When a 400-foot roll of fresh 16mm stock costs upwards of $200 (yielding only about 11 minutes of footage), the math can kill a project before it begins. But there is a backdoor into the world of celluloid that seasoned cinematographers have used for decades. It’s called the “grey market” of raw stock: short ends and recans.

This guide demystifies these discounted resources, showing you how to source, test, and shoot them to achieve a premium look on an indie budget.

WHAT ARE SHORT ENDS AND RECANS?

To buy effectively, you need to know exactly what you are purchasing.

SHORT ENDS

These are the “leftovers” from a larger production. If a studio feature loads a 1,000-foot magazine but only shoots 600 feet, the remaining 400 feet is clipped off and placed back in a can. It is unexposed, perfectly good film, just in a shorter length than the factory standard.

RECANS

This is stock that was loaded into a camera magazine but never shot. Perhaps the scene was cut, or the lighting changed, and the magazine was downloaded back into a can. This stock has been handled, but not exposed to light (theoretically).

WHERE TO FIND THEM

In 2025, the marketplace for film stock has shifted online, but reputable vendors are still key to avoiding “fogged” (ruined) film.

1. DEDICATED RESELLERS (THE SAFEST BET)

These companies specialize in buying leftover stock from large productions, testing it, and reselling it. They often guarantee the quality.

2. DIRECT FROM PRODUCTIONS/DPS

Cinematographers often finish a project with extra rolls sitting in their fridge.

THE GOLDEN RULE: TRUST, BUT VERIFY (THE “SNIP TEST”)

Buying second-hand stock carries risk. The film could have been X-rayed at an airport, left in a hot trunk, or accidentally flashed. Never shoot an important project on a short end without testing it first.

How to Perform a Snip Test: You don’t need to shoot a whole roll to test it.

SHOOTING STRATEGY: MITIGATING RISK

Even with a clean test, second-hand film requires a slight adjustment in your shooting philosophy.

OVEREXPOSE SLIGHTLY

Older film loses sensitivity over time. A common rule of thumb for stock that is a few years old is to rate it slightly slower. If you have 500T stock, rate your light meter at 320 or 400 ISO. This “overexposure” helps punch through any potential base fog, ensuring rich blacks and good shadow detail.

USE FOR B-ROLL FIRST

If you are nervous, use your recans for inserts, landscapes, or experimental sequences before committing them to your main dialogue scenes.

STORE IT COLD

As soon as you get the film, put it in the fridge (or freezer for long-term storage). Heat is the enemy of film.

THE BOTTOM LINE:

Shooting film doesn’t require a Hollywood bank account; it requires hustle. By utilizing short ends and recans, you can often secure premium Kodak Vision3 stock for 20% to 50% less than retail price.

The audience doesn’t care if your film came from a factory-sealed box or a leftover can from a Marvel movie. They only see the image. So grab some “trash” stock, perform your snip test, and go make something cinematic.

Ready to Master the Analog Workflow?

Understanding filters is just one piece of the puzzle. To truly shoot 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.

The post The Indie Film Guide to Short Ends & Recans appeared first on Filmmakers Academy.

Are you telling a story of fragmented memory? 

The chunky grain of Super 8 might be your tool. 

Maybe you’re crafting a gritty, cinema verité drama. 

The texture of 16mm is unmatched. 

Or, are you painting a sweeping epic? 

The pristine resolution of 35mm is the gold standard.

Not all film is created equal. In this guide, we break down the “Big Three” formats, comparing their aesthetics, workflows, and budgets to help you match the gauge to your story’s emotional needs.

(This article complements our Exposing Motion Picture Film Masterclass. To learn the technical science of exposing these stocks, click the banner below!)

1. SUPER 8: THE DREAMSCAPE

Winning Time: The Rise of the Lakers Dynasty (Season 1, Episode 9) | HBO

• The Aesthetic: Nostalgia, Memory, Intimacy, Chaos. 
• The Grain: Heavy, pronounced, and soft. 
• The Aspect Ratio: Typically 1.33:1 (4:3), though modern scans can crop to 16:9. 

