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I've been studying all my weakest points when it comes to cinematography. Im trying to make it all stick subconsciously, or at least most of it. By far, my weakest point is lighting. I've watched Shane Hurlbuts "Illumination Experience" videos, but thats not enough for me. I need to start with the basics. I want and need to know why and how to light a certain scene. Like some sort of blueprint to start with and venture off from eventually as I learn more. Does anybody have some suggestions on books I should pick up, articles to read, or videos I should watch? I actually have a degree in Digital Cinematography but I didn't learn nearly as much as I needed to. I know there are a lot of professionals here who can point me in the right direction. This forum as been gold! Thanks in advance.

Hi Guys, How would you achieve this flawless product lighting? I realise the background is green screen so just a couple flat tops either side. Thoughts on lighting for the actual product though? Cheers, Chris

I'm going to be shooting a Super 8 horror short with the Canon 1014XL and Kodak TRI-X B&W Reversal Film 7266. I did a pre-light at the location using an external light meter with specs of 160T and shutter 1/30. I got readings 2.0-2.8. We will be shooting at 24fps for digital transfer. My question is what is, what is a good shooting stop for Super 8, which will be transferred to 2k? <_< Nate

Hey All, This may be a random and or simple question. But recently when talking to a few DPs they have mentioned using large Matth Bounce for a night exterior scenes etc. I tried to google this to research and see what this Matth is all about but not much comes up. I did have poly bounce come up. I have used Black and white Grifflon before but never Matth or Poly Bounce. Any buddy know the technical differences between the 3? How reflective is one compared to the other etc. Thanks! I really wanna know what these tools can offer.

I need some suggestions on how to light up this scene. (This scene will take place during nighttime) We will have some wide shots and a Over-the -shoulder shot between the receptionist (who will be sitting) and the guest. We want it to be warm and inviting. Maybe add more lamps? Blue gels to fake moonlight? Im sorry I took these during daytime. Wide Reception Area - The main area We have access to some dedo lights,LED,Arri (300,800) and KinoFlos (4 Banks) I really want to thank you in advance. :)

I have a Cinemaquest Ideal-Lume Pro bias light to sell. It's in mint condition. My son used it a few times and maybe has 10 hours on the bulb. I bought it new for $379 and still have the original packaging to ship it in. I'd like to get $325 for it plus shipping. Let me know if anyone's interested. Thank you.

Hello, I have been trying to research with little success on using projectors and high frame rates. I want to shoot 96 fps. With a projected image in frame. Would an LED projector allow filming at different frame rates/ shutter speeds without having flicker? And also having to consider output of the actually unit to get an image exposed when going to the higher frame rate. Or if anyone has worked with a specific projector that they recommend would be great or any good resources on this would be awesome, I have come up fairly empty handed and talking with some local projector rental companies to no avail. Thanks in advance Zach

Hi everyone. I'm looking for advice on lighting interviews with a tiny crew (2-3 people) out at sea on a small 30-40ft boats. I'm frequently booked on these gigs but I find that 99% of the time I never dig the look of the interviews. It's always a matter of finding what looks the least bad. For most EXTs (on land) I'll backlight and try to shoot into a BG that's in the shadows...but of course on a boat there aren't any shadowed BG's, except maybe a tiny part of the deck. Most times we end up settling for front lighting the subject and holding a foldable silk to diffuse the light a bit, but even then the BG is well over key. At least that way the talent and BG are both reading okay to camera. It also doesn't help that typically the entire boat is painted a hot white and constantly rotating in relation to the sun because of heavy winds. Sometimes I shoot up in the pilothouse but that's proved the most difficult- even after ND'ing the windows I can't get nearly enough level on talent without blinding them. Are there any general best practices for this type of lighting?

