What is haze?

Haze is an atmospheric effect that involves introducing a very fine suspension into the air, which aims to increase light visibility in space. In stage applications, devices called hazers are used for this purpose.

Well-prepared haze should not look like a heavy cloud obscuring the stage. Usually, the goal is to evenly distribute a small amount of suspension throughout the space where the light operates.

This subtlety is important. The aim is not so much to show the haze itself, but to show what light does in the air.

The manufacturer CHAUVET Professional describes the fluid for its hazers as designed to create a thin, even suspension that highlights light effects and beams without creating a dense, obscuring cloud.  

Why do we not see the beam the same way without particles in the air?

In clean air, we primarily see the light that reaches our eyes directly or reflects off the illuminated surface. The path of the beam between the lamp and the object can be very faintly visible.

Haze adds fine particles to the air, on which some of the light scatters.

This allows the viewer to see not only a bright spot on the floor or set but also the line leading from the fixture to that point.

This is particularly easy to notice with a narrow beam.

Without haze:

the fixture shines, and a bright spot appears on the stage.

With the right suspension:

the entire geometric beam cutting through the space becomes visible.

That is why two identically programmed shows can look completely different depending on the atmospheric conditions in the room. 

How does haze shape space?

Haze makes light begin to describe not only surfaces but also the space between them.

This changes the perception of depth on stage.

Backlight can create distinct layers behind the performers. Side light shows direction and geometry. Several beams can build a fan or tunnel leading towards the audience.

Without haze, some of these effects still technically exist, but the viewer receives much less information about the direction of the light.

A good example is a scene with several rows of fixtures.

In clear air, we mainly see the illuminated performers and surfaces.

After adding a gentle haze, the plans appear:

front,

performers,

beams above the stage,

backlight,

space behind the musicians.

That’s why haze is one of the tools used to build depth in professional concert lighting..

Haze vs classic fog – what’s the difference?

Haze and fog are used to create an atmospheric effect, but they usually have different visual purposes.

Haze primarily aims to create a delicate, long lasting, and as uniform as possible suspension, which makes the light more readable.

Fog is more often used as a standalone visual effect. It can create clearer and denser clouds that the audience sees as part of the show.

The difference is easy to see in practice.

If we want to see beams of moving heads throughout the concert, evenly distributed haze is more useful.

However, if at one moment in the show a large cloud is supposed to come out from behind the drums, that corresponds more to the typical function of fog.

The boundary is not always absolute, as devices and fluids can generate different characteristics of the effect. Therefore, when designing, it is primarily the intended result that matters.

Why is haze particularly important for beams?

A beam is primarily designed to create a very narrow and distinct beam. A significant part of its visual value appears when this beam can be seen in space.

Without haze, the beam still shines.

It can create a bright spot on the scenery, floor, or another surface, but its path in the air will be much less impressive.

With the right suspension, several beams can create:

• flares,
• intersecting lines,
• tunnels,
• symmetrical shapes,
• dynamic movements above the audience.

That’s why in a design using a large number of beams, haze is not just an aesthetic addition. It can be an essential element for achieving the desired image.

This is one of the reasons why when selecting lighting for a concert band it is necessary to check not only the fixture rider but also the haze requirements.

Is haze necessary for every type of lighting?

No. Haze is not needed for every event or for every function of light.

If the main task of the system is to evenly illuminate the speakers during a conference, the effect of visible beams may not be needed at all.

Profiles set as key light for the presenter will serve their function even without haze. Similarly, a wide wash used for lighting faces or scenery.

Haze becomes significantly more important when the project utilizes:

• beams,
• visible backlight,
• gobos in space,
• strong side angles,
• moving effects,
• spatial layers of light.

Therefore, one should not automatically order a hazer for every lighting setup.

First, it needs to be determined whether the visibility of beams is part of the project.

How does ventilation affect the effect?

Ventilation can completely change the behavior of haze. Even a very efficient hazer will not provide an even effect if the air is constantly being removed or directed only to one part of the space.

In a large hall, haze may need time to distribute itself evenly.

In a smaller room, the problem may be the opposite – the suspension may quickly reach too high a visual concentration.

