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 lesson excerpt from our Cinematic Light Quality Masterclass, renowned cinematographer Shane Hurlbut, ASC, breaks down his practical, on-set approach to using a variety of reflectors — specifically the versatile Honeycrate system. Read on for a hands-on demonstration of how choosing the right reflective surface can solve common lighting problems, enhance skin tones, and ultimately, protect the emotional integrity of a scene.

More Lessons on Cinematic Light Quality:

• Cinematic Light Quality: Silver Bounce
• Cinematic Light Quality: Batten Lights
• Light Quality Lab: DMG Maxi & Depron Dome for Soft Light
• Cinematic Lighting with Shane Hurlbut, ASC: Xenon Light

WATCH NOW:

THE BASELINE SETUP AND THE SQUINTING PROBLEM:

In the demonstration, Shane begins with a common lighting scenario: a strong backlight (in this case, a powerful Q10 light) creating a beautiful edge on the talent, Kyra Grace. The natural next step is to add fill light from the front to see into her eyes and soften the shadows under her chin. The initial choice is a standard White and Silver Honeycrate reflector. This surface provides a bright, clean fill and creates a nice reflection in the eyes.

However, this presents a common on-set challenge. “The sun’s super bright,” Shane notes, and even a powerful bounced source can be intense. “I have found that a lot of people with blue eyes are super sensitive, especially with the sun.” 

When a bright reflector is brought in, actors instinctively squint to protect their eyes. This physical reaction can take them out of the moment and compromise the emotional performance that is so crucial for the scene. So, what’s the solution when your bounce is too powerful?

THE SOLUTION FOR SENSITIVE EYES: THE BLACK & WHITE REFLECTOR

This is where Shane reveals a custom tool born from practical experience. 

“For blue eyes,” he says, “I’ve had Honeycrate make me a black and white [reflector] so it’s not so intense.” 

By replacing the highly reflective silver side with a non-reflective black surface, the intensity of the bounce is cut dramatically.

The white side still provides a soft, beautiful fill light that gently lifts the shadows under the eyes and chin, but without the overwhelming intensity that causes squinting. It’s a perfect example of prioritizing the actor’s comfort to preserve the integrity of their performance. You get the necessary fill without the distracting, performance-killing brightness.

ADDING PUNCH AND WARMTH: SILVER & GOLD SURFACES

Sometimes, you need more punch or a specific color temperature from your bounce. This is where silver and gold surfaces come into play.

First, Shane demonstrates the Hard Silver side of the reflector. This surface is far more specular and intense, delivering a powerful kick of light. 

“Now I can kind of make her squint with the hard silver,” he jokes, showing how the intensity immediately affects the talent. 

While powerful, it must be used with caution and often from a greater distance.

Next, he introduces a more nuanced tool: the Silver and Gold reflector, often called a “checkerboard” or “zebra” pattern. This surface provides a beautiful blend of a clean silver bounce with a warm golden hue.

“Look how good that looks on Kyra’s skin tone,” Shane points out. “It’s just bringing that kind of slight gold and silver into there.” 

This technique adds a pleasing warmth without being overwhelmingly golden, often creating a healthy, sun-kissed look. Shane adds a crucial tip: 

“I find that this is incredible on darker skin tones […] and this really separates them from the background.”

For an even stronger warming effect, one can use the Super Gold reflector, which delivers a very rich, warm kick of light, perfect for emulating a deep sunset or adding significant warmth to a scene.

THE GUIDING PHILOSOPHY: PROTECTING THE PERFORMANCE

Shane’s demonstration reveals his core lighting philosophy: balancing technical needs with the human element of filmmaking. Every choice is made to support the story and the actors.

“The performance and the emotion is so important,” Shane emphasizes. “And if you’re bringing in and filling a lot of that light in there, it’s gonna make them squint and not deliver that emotion that’s so important for the scene.”

Using different reflectors isn’t just about changing the look; it’s about finding the right tool that allows the actor to remain comfortable and emotionally present. This journey from a powerful silver bounce to a gentler black and white surface is a perfect illustration of a cinematographer’s problem-solving on the fly to protect the performance above all else.

THE BOTTOM LINE: GET THE FULL MASTERCLASS

This exploration of silver bounce and foam lighting is just a small part of the Cinematic Light Quality Masterclass. To unlock the full power of cinematic lighting and learn from detailed, on-set demonstrations, purchase the complete masterclass today! 

You’ll gain the knowledge and skills to transform your lighting from ordinary to extraordinary and to tell stories with light in a way you never thought possible.

More Lessons on Cinematic Light Quality:

• Cinematic Light Quality: Silver Bounce
• Cinematic Light Quality: Batten Lights
• Light Quality Lab: DMG Maxi & Depron Dome for Soft Light
• Cinematic Lighting with Shane Hurlbut, ASC: Xenon Light

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The post Honeycrate Reflectors: Cinematic Light Quality appeared first on Filmmakers Academy.