In this excerpt from the Exposing Motion Picture Film Masterclass, we extend a 15-minute window of twilight into a 40-minute shoot.

(Watch the first 6 minutes of Exposing Motion Picture Film Masterclass for free.)

VIDEO LESSON EXCERPT: HOW TO EXTEND MAGIC HOUR

THE CHALLENGE: THE BLUE SHIFT

When the sun sets, the color temperature of the world shifts dramatically. The warm sun disappears, and you are left with the ambient light of the sky, which skyrockets to a very cold 8800 Kelvin or higher.

If you are shooting on standard daylight film, your footage will look aggressively, unnaturally blue. If you are shooting on tungsten film (which expects orange light), it will look even bluer.

1. THE FILM STOCK STRATEGY (500T)

To combat the dropping light levels, we need speed. I always choose the highest speed stock available: Kodak Vision3 500T (5219).

Why 500T? 

“T” stands for Tungsten (3200K). This stock is designed for indoor artificial light. This seems counterintuitive for an outdoor shoot, but 500T is the most sensitive stock Kodak makes. We need that sensitivity to see into the dark.

2. THE FILTER STACK (THE “WARM-UP”)

Because we are shooting Tungsten film outdoors, we need to correct the color temperature.

The Exposure Formula

With these filters in place, we are losing light. To compensate, I rate my light meter to 160 ISO (overexposing the 500T stock by roughly 2/3 of a stop) at 24 fps. This ensures a thick negative that captures rich color even as the light fades.

3. EXTENDING TIME WITH GEOGRAPHY

Most filmmakers wait for the sun to hit the horizon to start their “magic hour” clock. That gives you 15 minutes, tops.

By using a building to block the sun, we create “artificial dusk” 20 minutes before actual sunset. This simple location choice doubles our shooting window, giving us 40 minutes of usable soft light instead of 20.

4. THE SILVER BULLET (REFLECTORS)

As the light levels drop, a white bounce board becomes useless. It simply doesn’t have the punch to reflect the weak ambient light.

Switch to Silver.

We bring in a Silver Reflector (or shiny board) to catch the remaining blue sky ambiance and redirect it into the talent’s eyes.

5. THE “WEST-FIRST” SHOOTING ORDER

This is the most critical logistical rule of twilight photography. You must shoot your coverage in a specific order to survive the fading light.

Shoot WEST First (Camera facing East).

Why? Because the “source” of your light is the setting sun in the West (behind the camera). The Western sky is the brightest thing in the universe right now.

If you shoot the silhouette first, by the time you turn around to shoot the face, the “softbox” in the Western sky will be gone, and your actor will be in the dark.

THE BOTTOM LINE:

Shooting motion picture film at twilight is all about logistics. By choosing the fast 500T stock, stacking warming filters, blocking the sun early, and shooting West-first, you can squeeze every photon out of the day.

UNLOCK THE FULL MASTERCLASS

Understanding filters is just one piece of the puzzle. To truly shoot motion picture film, you need to master the light meter, understand stock personalities, and know how to manipulate the chemical process itself.

In the Exposing Motion Picture Film Masterclass, Shane Hurlbut, ASC takes you through every step of this journey.

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The post How to Extend “Magic Hour” on Motion Picture Film appeared first on Filmmakers Academy.

In this excerpt from the Exposing Motion Picture Film Masterclass, we go on location to break down my exact methodology for exposing daylight-balanced film stock in a high-contrast, backlit environment. This isn’t just about reading a meter; it’s about understanding how to control light, calculate filter factors, and make creative decisions about skin tone exposure that are baked into the negative.

(This article is a detailed breakdown of a lesson from the Exposing Motion Picture Film Masterclass. Discover how you can access the full course at the end!)

THE SCENARIO: SHOOTING DAYLIGHT STOCK (50D)

For this setup, we are shooting with Kodak Vision3 50D (5203). Because this is a daylight-balanced stock (5600K), we do not need an 85 correction filter. However, the sun is bright, and 50 ASA is still sensitive enough that we need to control the amount of light entering the lens to achieve our desired aperture. 

My goal is to shoot at a T-stop of around T2.0 to T2.5. This aperture provides a beautiful, cinematic depth of field that separates the subject from the background. Without filtration, the sun would force us to stop down to f/16 or higher, ruining that aesthetic.

STEP 1: METERING TECHNIQUE – THE “HAND CUP” METHOD

The first step is to get an accurate reading of the light. I use an incident light meter with a dome (not a flat disc), but technique is critical.