I recently enjoyed watching HUMAN by The Movie by Yann Arthus-Bertrand, and was struck by the diverse locations as well as the diverse yet strange unified lighting theme. Using a dark (black) background Bertrand has literally focused all our attention onto the face of the moment. With mostly natural, frontal (sometimes toppish) lighting, which is virtually shadowless, every pore, freckle, line and emotion is bared front and center for us to soak in. Does anyone have any thoughts on the why, how and what on this? Has anyone tried to recreate this? All Images © HUMAN by Yann Arthus-Bertrand. All Rights Reserved. Source: http://www.human-themovie.org/

Hey. I am looking into some advice on hazing, both indoors and outdoors. So, I have a restaurant shoot tomorrow, and I really know the opening scene would look much better with haze, but the restaurant opens 2 hours after we are done shooting. Does anyone have experiences with this? I am rigging a 5k Dino through diffusion, and a smaller LED panel. Now, not really related. How does one go about creating a hazed environment outside, where there might be wind?

Hi, I was curious if anyone has any guesses on how exactly they achieve this seemingly simple overhead camera shot, as far as lighting...especially on a white table top like this? https://www.youtube.com/watch?v=tgmhi0Vi9oo Is it just one large source from the upper left? Is that light higher up (vertically) or around table level or...? Is there likely a fill light from bottom right, or just some bounce to fill in? Is it likely lit over the top as well? Its just pretty even looking... Anyways, just curious if anyone has achieved this look before, or has any thoughts on how best to do it? (Obviously while still allowing room for the camera rigged from above...and also the hands entering the frame from different angles, etc.) Thanks for your thoughts.

Hi, new to the forum, and so far it's been a really great learning experience. Anyway, I was wondering how any of you might go about getting a similar quality of light from this shot in Grand Budapest Hotel on a budget? The project I'm working on mostly takes place in the kitchen of which I've included pictures below: I'm pretty young and I usually just reserve myself to writing and directing, but I thought it might be a good experience to try to DP one of my projects. However I could use a little guidance as this is all rather new to me still, but I did have a few initial ideas. I plan on putting up white curtains as the view outside is rather un-cinematic, and because I feel like it will add to the main character's feelings of being trapped. I don't have much of a budget, the brightest lights I could rent are probably a couple of 1K tungsten lights. However, I plan on using my 5D mark III with ML Raw, so I can go up to 1250-1600 and get a pretty clean image, and I tend to like to shoot between an f.2 - f.4. My nearby rental place does have a set of 2 x 1K Arri's and an Arri 650w open face that are decently priced for the week. I could possibly try and rent a few other smaller tungsten lights as well. I was thinking about possibly going and blocking out the sun with some black cloth draped over some C-stands on the deck and then setting up one of the 1K's in front of it to light up the white curtains acting as the sunlight. My thinking to do this is so I can keep color temp consistent, and so we don't have to worry about clouds coming in and out all day. It would also help keep consistency as Minnesota weather can be rather unpredictable, and it will be a 2-3 day shoot. From there I was thinking of using the second 1K as my key for the subjects as most of the dialogue happens in singles, probably bouncing it off of maybe some muslin or setting up a cheap book light scenario. Then finally using the 650w either for fill or for bouncing off the ceiling to raise ambient light levels. Anyway, I know that was a lot of information, but I was just wondering what any of you might do to get a similar look on the cheap all while trying to keep it consistent over a couple of shoot days. That was my initial idea, but I'm still not sure if that would even work as I've only been studying this stuff for the last couple months. Looking forward to hearing any and all ideas!

I'm just wondering if anybody could break down this scene in terms of lighting for me. Im shooting a short film for somebody next week and would love to achieve this sort of lighting set up. what i'm looking for is Light ratio Temperature softlight/hardlight Colour Gels Filters Lights that are believed to be used colour scheme Practical lights lighting position If anybody could help me out it would be greatly appreciated Thanks

Hey guys, So I'm trying to find one of these to rent for a shoot in Savannah, GA: http://modernstudio.com/pipe-spinning-gag-58/ I've also attached a couple set photos of something similar in use during one of Alex Buono's workshops. The local rental house doesn't have it and the guys at modern studio haven't gotten back to me yet. Does anyone know of a rental house in the southeast or anywhere in the US that would ship it for me? Also -- I'm pretty sure all of those units are running to a central battery via D-tap. Am I right about that? If so I would also need a d-tap splitter to power all of the units right? Thanks so much! -Ben J

