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Lighting Department

The Magic of Twilight

Just after the Sunset “Magic Hour” (roughly 30 minutes before and after the sunset) there is a period sometimes called the “Blue Hour” where refracted light from the sun turns the sky a deep shade of blue. This not quite night period can lead to some dramatic lighting situations. One of my favourite times for Read MoreRead More

An Introduction to the Inverse Square Law

Jeff Guyer breaks down an essential law of physics that guides all your lighting decisions. I don’t know about you, but I was never much of a math student.  I needed a tutor in high school for both geometry and physics.  I chose a double major in college (Journalism/English) that required no math.  I practiced Read MoreRead More

The Basics of Shane Hurlbut’s Go-To Lighting Kit

Shane Hurlbut continues his excellent series discussing not only the gear he shoots with but the creative processes behind how he lights his sets: Maurice said, “I want to tell stories, not just cover it.” Look at the line above. This is what all of you have to find in your soul. Be a storyteller, Read MoreRead More

Tips For Getting Better Skin in Camera

Post production tools have come a long way to helping you achieve better skin, but they add another step in the post-production time line. Here’s a few tips on how to achieve better looking skin on set and in camera. Most skin imperfections can be “fixed” before shooting by applying make up. This seems very Read MoreRead More

Recreating the Shot: a Lesson in Lighting Through ‘Blade Runner’

Seth Iliff and E.M. Taboada challenged themselves to reverse engineer and recreate the lighting from the Voight Kampff test from Ridley Scott’s Blade Runner A big part of his skill set is understanding what the client/director wants and achieving it with the tools and budget at hand.  When I arrived at the shoot, Seth was already  busy setting Read MoreRead More

Shane Hurlbut’s Go To Lighting Package

Cinematographer Shane Hurlbut opens up his lighting package and talks about his go-to lighting fixtures. If there was ever a light that can do a hundred different things, it would be a Kino Flo. Kino Flos were created by Frieder Hochheim, an absolute genius and a great friend. We have collaborated on so many things over the Read MoreRead More

Lighting a One Take Commercial That Goes Through Three Scene Changes

Cinematographer Art Adams explains his process of lighting a one take commercial that runs through three sets and live costume changes. The trick was that the stage was going to be painted completely black, and although I asked for matte black paint I knew that paint is almost never free of shine. I expected all Read MoreRead More

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