Super 8 is the gateway drug of analog filmmaking. Originally introduced by Kodak in 1965 for the home movie market, it has evolved into a beloved aesthetic for music videos, dream sequences, and flashbacks. Because the negative is tiny (about 8mm wide with a single perforation), the image has a low resolution that feels impressionistic rather than realistic.

Why Choose Super 8? 

Choose Super 8 when you want to evoke a sense of the past or a fleeting memory. It breaks the “fourth wall” of perfection and feels handmade. It is imperfect, jittery, and deeply emotional.

2. 16MM / SUPER 16: THE INDIE SPIRIT

Carol (The Weinstein Company)

• The Aesthetic: Grit, Realism, Texture, “The New Hollywood.” 
• The Grain: Visible and organic, but sharp enough for theatrical projection. 
• The Aspect Ratio: Standard 16mm is 1.37:1. Super 16 (single perf) is 1.66:1, easily croppable to 1.85:1 or 16:9.

If Super 8 is a memory, 16mm is a documentary. Historically used for news gathering and independent cinema (think Clerks, Pi, or The Texas Chain Saw Massacre), 16mm strikes the perfect balance between economy and quality. In recent years, it has seen a massive resurgence in high-end productions like Carol, Black Swan, The Fabelmans, and HBO’s Euphoria.

Why Choose 16mm? 

Choose 16mm (specifically Super 16) when you want a cinematic look that feels grounded and textured. It creates a psychological closeness to the characters. It feels “lived-in.” And it separates the audience from the hyper-reality of digital 4K, providing a layer of artistic abstraction without sacrificing detail.

3. 35MM: THE PRISTINE CANVAS 

Oppenheimer | Universal Pictures

• The Aesthetic: Epic, Glossy, Timeless, “The Standard,” “The Blockbuster.” 
• The Grain: Fine, tight, and incredibly sharp. 
• The Aspect Ratio: Versatile. 4-Perf (Anamorphic scope), 3-Perf (1.78:1/1.85:1), and 2-Perf (Techniscope).

This is the format that built Hollywood. From The Wizard of Oz to Oppenheimer (which mixed 35mm with IMAX), 35mm film offers a resolution and dynamic range that rivals and often exceeds the best digital sensors. It captures roughly 6K to 8K worth of data. The grain is present, but it serves as a subtle texture rather than a dominant feature.

Why Choose 35mm? 

Choose 35mm when you want the ultimate visual fidelity with the organic soul of celluloid. It offers superior highlight roll-off, incredible latitude, and a depth of color that feels rich and three-dimensional. It tells the audience they are watching a “Movie” with a capital M.

4. 65MM/IMAX: THE ULTIMATE SPECTACLE 

Dune: Part 1 (2021) | Legendary Entertainment

• The Aesthetic: Immersive, Hyper-real, Grandiose. 
• The Grain: Virtually invisible; unmatched clarity. 
• The Aspect Ratio: 2.20:1 (Standard 5-perf) or 1.43:1 (15-perf IMAX).

If 35mm is the gold standard, 65mm is the platinum. This is the format of Lawrence of Arabia, 2001: A Space Odyssey, and more recently, Dune: Part Two. It uses a massive negative area (roughly 3-4 times larger than standard 35mm) to capture images with unparalleled resolution, sharpness, and color depth.

Why Choose 65mm? 

Choose 65mm when you need absolute immersion and scale. It creates an image so detailed it feels like looking through a window rather than at a screen. It demands attention and is typically reserved for landscapes, massive set pieces, or emotional close-ups where every pore matters.

THE BOTTOM LINE: MATCH THE MEDIUM TO THE MESSAGE

There is no “best” format. There is only the right format for your story.

• Super 8 for the dreamers and the memory-makers.
• 16mm for the realists and the indie rebels.
• 35mm for the epic storytellers and visual purists.