This creates a massive contrast ratio (about 3.5 stops difference). While dramatic, I prefer a more controlled two-stop backlit scenario for this kind of beauty work. This means we need to bring up the fill level.

STEP 2: FILTRATION AND THE FILTER FACTOR

To get our T-stop down to my preferred T2.0–2.5 range, we need to cut the light. I chose an ND 0.6 (Neutral Density) filter, which reduces light by 2 stops. 

PLACEMENT MATTERS 

I always place the ND filter in the matte box tray closest to the lens. This minimizes the risk of internal reflections and ghosting, especially when shooting directly into a strong light source like the sun.

UPDATING THE METER 

Before taking any new readings, I must update my light meter. I go into the menu and program a Filter Factor of -2 stops (for the ND 0.6). I also confirm my film speed is set to 50 ASA and my frame rate is 24 fps. Now, the meter will do the math for me.

STEP 3: SHAPING THE LIGHT WITH A BOUNCE

To reduce the contrast ratio, we bring in a Circle Bounce (a bead board or similar reflector). By positioning it high and reflecting the sun back onto the subject, we create a beautiful, soft fill light.

STEP 4: THE EXPOSURE DECISION

Now comes the artistry. We have our readings:

I decide to set my lens aperture to T2.5. Here is why:

1. UNDEREXPOSING THE FACE

By setting the lens to T2.5 when the fill measures T1.4, I am intentionally underexposing the face by about 1.5 stops. For lighter skin tones (like our talent, Kira), this protects the highlights and keeps the skin looking natural and rich, rather than flat and over-lit.

2. OVEREXPOSING THE BACKLIGHT

With the lens at T2.5 and the backlight measuring T4.3, the sun is now 1.5 stops overexposed. This creates a beautiful, glowing rim light that feels hot and sunny but retains detail without blowing out into a digital-looking clip.

THE RESULT

A perfectly balanced image with a 3-stop dynamic range between the key and the rim, all calculated precisely before rolling a single foot of film.

THE BOTTOM LINE: CONFIDENCE COMES FROM KNOWLEDGE

This lesson illustrates the precision required to shoot film. You aren’t guessing; you are calculating ratios and making deliberate creative choices about how to place your exposure. By understanding your meter, your filters, and your film stock’s latitude, you can walk onto any set and confidently shape the sun to your will.

UNLOCK THE FULL MASTERCLASS!

This article covers just one lighting scenario from our comprehensive Exposing Motion Picture Film Masterclass. In the full course, Shane Hurlbut, ASC, takes you through complex setups including side-lighting, tungsten stock in daylight, pushing and pulling film, and the “twilight combo” for extending magic hour.

Forget “fast.” Choose timeless. Master the process.

This masterclass was produced in collaboration with Kodak. 

The post Exposing Film in Harsh Sunlight Backlit Scenes appeared first on Filmmakers Academy.

This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

From achieving the perfect moonlight to demystifying grip slang and choosing the right lens diffusion, this Q&A covers a ton of ground. Let’s break down the key takeaways for filmmakers.

Night Cinematography: The Silver Moonlight Dilemma

The first member kicked things off, asking about achieving a specific “silver moonlight” effect, questioning Shane’s method from the Night Cinematography Masterclass (using 3600K sources with the camera at 2900K) and wondering if using 5600K sources and a 4800K camera setting could work.

Shane’s answer dives deep into the practical realities of night exteriors. While technically possible in a fully controlled studio, using 5600K sources outdoors at night presents major challenges. Why? Because you can’t control the ambient light. Streetlights (sodium vapor, mercury vapor, LED), practicals in homes, storefront fluorescents – these all have distinct color temperatures, mostly clustering around the warmer 3200K range.

Setting your camera to 4800K to compensate for 5600K “moonlight” throws all those real-world practicals wildly off-color. Sodium vapors turn brown, tungsten practicals become intensely orange, and cool white fluorescents shift to an unpleasant pea-green. Shane’s advice, born from decades of experience: stick closer to a 3200K base for your moonlight (like his 3600K technique). This allows the diverse ambient light sources in the scene to render more naturally and believably, avoiding a jarring, artificial look. Save the 5600K experiments for the stage, unless you have the budget of Need for Speed to relight entire city blocks!

Rigging the Condor: Grip Talk Demystified

Next up, a member asked about setting up a Condor boom lift for night exteriors, inquiring about comfort measures and specific rigging terms like “candlesticks.”