I was wondering how you can achieve this more yellow tone lighting through practicals and or through studio lights such as tungstens/HMIs/LEDs/ect which removes the orange. Camera Color Temperture setting would be helpful as well. Here is a example of what I saw in Upstream Color

Hello guys ! I'm new to cinematography and I need help about the ideal use of kino flo light ? thanks in advance

Hi all, I just wanted to know everyone's thoughts on using either a Helium balloon/ Sausage lights (attached) OR A Dino (maybe x2, one either end of a set) Using them as back lights, & fill. (Firelight is the key light in most scenes) Or maybe even Softboxes from cranes? Which are better for moonlight? I am filming a scene in the middle of an old medieval town centre (imagine Magnificent Seven gun fights) I'd ideally like to use a balloon light as the ambient light and then the Dino's as backlights, but as its a low budget feature I have to chose between one or the other. I'm leaning towards using the sausage light on a condor, and then just using some HMI's etc as backlights closer on the ground to the actors (so easily movable).?!? COMPARED TO/ 2x Dino's (on condor's) at each end of the town, so a back light whichever way they go. OR I could use Just x1 Dino as a side light, much like the balloon/sausage light.?!? What are people's thoughts?

Hey everybody. This is my first post :) I wanted to get everyone's opinion on the lighting for this scene, and how Janusz Kaminski may have accomplished it.

Hey again! I'm looking to shoot a short film this coming April and, being as inexperienced with lighting as I am but faced with a really ambitious (at least for me) lighting setup, I was hoping to consult the expert advice of you amazing people on the forums for some advice and help. 1. Most of the film will be set in an abstract black space (blackout studio) and while the studio I've gotten has got white floors, I'm looking to cover that with black duvetyn cloth / black bedsheets - would this work? Here's what the studio looks like: https://www.dropbox.com/s/okuqt7sr8c8iov3/12499541_10206199476526021_995253027_o.jpg?dl=0 2. When the main character first appears in this black abstract space, I am looking to create a shaft of light that comes through what should be big double doors (in this case, they are those doors in the above image - and I will probably black wrap the exit sign) and shines on our main character. There will be 2 shots to this set up: 1 is a high angle shot from a jib, creating a sort of almost german expressionistic look with a sharp beam of light across the floor 2 is a tracking shot from behind our character, with the light from the doors serving as a really intense backlight and casting him in silhouette (although I might also have the option to bounce some of that light back to fill him in). If possible, I'm looking to do a hitchcock zoom with this move as well. **See lighting diagram below as well as reference images . ***Btw, I am shooting on a micro 4/3 camera so lens lengths are for that format. https://www.dropbox.com/s/su7gt5hjcrztg5t/129854724.jpg?dl=0 https://www.dropbox.com/s/pi7lzeczvyj7vdt/4x07-Cold-Grey-Light-of-Dawn-true-blood-24392755-1024-576.jpg?dl=0 https://www.dropbox.com/s/e3h2xofvy6ypjwt/139486149.jpg?dl=0 My question is, what is the lowest wattage light source I can use to achieve this shot, bearing in mind that I am unfortunately on a shoestring / absent budget. I was initially thinking of a single 1.2k HMI or a PAR64 to get that focused beam of light but what do you think? 3. Following from that question about lighting in a blackout studio, I am looking to shoot a couple shots in such a way that the talent walks into a pool of light and becomes visible as he does so, disappearing again into the darkness as he leaves that pool of light - see diagram Now, I'm thinking of suspending a 1kW Jemball chinese lantern light to achieve this. The studio does have an overhead grid already rigged up and perhaps this might allow me to use more focused lights like a 1kW fresnel? 4. This is a question about photographing snow from a snow machine in the blackout studio. I'm having a frontal shot of my talent as a snow machine blows straight at him as well as another overhead shot of him on the floor while some snow slowly falls onto the ground (see reference) https://www.dropbox.com/s/e517fpdn9lbjo2l/movie-inspired-fashion.gif?dl=0 To have the snow show up, I'm thinking of having a light on either side of the camera punching through some diffusion such that the middle area where the snow is travelling can be seen (as well as the talent). But what do you think? 5. Finally, this is a question about filming at a swimming pool. Basically, I have the character falling into a pool of water and I will be underneath with a GoPro capturing this (unless I can wrangle an underwater housing for my A Cam, a panasonic GH4). I understand that anything to do with filming underwater is a huge pot of health & safety dangers but ideally, I would like to be able to shine a light where my talent will be falling into the water, such that from below where I will be filming, he would be cast in a silhouette. It will be sort of like this image: http://il5.picdn.net/shutterstock/videos/8623750/thumb/7.jpg?i10c=img.resize(height:160)but the talent will be partially obscuring the light source. Would be great to hear from you all if anyone has any experience doing a similar shot? Thank you so very very much for your help and sharing your knowledge!