However, choosing the gauge is only the first step. To truly harness the power of film, you must know how to expose it. You need to understand how light interacts with the silver halide crystals, how to use a light meter, and how to manipulate the chemical process.

Ready to Stop Guessing and Start Measuring?

Join the Exposing Motion Picture Film Masterclass on Filmmakers Academy. In partnership with KODAK, Shane Hurlbut, ASC takes you on a deep dive into the science of exposure for all three of these formats. Learn the craft that digital can’t teach you.

• Additional Film Resources via Kodak

The post Super 8 Film vs. 16mm Film vs. 35mm Film appeared first on Filmmakers Academy.

You’re on set, trying to light a large interior. The director wants to see the bright, beautiful exterior through the windows, but the room itself is falling into shadow. You know you need a massive amount of power to balance that interior exposure with the sun.

You call for the big guns: two, maybe three 18K HMIs, and blast them through the windows.

You’ve solved the exposure problem, but you’ve created a new one — a director’s nightmare. Your talent now has three distinct, ugly nose shadows. The gaffer is pulling their hair out. The illusion of a single, natural source (the sun) is completely shattered.

So, how do you get the power of three 18Ks but the quality of one?

In his Cinematic Light Quality Masterclass, cinematographer Shane Hurlbut, ASC, breaks down a simple but ingenious solution he uses on set.

“What if I have 3 18Ks, and I need to be able to make it feel like it’s one source?” he asks. “This gives me the ability to create one shadow with three lights.”

The secret isn’t just diffusion. It’s directional diffusion.

More Lessons on Cinematic Light Quality:

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

THE “MAGIC GEL”: ROSCO OPTI-SCULPT

Shane introduces a very unique tool he uses to join massive lights: the Rosco Opti-Sculpt.

At first glance, it might look like other diffusion, but it has a “secret.” Like brush silk, the Opti-Sculpt has visible “strands” embedded within it. 

These strands are designed to catch and reshape the light beam in a very specific, controllable way.

And here’s the trick: the direction of the strands is inverse to the direction of the light beam.

This ability to change the shape of the light is the key to solving the 3-shadow problem.

THE TECHNIQUE: TURNING THREE HEADS INTO ONE BAND

In the masterclass, Shane demonstrates this concept in real-time.

First, his team fires up just one light behind the Opti-Sculpt.

This is the “aha!” moment. Now, they fire up all three 18Ks, side-by-side.

With the gel oriented to create a vertical beam, the result is terrible. 

“You can really see the three individual lights,” Shane notes, pointing to the distinct, separated sources.

Then, the magic.

His team rotates the Opti-Sculpt 90 degrees, making the strands vertical. The light from all three 18Ks instantly stretches horizontally, merging together to bridge the physical gaps between the lamps.

“It’s taken all three of those heads and turned them into a perfect band of light,” Shane explains. “It now becomes one line of light and one source.”

Looking at the talent, the three nose shadows have vanished, replaced by a single, soft, and believable shadow. They have successfully sculpted the output of three massive, separate lights into one cohesive source.

THE BOTTOM LINE:

This technique is a fundamental lesson in problem-solving and the physics of light. It’s the difference between just making a scene bright and crafting a believable image.

When you’re on set, you’re fighting for realism as well as exposure. A-list cinematographers know that the quality of light — its shape, softness, and, most importantly, its singularity — is what sells the shot.

Thanks to tools like Opti-Sculpt and techniques from masters like Shane Hurlbut, filmmakers can now get the best of both worlds: the colossal power needed for modern digital sensors and the nuanced, natural quality that makes an image feel real. 

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

DOWNLOAD FILMMAKERS ACADEMY APP

For the best experience, download the Filmmakers Academy app from your favorite platform!

• App Store
• Google Play
• Roku 
• Amazon Appstore

The post The Rosco Opti-Sculpt Technique: Cinematic Light Quality appeared first on Filmmakers Academy.