Shane shared practical tips for those long nights in the basket – wrapping it in sound blankets to cut wind, using portable heaters, and even having a rope-and-crate system for sending up food and coffee! He then demystified some essential grip gear:

• Candlesticks: Not the dining table kind! This is a sturdy vertical steel pipe rigged to the Condor basket using cheeseboros. A “candlestick maker” fitting attaches to the pipe, providing a standard junior pin receiver for mounting heavy lights securely.
• Cup Blocks: To prevent the candlestick pipe from shifting or kicking out at the base (a major safety hazard!), grips place the bottom of the pipe into a cup block – a piece of wood (often 2×6) with a hole drilled partway through – anchoring it firmly to the basket floor.
• Bubbles: Shane’s term for the individual PAR globes within a large fixture like a Maxi Brute or Dino light. Saying “turn off six bubbles” is clearer and quicker than specifying banks, especially if manual switching on the fixture itself is needed.
• New Grip Slang: Shane celebrated the efficiency of new grip slang: “Grenades” (speed rail starters), “Burgers” (cheeseboros), and “Chips” (small aluminum shims used with burgers to securely clamp onto square tubing without damage). It’s all about clear, fast communication.

For more, check out Grip Talk: Language for Condor Rigging!

Lenses & Diffusion: Shaping Sharpness and Contrast

The following member asked about digital diffusion, specifically for sharper, contrastier lenses like the Irix line. Shane explained that modern lenses, especially still photography glass adapted for cinema, often have heightened contrast and sharpness that can look too “digital” or harsh.

His go-to solution for subtly taking the edge off without making the diffusion obvious (avoiding the tell-tale blooming halos around highlights seen with ProMists or Black Satins) is Tiffen’s Digital Diffusion FX (DFX).

• How it works: DFX primarily targets skin tones, softening fine detail and pores, while also gently blooming highlights without creating a noticeable halo. It makes the image feel more organic and less clinical.
• Scaling Diffusion: Shane shared his rule of thumb: use lower strengths on tighter lenses and higher strengths on wider lenses. Why? Tighter lenses shoot through a smaller area of the glass, magnifying the diffusion effect. His starting points:
  • 100mm: DFX 2
  • 150mm: DFX 1
  • 35mm: DFX 4
  • 21mm/18mm: DFX 5
  • 14mm/12mm: DFX 6
  • 8mm/10mm: DFX 7 (Adjust one step lighter for inherently softer lenses like Cooke, Leica, or Caldwell Chameleons).

The discussion also touched on the vintage lens craze, fueled by the DSLR revolution. Lenses like Kowas (known for their “sunny-side up egg flare”) and Canon K35s offer unique character, lower contrast, and distinct flare patterns that many cinematographers seek to counteract digital sharpness.

Lighting Fundamentals: Ambient vs. Fill in Studio

The final member of the session asked for clarity on ambient versus fill light, particularly in a controlled studio environment. Shane explained:

• Ambient Light: In the real world, this is the light bouncing around the environment – off the sky, trees, sidewalks, and buildings. It’s the general, non-directional light filling the scene. In a studio (typically black walls/ceiling), true ambient light doesn’t exist unless created. Shane described creating artificial ambient light by bouncing sources into custom checkerboard bounces featuring squares of blue, gray, brown, and white to mimic outdoor reflections.
• Fill Light: This is a controlled source used to “fill in” the shadows created by the key light. Its purpose is primarily to reduce the contrast ratio between the lit side and the shadow side of the subject. Fill light doesn’t typically establish the base exposure; it modifies the shadow detail. Shane emphasized his preference for lighting in a 180-degree arc, with fill coming from near the camera position.

He also noted the diminishing reliance on light meters for setting ratios in the digital age (“what you see is what you get” on calibrated monitors with good LUTs), contrasting it with the absolute necessity of meters and understanding ratios when shooting film.

Wellness & Mindset: Fueling the Filmmaker

Lydia Hurlbut brought essential wellness tips into the conversation. She highlighted the benefits of Matcha Green Tea, emphasizing that brewing it hot unlocks its anti-inflammatory and brain-boosting properties (even if served iced later).

Shane discussed his positive experience using a Shaker Box (vibration plate), noting significant improvements in balance – critical for cinematographers performing complex moves – and its benefits for lymphatic drainage and de-stressing.

Lydia underscored the importance of trusting yourself and pushing through imposter syndrome. Especially when facing new or challenging situations on set. Taking a breath and adopting a solution-oriented mindset, rather than succumbing to fight-or-flight stress, is vital for both physical well-being and creative problem-solving. Filmmaking is athletic, demanding both physical and mental resilience.

The Bottom Line:

This episode of the Inner Circle Podcast is packed with practical insights and technical breakdowns. Not to mention, essential reminders about the holistic nature of filmmaking. From navigating the complexities of night lighting to understanding the nuances of lens diffusion and the importance of self-care, Shane and Lydia provide invaluable guidance drawn from decades of experience.