The following are of great importance:

• inlets,
• exhausts,
• open doors,
• air curtains,
• air movement generated by the stage and the audience.

At outdoor events, the situation is even more challenging.

Wind can remove haze from the stage almost instantly or move it only to one side. Therefore, the effect that is very stable indoors can change from minute to minute outdoors.

The position of the hazer should therefore be matched to the actual movement of air, and not solely to the geometry of the scene.

How does haze affect cameras and images?

Haze can improve the camera image because it emphasizes the depth of the scene and the visibility of layers of light, but too much of it can reduce the contrast of the image.

The camera captures light scattered by the haze just like other elements of the scene.

If there is little haze, the effect can be an attractive separation of planes, especially with backlighting.

If there is too much haze, the entire frame can start to look more milky. Black becomes less deep, and strong sources pointed towards the lens can further increase the scattering effect.

The position of the camera is also important.

The same haze can look good from a central camera, while from a side camera – positioned close to a strong light source – it can cause a much stronger glow.

Therefore, when lighting the scene for cameras the level of haze should be part of a joint lighting and video test, and not a decision made solely from the perspective of the lighting designer.

Fire detection systems and agreements with the venue

Haze can affect some fire detection systems, so its use should be agreed upon with the venue before the event.

One should not assume that since the effect is subtle and for humans it only looks like a light mist, the detection system will definitely ignore it.

Venues may have different types of detectors, system configurations, and their own safety procedures.

Therefore, before using the hazer, it is necessary to establish with the person responsible for the venue:

• whether atmospheric effects are allowed,
• what detection system operates in a given space,
• what procedures apply when using haze,
• whether additional agreements or tests are required.

One should not independently disable detectors or elements of the fire protection system.

The fact that there are agreed procedures for temporary isolation of certain zones in some facilities does not mean that such a solution can be applied independently. Sample documentation from facilities shows that using haze may require a formally established procedure and additional organizational measures.

The safety of stage effects should be planned as part of the production, not resolved moments before the show starts.

Can any type of fluid be used in any hazer?

No. The fluid specified or approved by the manufacturer of the device should be used in the hazer.

Different hazers may be designed to work with specific formulations of fluid and a specific method of processing it.

Therefore, one should not follow the principle:

“this is also a fluid for haze, so it should work.”

Martin in the JEM Compact Hazer Pro manual clearly indicates the specific fluid intended for this device and warns against using other liquids. Similarly, the CHAUVET Professional AmHaze ECO manual specifies approved fluids and prohibits adding other substances to them.

Using the wrong fluid can lead not only to a different character of the effect but also to problems with the operation of the device or its damage.

Therefore, the proper principle is to check the manual of the specific model of hazer, and not selecting the fluid solely based on product name.

How to plan haze during an event?

Haze is best planned as part of the lighting design, and not as a separate device added at the end of the equipment list.

First, you need to determine what effect is needed.

If the design is based on subtle backlighting and a few beams, a different intensity will be needed than during a very large concert with an elaborate spatial show.

Next, you need to consider:

• the size of the space,
• air movement,
• the position of the device,
• the type of lighting,
• cameras,
• the rules of the venue,
• the time needed to achieve an even effect.

It is not always best to position the device directly behind the stage. Strong airflow can cause the haze to accumulate only in one area.

The effect needs to be checked during rehearsal.

A good goal is not to achieve "the largest amount of smoke," but rather a concentration at which the beams are well visible, but faces, scenery, and camera images maintain the necessary contrast.

Therefore designing the lighting effect using haze should simultaneously encompass light, space, and technical conditions of the event.

Summary

Haze is primarily used to make light visible between the fixture and the illuminated surface. Thanks to the fine suspension, beams, backlight, gobos, and other directions of light can be seen as elements of space, rather than just bright spots on stage.

However, this does not mean that every event needs a hazer. With simple conference lighting, it may not add any significant value, while in a concert show based on beams, it can be one of the basic elements of the image.

The result is influenced by ventilation, room size, and cameras. Before implementation, the use of the effect must also be agreed upon with the venue and only fluid suitable for the specific device should be used.

Haze is therefore part of lighting design, not just an additional atmospheric effect.

Frequently Asked Questions