In our industry, it’s easy to feel overwhelmed. There’s a “sensory overload” of new gear dropping every six months and a looming anxiety about what Artificial Intelligence means for creatives. It’s easy to get stuck on what Shane Hurlbut, ASC, calls “the rat wheel” — the constant, exhausting chase for the latest and greatest tech.

But what if that’s the wrong way to think about it?

In our new Filmmakers Academy presentation at B&H BILD, The Future of Filmmaking: AI, Innovation & Fundamentals, Shane sits down with Oren Soffer, the acclaimed cinematographer behind The Creator, for a candid discussion that cuts through the noise.

They offer a grounded, practical perspective built on decades of experience. Their biggest takeaway?

Technology is a tool, but the fundamentals are the foundation.

The Fundamentals: Emotion, Story & Craft

Before they ever touched a high-end cinema camera, Shane and Oren had unconventional “sparks.”

For Shane, it wasn’t film school, it was driving a grip truck on the set of Phantasm II and having a single, mind-blowing realization about light that launched his career. For Oren, it was trying to recreate Star Wars with a MiniDV camcorder and no editing system, forcing him to learn the language of shot-reverse-shot in-camera.

Both masters agree: emotion fuels the visuals. Your job is to be a problem-solver, not just a gear collector. In the full lesson, Shane tells an incredible story from the set of Terminator Salvation where a critical light died, and he had to improvise a solution… with a piece of gum.

Innovation vs. Distraction

That doesn’t mean you should ignore new tech. The key is to separate distractions from true, craft-changing innovations. In the presentation, Shane and Oren break down the tools that actually changed how they shoot, like the gimbal and the Easy Rig.

Gimbal Op Jason Robbins | Photo by Luman Kim

They also discuss “process innovation.” How did Shane go from a 295-person department on Terminator Salvation to shooting Act of Valor with a crew of just 10? How did Oren’s crew on The Creator shrink to a handful of people on a boat, walking past a basecamp of 50 trucks?

The Creator

The answers will change how you think about your own productions.

The Truth About AI

Finally, they tackle the “four-letter word” (or as Nick from B&H calls it): AI.

Forget the doomsday scenarios. Shane and Oren reframe AI as the ultimate “efficiency engine.” They provide a practical framework for how AI will be used to expedite tedious tasks, like syncing dailies or generating reports, so you can save money and put more of your budget back on the screen.

They argue that AI will never replace the human element for two key reasons: The Audience Problem (it has no “heart”) and The Creator Problem (we don’t want to make movies that way).

Watch the Full Presentation

This article only scratches the surface. The full 1-hour presentation is an exploration into career philosophy, practical problem-solving, and a clear-eyed look at the future.

When you become a Filmmakers Academy All Access member, you don’t just get to watch the full presentation. You also get access to our comprehensive textbook breakdown, perfect for readers who want to master every concept.

Stop chasing the “rat wheel” and start investing in your craft.

Watch “The Future of Filmmaking: AI, Innovation & Fundamentals” Now

The post Is AI Coming for Your Job? Shane Hurlbut & Oren Soffer Have Answers appeared first on Filmmakers Academy.

In this Cinematography Tip, DP Shane Hurlbut, ASC, shares his on-set methodology for “taking the edge off” a sharp sensor. We’re not talking about degrading the image. This is about using subtle filtration to add a layer of cinematic character. Using a side-by-side comparison of Cooke S7/i and DJI lenses on a DJI Ronin 4D, Shane demonstrates a practical, real-world approach to controlling sharpness and enhancing your visual storytelling in-camera.

The Challenge: Balancing Sharpness and Cinematic Character

To demonstrate this technique, Shane sets up a comparison between two very different lens sets mounted on a DJI Ronin 4D 6K camera.

First, the Cooke S7/i prime lenses. Right away, Shane notes their classic characteristics: a neutral color profile and what he calls a “beautiful, cinematic, lyrical narrative distortion.” 

