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Cobra Kai Season 6 still

Lighting the Past and Future in Cobra Kai VI

Cobra Kai Season 6 poster

Production

  • Cobra Kai VI

Production Info

  • Cinematographer: Abraham Martinez
  • Year: 2018-2025
  • Production Company: Counterbalance Entertainment

How Abe Martinez blended new and old lighting techniques on season 6 of the beloved martial arts comedy drama.

Challenge

Cobra Kai’s sixth season hit Netflix in three parts across 2024 and 2025. Director of Photography Abraham “Abe” Martinez faced a task unique to a long-running series; he had to follow the canon look of the beloved franchise but introduce new lighting and cinematography ideas to match a new global scope.

This challenge is highlighted in a climactic tournament, and heightened by challenges inherent to the genre, like a cast dressed in monochrome white karate uniforms and a massive 40x40 mat that the team literally couldn’t place light stands on.

Solution

To light the Sekai Taikai tournament, Martinez wanted to represent Mr. Miyagi’s fatherly style of teaching with warm light, and contrast that with Kreese’s shadowy, sinister style, represented by cooler “moonlight.” Fighters would move through pools of warm and cool light followed by spotlights.

The team found the power, color range, and dimmability of the Aputure Electro Storm CS15 with Spotlight Max was perfect for the follow spots, and supplemented with on-camera 9-light Maxi Brutes.

The competing warm and cool light ended up adding dimensionality not only to the arena but to the white karate gis, where cool and warm clashed in purple and gave another visual representation of the multi-generational philosophical battle that began in The Karate Kid (1984).

Electricians also operated shoulder-mounted light rigs for close-ups, and INFINIBARs integrated into the set gave the arena its distinctive yellow accents.

Results

The theatrical nature of the light setups, with electrician-operated spotlights and handheld rigs, gives the sequence an organic, “main event” feel, and allowed the production to work quickly and efficiently. The reception for this final season of Cobra Kai praises the show’s rich drama and dynamic fights.

“Functionality was a plus plus that we found. And it was the first time any of the electricians had seen a tool like this. That I can bounce an Electro Storm from each side of the stadium, I dim down if the camera is facing this way, dim up if it’s facing that way. It was very immediate for me.”

John Kreese (Martin Kove) stands behind his team at the Sekai Taikai
John Kreese (Martin Kove) stands behind his team at the Sekai Taikai

To me, the warm tone was Mr. Miyagi, the sunrise-sunset classic poster shot. But then I wanted to have Kreese moonlit like he plays in the shadows. It's LED blue, which they didn’t have so much at the start of season one.

Abe Martinez

Cinematographer

Gaffer Rick Crank aims one of the Electro Storm CS15 follow spots on set
Gaffer Rick Crank aims one of the Electro Storm CS15 follow spots on set

Martinez trains his team to move quickly and introduce imperfections and “messiness” by aiming lights manually and even using them handheld on booms and shoulder rigs.

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The Sekai Taikai tournament mat lit by Maxi Brutes, Electro Storm CS15s, and INFINIBARS
The Sekai Taikai tournament mat lit by Maxi Brutes, Electro Storm CS15s, and INFINIBARS

We incorporated [INFINIBARs] into the set design and now it’s become kind of a signature look of the Sekai Taikai Barcelona. So much so that there’s Cobra Kai fanart out there that includes the yellow lights. It’s become a bit of the new canon look.

Abe Martinez

Cinematographer

We incorporated [INFINIBARs] into the set design and now it’s become kind of a signature look of the Sekai Taikai Barcelona. So much so that there’s Cobra Kai fanart out there that includes the yellow lights. It’s become a bit of the new canon look.

Maxi Brutes frame the action on an INFINIBAR-lined platform in the final stages of the tournament
Maxi Brutes frame the action on an INFINIBAR-lined platform in the final stages of the tournament

Martinez knew the tournament had to look different from the “Valley karate” look of the series to this point. Blue LED lighting was a key part of this, and Maxi Brutes and a smoke filter provided a visual homage to classic 1980s fight tournament films like Bloodsport (1988).

Abe Martinez

Abe Martinez is a Los Angeles-based cinematographer. A self described global nomad, Abe's travel has taken him to nearly 60 countries and helped inform and hone his love of street photography.

Coming up through the camera department Abe has built an impressive body of work as a cinematographer on television series such as Lincoln Lawyer (2022), Obliterated (2023), National Treasure: Edge of History (2023), and Queen of the South (2016-2021).

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