grading and delivering a creative look.
slower, deliberate movement
Nothing out of the ordinary, just a more considered approach.
Reasoning on this shooting style
We wanted the film to be easy for a general audience to follow, so keeping it snappy and visually engaging was the aim. The opening leans more towards a commercial promo, playful framing, wide diorama‑style shots, and tight, precise close‑ups, probe lens, diopters, and plenty of coverage so the edit could move quickly without feeling chaotic.
This would make a heavy scientific subject be more fun and engaging. At least in the opening...
From there, the style shifts into a more familiar documentary approach with talking heads. That gave us space to let the scientific process come through clearly and actually explain what’s happening. It couldn’t be all style with no substance, so the balance between the two was essential.
This was important so we could also be informative, which is true to the scientific organisation behind the film.
Lighting & lens choices
Labs are bright and clinical, which is great for science but not ideal for depth or mood. So we shaped the space without disrupting it:
Blacked out the windows to allow only about 20% of the actual daylight in, for more control
Turned off the ugly house lights to control even further.
Softened key light pushed off to one side and sharp back light for nice edge.
Played with a green colour which was on brand for this project. With additional LED strip around machine and on fans of nearby PC.
Practical screens and LEDs used as motivated sources
Macro & probe Lenses & diopters to get right in on the action.
Wider set-piece moments (think Wes) to let the action breath and show the space.
The aim was to make the work feel intentional and tactile without turning it into a full sci‑fi set. However we probably broke a few labs rules which nerds will point out. But we chose to be creative rather than too true to life.
Why this way of working works for me
I’ve always liked when people come to me with a creative brief and want to push things a little further. With my background across drama and lighting-heavy work, that’s the space where I’m most comfortable.
Give me a project with a bit of personality, a clear idea, or even just an interesting problem to solve, and I’d like to find a way to make it visually engaging.
I’m open to making almost anything as long as there’s a story worth telling and room to build strong visuals around it. Corporate promos, documentary pieces, internal films, I treat all of them like their own small film. The scale might change, but the approach doesn’t. If there’s a chance to shape the mood, craft the lighting, and make the images feel intentional, that’s where I do my best work.
But ultimately this all comes down to story and the clients wishes. I was thankful to be directed by a great creative lead and helped him realise his vision. And the reasoning made sense as to why we would shoot this way. Story first images...
Thoughts
What I liked about this project is because it was a promotional documentary film with some really interesting scientific information. But we also got to play and be creative like a commercial project. Combining my love for knowledge, but also getting to have fun with lights and cameras.
The edit isn't finished yet so you'll have to wait for more thoughts on that.
Thanks :)
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Jordan Carroll is a freelance director of photography / cinematographer & director based in Amsterdam. Working with cameras & lighting on documentaries, commercials, corporate films and fiction. He has experience with cameras, lighting, audio capture & editing across various projects in the UK, Netherlands and worldwide. Regularly working with US based clients.
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