Behind the Lens of Caleb Pressleys Halftime Circus: A Cinematographers Perspective

About the Author, Dominic Easter

Dominic is an award-winning cinematographer and Director of Photography whose style has been praised for its clever & tasteful approach. His work has a seductively cinematic feel, speaking to his ability to create classically beautiful visuals with a contemporary aesthetic.

Dominic has lensed both commercial and narrative projects for global brands such as HBO MAX, ESPN, Bacardi, NFL Films, Will Smith, Adidas, Fuse Tv, Ford Motor Company, Verizon, Afropunk, and The Miami Marlins, to name a few. Easter's current project, 'Don't Let It In,' is a feature horror film that was picked up by Canvas Films as a short and will be distributed on all major streaming platforms by Mar Vista Entertainment in 2025. Born and raised in Maryland, Dominic moved to South Florida for film school. He worked his way through the film ranks, from camera house to cam op, to where he is today, a sought after Director of Photography whose integrity and capacity for creating powerful visuals has garnered him a reputation of being a skillful and knowledgeable cinematographer.

Football season is in full swing and Monday Night Football (MNF) has never been more exciting. This year, the halftime break gets a wild makeover with Caleb Pressley’s Halftime Circus, a live show streaming exclusively on Twitter/X. As the Director of Photography for this unique production, I have a front-row seat to the challenges and thrills of filming a live circus-themed spectacle during one of the most watched sports events in the country.

This post shares insights into the lighting and camera strategies we use to capture the energy and unpredictability of the show. From the film set in ASK Studios to the fast-paced live environment, here is a behind-the-scenes look at how we bring Caleb’s eccentric vision to life.

Sony FX9 camera setup on the Halftime Circus film set in Miami

Creating a Visual Style for a Live Circus Show

The Halftime Circus is far from your typical halftime segment. Instead of straightforward sports commentary, Caleb Pressley and his panel, including the quick-witted Glenny Balls, deliver surreal interviews and talent showdowns featuring performers like alligator wrestlers and escape artists. This unpredictable format demands a flexible and dynamic visual approach.

Our film studio setup in Miami uses eight Sony cameras, mostly Sony FX9 models, equipped with Sony GMaster 24-105mm and 70-200mm lenses. These cameras offer the versatility and image quality needed to capture everything from wide shots of the circus ring to close-ups of performers’ daring acts.

Lighting plays a crucial role in setting the mood. We use large soft banks of Aputure 300x and 600C lights, each fitted with soft boxes and 150 domes, to cover about 270 degrees of the set. This arrangement creates a soft, even light that works well for live video, avoiding harsh shadows while highlighting the vibrant colors and textures of the circus environment.

Managing the Challenges of Live TV Production

Filming a live show during MNF halftime is a high-pressure environment. The show runs for 10 to 20 minutes, and every second counts. Working closely with director Chris Kilayko, a veteran in live TV production, helps us stay coordinated and ready for anything.

One of the biggest challenges is the ever-changing lineup of performers. Each week brings new acts with different lighting and camera needs. For example, an alligator wrestler requires wide shots to capture the scale and danger, while a hair-suspended stripper demands intimate close-ups and careful lighting to maintain the right mood without losing detail.

We also have to adapt quickly to Caleb’s spontaneous interactions. His off-the-cuff style means the camera team must be alert and ready to capture unexpected moments, whether it’s a rogue mascot wandering into frame or a surprise celebrity guest.

Another view of the Halftime Circus film set with lighting and camera setup in Boynton Beach, Florida

The Role of Collaboration in a Fast-Paced Film Studio

Collaboration is key to the success of this live production. Adam Kaplan, the mastermind behind the shows execution, and founder of ASK Media Productions, leads the production planning. His experience ensures the only circus is in front of the camera, not behind.

As the Director of Photography I have to oversee many of the choices regarding on camera elements. Decisions about angle, lighting, props and set design, and talent blocking. I communicate constantly with Chris Kilayko, who directs the live broadcast from the control room. This teamwork ensures smooth transitions between segments and keeps the footage engaging.

The film set in Boynton Beach, Florida, is designed to support this collaboration. Cameras are positioned strategically to cover multiple angles without interfering with performers. The lighting setup is flexible enough to accommodate quick changes, and the entire crew is trained to anticipate the unpredictable nature of live TV.

Technical Details That Make the Difference

Using Sony FX9 cameras gives us several advantages. Their full-frame sensors provide excellent low-light performance, which is essential under the soft, ambient lighting of the circus set. The GMaster lenses offer sharp focus and beautiful bokeh, helping isolate subjects during close-ups.

The Aputure 300x and 600C lights are powerful yet controllable. Their ability to dim smoothly and change color temperature allows us to match the lighting to the mood of each act. The large soft boxes and 150 domes diffuse the light, preventing glare on shiny costumes or reflective surfaces.

We also use wired video feeds to monitor all eight cameras in real time. This setup helps Chris Kilayko and the production team switch between shots seamlessly, ensuring the live broadcast feels polished despite the chaos on stage.

Bringing the Circus to Life Through Video

The goal of the cinematography is to make viewers feel like they are part of the circus experience. The combination of multiple Sony cameras, versatile lenses, and soft, immersive lighting creates footage that captures the energy and eccentricity of Caleb Pressley’s vision.

The Halftime Circus is a fun reinvention of Monday Night Football’s halftime break. For film and video professionals or enthusiasts, this production offers a fascinating look at how live TV cinematography adapts to new formats and creative challenges. Watching the show is one thing, but understanding the craft behind the camera reveals the true artistry of live video production.