Want more insights like this? Become a Filmmakers Academy Member!

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In this lesson, part of our larger Cinematic Light Quality Masterclass, my colleague, gaffer Tom Sigurdsson, and I will guide you through the unique properties of batten lights. We will compare them to more traditional sources, demonstrate practical on-set applications, and reveal how simple materials can unlock extraordinary light qualities.

Watch the Video Portion for Free…

This lesson provides a written overview, but to truly grasp the nuances of batten lights, you need to see them in action. Get exclusive access to the video demonstration with Shane Hurlbut, ASC, by clicking here!

THE BATTEN LIGHT: A UNIQUE LIGHT SOURCE

What exactly is a batten light? In essence, it’s a linear fixture, a strip containing multiple light sources arranged in a row. While commercially available batten lights exist, the ones we’ll be focusing on today are custom-built by me. These babies allow us to explore the fundamental principles behind their effectiveness. However, the concepts we’ll discuss apply regardless of the specific fixture you choose.

The defining characteristic of a batten light, and what sets it apart from simply placing several individual lights side-by-side, is creating a unified line of light. Our custom-built battens achieve this by using 85-watt spot globes, each with a narrow 20-degree beam angle. These globes are housed within a simple structure — often constructed from a 1×4 piece of wood and a length of PVC fence post. They have small holes drilled to accommodate the sockets and wiring. This seemingly rudimentary construction is, in fact, key to the batten’s functionality. The PVC housing acts as a natural reflector and, crucially, provides inherent spill control.

This “built-in grip,” as I like to call it, eliminates the need for extensive flagging and shaping that is often required with other light sources. The light emitted from the batten is inherently directional, focused along the line of the fixture. Any spill light that does escape tends to be soft and ambient. This ultimately contributes to a pleasing overall fill. We’ve built these in various lengths — one-foot, two-foot, and four-foot versions — to suit different needs. Initially, we experimented with eight-foot battens, but they proved too unwieldy for practical use.

The mounting system is equally straightforward. A standard mounting pin allows the batten to be attached to a grip head. For overhead placement, a 90-degree pin is handy, providing full pan and tilt control for precise positioning. The simplicity and adaptability of this setup make batten lights incredibly quick to deploy and adjust on set. The individually wired 85-watt spots allow for unique flexibility.

BATTEN LIGHTS VS. FRESNEL LIGHTS: UNVEILING THE DIFFERENCE IN QUALITY

To truly appreciate the unique light quality of a batten, let’s compare it to a workhorse of cinematic lighting: the Fresnel. A Fresnel light utilizes a lens to focus the light emitted from a single bulb, creating a relatively hard, directional beam. This can be incredibly useful for creating defined shadows and dramatic highlights. However, it also tends to produce specular highlights — those bright, reflective areas that can appear harsh, especially on skin or glossy surfaces.

The batten light, despite using individual spot globes, produces a fundamentally softer quality of light. This might seem counterintuitive, but the key lies in the linear arrangement. The multiple light sources, closely spaced along the length of the fixture, blend together to create a single, elongated source. This effectively increases the size of the source relative to the subject, which is the fundamental principle behind soft light. A larger source wraps around the subject more gently, softening shadows and reducing specular highlights.

ON-SET DEMONSTRATION: SEEING THE DIFFERENCE

Imagine our talent, Kyra, positioned on set. We begin by lighting her with a single Fresnel as a backlight. Then, observe the characteristic hard shadow cast by her nose across her face. We also notice the bright, specular highlights on the top of her head, particularly noticeable because of her blonde hair. The light, while directional, feels distinctly “lit.”

Notice the nose shadow (L) and the specular light quality on Kyra’s blonde hair (R)

Now, we switch to a batten light, positioned in roughly the same location and at a similar intensity. The difference is immediately apparent. The hard nose shadow softens considerably, almost disappearing. The specular highlights on her hair are greatly diminished, replaced by a more subtle sheen. The overall effect is more natural, more flattering, and less overtly “artificial.” The batten light, by virtue of its length, wraps around Kyra’s features more gently. Thus, it creates a more three-dimensional and pleasing illumination.

(L) Fresnel Light (R) Batten Light

Furthermore, we can use the batten light to emulate a practical light source within the scene. Perhaps, a window or an overhead fixture. By carefully positioning the batten, we can create a believable edge light that adds depth and separation without drawing undue attention to itself.

