Cinematic Lighting

• Identifying light sources in the room

• Using apps or a compass to predict how sun will enter through the windows

• The principle of dark-to-light depth

• Using curtains to modify interior light

• Introduction to some common lighting instruments: Dedolights, Kino Flos, an HMI and a Rayzr MC LED panel

• Observing the blocking with actors Kate and Ivan

• Direct lighting using an HMI

• Controlling contrast with black-out

• Diffusing the light with a trace frame

• Bouncing the light off poly/bead-board

• Bouncing the light off parts of the set

• Use of a light meter and false colours to set the correct exposure

• Use of smoke or haze to add atmosphere to the scene

• Reasons to add atmosphere

• The concept of aerial perspective

• Shooting the master shot

• Comparison of the final shot to the other versions demonstrated in 2.2 and 2.3

• Use of viewfinder apps to find a frame and select a lens

• Challenges of front-light

• Adjusting the window light to highlight certain areas

• Demonstrating a "window wrap" using a Kino Flo

• Using light readings and ND filters to arrive at the correct exposure

• Shooting the reverse

• Summary

• The final edited scene

• Observing the blocking with actors Kate and Ivan

• Approaches to lighting a night interior scene

• Lighting from outside with an HMI "moon"

• Working with bounced "moonlight" inside the room

• Choosing an overhead source as the key light

• Time and safety considerations of working with toplight

• Rigging a toplight safely

• Controlling toplight spill on the set walls

• Using unbleached muslin to soften and warm up the light

• The inverse square law

• Working with practical candles

• Reinforcing candles with a hidden LED fixture

• Simulating an off-camera fireplace

• Lighting the view outside the window

• Bringing moonlight into the room to add colour contrast and depth

• Shooting the master shot

• Checking the blocking for the first single

• Filling in shadows using additional unbleached muslin

• Flagging the top-light to control the background

• Adjusting the external light to maintain colour contrast

• Shooting Kate’s single

• Adjusting the fireplace effect to work for a close-up

• Shooting Ivan’s single

• Summary

• The final edited scene

• Observing the blocking with actors Kate and Ivan

• Principles of night exterior lighting

• Creating believable moonlight

• Features of HMI lighting

• Choosing a position and height for the HMI "moon"

• Use of a practical fire source

• Reinforcing a practical fire with an LED fixture

• Colour contrast

• Using a Kino Flo as an additional soft source

• Tackling a difficult shadow

• Reading and adjusting lighting ratios using an incident meter

• Working with smoke/atmos outdoors

• Shooting the master shot

• Adjusting the existing sources to work for a close-up

• Shooting Ivan’s single

• Diffusing the HMI

• Monitoring exposure using false colours

• Shooting Kate’s single

• The pros and cons of flipping the backlight

• Example of cheating the moonlight around

• Using established sources to your advantage

• Adding diffusion vs. a gobo to the HMI

• Creating a “branch-a-loris”

• Shooting the reverse

• Summary

• The final edited scene

Links to useful articles on my blog and my Instagram feed

A list of the camera and lighting equipment and apps used in making the course

This sequence, deleted from Module 3: Night Interior, shows the filming of an alternate version of Kate's close-up. On reflection, I feel that the original version is superior, but see what you think...

Neil re-evaluates the day exterior scene two-and-a-half years on, including:

• Dealing with infra-red pollution from neutral density filters

• Enhancing colour contrast in the grade

• Brightening and darkening areas to lead the eye

Neil re-evaluates the day interior scene two-and-a-half years on, including:

• How to avoid infra-red pollution from neutral density filters

• Adjusting colours in the grade

• How LED fixtures have replaced fluorescents

Neil re-evaluates the night interior scene two-and-a-half years on, including:

• The potential to shoot under real candlelight with modern, high-ISO cameras

• Alternative ways to light the view outside the window

• Use of app-controlled LED fixtures

Neil re-evaluates the night exterior scene two-and-a-half years on, including:

• The hard backlight/soft side-light recipe for night exteriors

• Emphasising a plot point in post-production

• How high-power LED spotlights may replace certain HMI fixtures

At last, the scene from "Ren: The Girl with the Mark - Season Two" on which Module 3 was based has been filmed for real. Here Neil breaks down the lighting of the scene with behind-the-scenes photos and clips from the finished show.