Looking to purchase a 3 to 4 ton Grip truck ready to go with lights.

I am working on the new fourth edition of "Lighting for Digital Video and Television," published by Focal Press, Here is a link to the third edition on Amazon: http://www.amazon.com/Lighting-Digital-Video-Television-Jackman/dp/0240812271/ref=sr_1_1?ie=UTF8 The 1st, 2nd, and 3rd editions have been extremely good sellers and are used as textbooks for many college filmmaking/television production courses. I am seeking good behind the scenes photos of actual lighting setups, especially those that demonstrate a solution to a problem. Even from my own productions, it's hard to find good BTS shots that show lighting unless the still photographer has been instructed to capture that -- most BTS show actors and camera, but very little of the lighting setup. This edition will substantially expand coverage of LED instruments, which of course is an area that has exploded in the last decade. The 2010 edition showed studio LED panels, but other LED instruments such as we have now didn't really even exist. So also interested in photos that show use of LED instruments. No pay but full credit for DP/lighting director whose setup is shown and for photographer. Contact me at john@inspiratafilms.com. Thanks!

Hello Everyone! First time posting in the forum, don't know if I'm doing it right but after being a fan of the site I figured I'd actually ask a question for once. Currently working on a Youtube Channel for a friend of mine, and started looking up people I admired at least from a lighting standpoint. This youtube channel would be lower budget and shot inside my friends home. So house power is a must as I'll be low on funds and manpower. Attached below are my references, (Braless and Decoded) was wondering about how to achieve this look and what lighting do you think was used. Most likely it would be shot on the BlackMagic Cinema Camera. Any input would be greatly appreciated. Much love - Armani

So, I just got a gig where I'm shooting a sushi chef making sushi, and there is mainly focus on showing the food. There will be a lot of close-ups and macro shots. I believe we are going for a high-key type of lighting. There is some ambient lighting from downlights in the ceiling, but it's far from enough. I have access to fresnels and dinos. Would something like what I have sketched down work, or should I go about it another way? Keep in mind the 85mm might be moved from side to side a bit. Thanks!

I'm about to shoot a music video in a month and I'm looking for an old school device that we used to call the decapod. There were a bunch of versions of it, but I think the final version available was made by mole richardson. It was like a maxi brute made from mr-16 lights. Here is a 2008 article about it (it's most of the way down the page). http://icgmagazine.com/2008/march/ttmarch08.html Has anyone seen one lately? If I'm not able to find the old decapod, I'll likely have to use a giant LED strip or matrix. Does anyone have experience using those? What might be the most cost effective version of that? It would need to be able to pulse on and off all at once and I'm probably need 4 of them if they were like 4' by 4'. Thanks so much!

This weekend I'm gaffing for a shoot with CG fireworks. I was wondering if anyone had some tips on simulating light from the fireworks onto onlookers. Thanks!