FINE-TUNING THE BATTEN: ADJUSTING FOR LENGTH, INTENSITY, AND COLOR

While the inherent design of the batten light provides excellent control, we have several options for further shaping its output.

MODULATING LENGTH: 

Because each bulb in our custom battens is individually wired, we can easily control the effective length of the light source. 

If the full four-foot length is wrapping around the subject too much, perhaps catching the nose undesirably, we can simply switch off one or more bulbs. This would effectively shorten the light to a three-foot, two-foot, or even a one-foot source. Ultimately, this can provide incredible on-the-fly adjustability.

CONTROLLING INTENSITY: 

Even though we’re using spot globes, we can still scrim the batten to reduce its intensity. This follows the principle championed by the legendary cinematographer Conrad Hall, who often used lights at full spot and then scrimmed them down. 

This technique provides maximum control over the beam spread and a softer quality of light compared to simply dimming a flooded Fresnel.

ADJUSTING COLOR TEMPERATURE: 

Adding color correction gels is simple. We often use quarter (1/4) or half (1/2) CTB (Color Temperature Blue) gels to cool down the light, matching it to daylight or creating a specific mood. 

Because the face of the spot globes doesn’t get excessively hot, we can simply tape the gels directly to the fixture. It can serve as a quick and efficient solution.

A SAMPLE LIGHTING SETUP: RATIOS AND PLACEMENT

Let’s consider a practical lighting scenario. We’re aiming for a naturalistic, subtly dramatic look. Here’s a possible setup and the reasoning behind it.

KEY LIGHT: 

We might use a harder source, such as a Fresnel or a spotted batten. Then, we position it on one side of the camera, creating a defined light and shadow pattern on the subject’s face. This light is measured at an 8.5 with an ND6 filter on the camera. Therefore, it establishes our primary exposure.

FILL LIGHT: 

To soften the shadows created by the key light, we introduce a large, soft fill source. A favorite of mine is a “King Pipe Light,” essentially a DIY fixture consisting of multiple bulbs diffused through a large frame (in this case, a 4×8 frame). 

This fill light is positioned near the camera, providing a broad, even illumination that wraps around the subject. We measure this at a 1.4, approximately two and a half stops below the key light. This creates a pleasing contrast ratio, maintaining a sense of depth and dimension.

BACKLIGHT: 

Finally, we add a batten light positioned behind and slightly above the subject. This serves to separate the subject from the background, creating a subtle edge or rim light. We measure this at a 4.5, which, in our setup, is about a half-stop under the key light. This subtle backlight is crucial for preventing dark hair from blending into a dark background. However, it should never be overly bright or distracting.

Now, let’s take a look at how the Fresnel Lights stack up to the Batten Lights in a scenario with Kyra in a detective’s office.

(L) Fresnel Light (R) Batten Light

This approach — lighting from the camera side, using a harder key, a softer fill, and a subtle backlight — is a foundation I often rely on. It creates a natural, three-dimensional look with a pleasing wrap of light around the subject.

BEYOND THE BATTEN: THE MAGIC OF FOAM LIGHTING

Now, let’s transition to a different, but equally powerful, technique for creating beautiful, soft light: bouncing light off foam insulation. This approach, born from a serendipitous discovery, allows us to emulate the qualities of natural light. Even within the controlled environment of a soundstage.

The story goes back to my early days of shooting music videos. We were creating ripple water effects, and I asked the key grip to bring in a piece of bead board (a type of foam insulation) to bounce some fill light onto the performer. As he walked the beadboard past the light source illuminating the water, I was struck by the incredibly soft, flattering quality of the light reflecting off the foam. This “mistake” became a revelation.

THE BOTTOM LINE: CINEMATIC LIGHT QUALITY MASTERCLASS

Batten lights and foam bounce techniques represent just two approaches in the vast landscape of cinematic lighting. The most important lesson, however, is to cultivate a constant awareness of light in the real world. Observe how light interacts with different surfaces, how it shapes form, and how it creates mood. Take mental “snapshots” of these qualities and then strive to recreate them on set, using whatever tools are at your disposal.

This lesson has only scratched the surface of what’s possible with cinematic lighting. To truly master the art and craft of shaping light, I invite you to join us for the complete Cinematic Light Quality Masterclass. Within this comprehensive masterclass, we’ll delve into a wide array of lighting techniques, explore different light sources, and provide you with the knowledge and skills to elevate your filmmaking to new heights. 

Don’t just illuminate your scenes! Sculpt them with light, tell stories with light, and create images that resonate with emotion and power.

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The post Cinematic Light Quality: Batten Lights (Unlocked Lesson) appeared first on Filmmakers Academy.