Lighting design played a central role in defining each environment in The Day of the Jackal series. One example is the border crossing, a three-minute sequence that took six hours to shoot as Christopher Ross and Brian Kirk imagined it.

The Day of the Jackal, a thrilling espionage drama, emerged in late 2022 when director Brian Kirk approached Christopher Ross with his vision: a reimagining of Frederick Forsyth’s classic thriller in a contemporary, high-octane context. Ross conceptualized a sharp, thriller-driven aesthetic, marrying the tension of subterfuge with the psychological depth of a character study. His ‘mood film’, inspired by works like The Conversation and The French Connection, became the visual blueprint for the show’s look—an evocative, atmospheric roadmap.

Christopher Ross, BSC, began his cinematic obsession early. He cites reading Scorsese on Scorsese as a teenager with teaching him to explore beyond directors to other powerful behind-the-camera storytellers. Realizing that the look, feel, and emotional pull of a film were also in the hands of the camera department drove London-borne Ross first to university, then to a career of high-profile hits, including Danny Boyle’s Yesterday, Shōgun (which earned the cinematographer a coveted BAFTA award), and now The Day of the Jackal series, for which he was nominated for an Emmy in 2025.

To achieve the desired dual-toned feel present in The Day of the Jackal, Ross chose his gear carefully. The bulk of production paired a Sony Venice 2 camera package with ARRI ALFA anamorphic lenses to render detailed characters against layered, textured backgrounds. ARRI Alexa Minis were additionally employed to capture background plates for virtual production.

Lighting design played a central role in defining each environment. Ross and gaffer Szabolcs Sipos relied heavily on Astera Titan, Helios, and Hyperion Tubes, integrating as many as 300 units throughout sets in ways that served both story and logistics. Some were disguised as working practicals; others tucked out of sight to provide key accents or subtle shifts in tone. Quick changes, without interrupting the shoot, proved vital. “Astera gave us the control to change colour temperature or hue on the fly,” Ross explains. “That kind of flexibility is invaluable when you’re working at the pace this series requires.”

Astera has now shared details revealing the behind-the-scenes and how important lighting is to create the ambience. Last February ProVideo Coalition published a story about the use of Astera lights to recreate ’70s lighting in the film September 5. Now we look at how Astera LED Titan Tubes were used in The Day of the Jackal.

Perhaps the most standout sequence showcasing Kirk and Ross’ visual tension is the border crossing. Midway in the first episode, the lead protagonist, ‘the Jackal’ (Eddie Redmayne), encounters this unforeseen obstacle. The original script page only called for a minute of screen time, but the final scene features a three-minute, slow-burn, silent build-up of tension. Production found a derelict former checkpoint between Austria and Hungary, stripped of power and long out of use. Over four days, the crew transformed it into a living, breathing border station, complete with rows of traffic, inspection booths, and overhead lights. Authenticity came from marrying the location’s history to modern lighting control. “We wanted the space to feel real, as if it had been operational for years,” Ross recalls.

Existing fluorescent fixtures were gutted and replaced with Astera LED Titan Tubes, cable-tied into the original housings to look like vintage tubes from the 1970s. However, these could be adjusted instantly via wireless DMX. “Cooler, green-tinted Titans outside suggested the damp, cold air,” explains Ross. Set to 4800°K they evoked a mercury halide wash that contrasted with the interiors. “We set the Helios within the passport booths at warmer tungsten temperatures to create a sense of shelter—but not comfort. It was an intimidating environment.”

Ross deliberately varied color temperatures across the set—some warmer, others cooler—making the environment feel layered and alive. Overhead, LED panels mounted on cranes washed the wet road in reflections, while housings rebulbed with Astera Tubes served as subtle key lights for close shots on Redmayne. Even with over 300 light sources on set, Astera’s Color Control App let the team dial the atmosphere to match every camera angle.

The end result feels entirely real: brake lights smeared in the rain, flickering unwelcoming inspection booths, and the uneasy glow of a checkpoint holding up hundreds of drivers. Although shot in just six hours during a travel day between Budapest and Vienna, the lighting technology and creative design made it feel alive with the gripping visual tension Ross aimed for.

The Day of the Jackal is now streaming on Peacock and Sky.