This is the famous “Cooke Look,” where the background is pushed further away, making the foreground subject feel more prominent and three-dimensional. He also observes that the Cooke is a significantly sharper lens with about a third to a half-stop more detail in the shadows, showcasing its quality and latitude.

Second, the DJI lenses. In comparison, Shane sees a warmer, more red-yellow tint and a flatter image that compresses the background, bringing it closer to the subject. While a perfectly functional lens, it lacks the sharpness and dimensionality of the Cooke.

This presents a clear challenge: the Cooke lens is very sharp, and the DJI 6K sensor is also very sharp. The combination can feel too harsh. The DJI lens, while less sharp, could still benefit from a touch of softening to give it a more cinematic quality. The goal is to use filtration to bring both looks into a beautiful, organic space.

The Solution: Tiffen Soft Glow Filters

For this specific task of subtly “taking the edge off,” Shane turns to the Tiffen Soft Glow filters. These are not heavy, atmospheric filters like a Pro-Mist or Black Fog. Instead, they are designed for a more delicate touch. Their primary function is to gently lift the overall contrast of the image and bloom or “glow” the highlights, all without creating a milky or foggy haze.

Shane’s methodology is precise. Since the Cooke lens is inherently sharper, he applies a stronger Soft Glow 1 filter. The effect is immediate but subtle. 

“I love what it’s doing to the clipping practical,” he notes, pointing to a background light. “It’s just blooming it ever so slightly. It’s kind of taken the edge off of that super sharp quality… and it just makes it look more cinematic.”

For the less-sharp DJI lens, he uses a weaker Soft Glow 0.5 filter. 

This demonstrates a key principle: you must tailor your filtration to the specific characteristics of your lens. 

The goal was to balance the two looks, giving the DJI lens a similar cinematic softness without making it feel mushy or out of focus.

The Fundamental Rule: Scaling Filter Density to Focal Length

This is one of the most crucial takeaways of the lesson. Shane shares a fundamental rule of filtration that every filmmaker must know: “Wider the lens, the higher the number. Tighter the lens, the lower the number.”

What does this mean? A telephoto lens (like a 100mm) magnifies a small portion of the filter’s glass, so the diffusion effect is amplified. A weak 1/8 or 1/4 strength filter will have a very noticeable effect on a long lens. 

Conversely, a wide-angle lens (like an 18mm) sees a much broader area of the filter, so the effect is diminished. To see a similar level of diffusion on a wide lens, you would need to use a much stronger grade, like a 3, 4, or 5. Understanding this inverse relationship between focal length and filter strength is essential for maintaining a consistent look as you change lenses on set.

The Bottom Line: Controlling Sharpness with Intention

In the age of incredibly high-resolution digital sensors, sharpness is a given. The true art of modern cinematography often lies in how you control that sharpness. This lesson from Shane Hurlbut, ASC, is a powerful demonstration of how to use subtle filtration as a creative tool. 

By understanding the personality of your lenses and filters, and by applying the crucial rule of scaling density to your focal length, you can move beyond the clinical “digital edge.” You can soften contrast, bloom highlights, and add an organic, cinematic character to your images right in the camera, giving you a more beautiful and intentional image to work with in post-production. 

JOIN FILMMAKERS ACADEMY AND SAVE $50!

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Unlock the Full Masterclass Lesson!

To see Shane’s full on-set process and learn more about mastering the tools of cinematography, explore our comprehensive Camera Lenses & Filters Masterclass.

TIFFEN FILTERS:

• Tiffen Black Fog
• Tiffen Night Fog
• Tiffen Soft Glow 
• Black Pro-Mist Filter
• Tiffen Black Soft Glow
• Tiffen Golden Glow
• Tiffen Soft Glow Screw-In Camera Filter
• Tiffen Night Fog Filters Screw-In Camera Filter
• Tiffen Black Soft Filters Screw-In Camera Filter

Click here for the Complete Wishlist of gear used in this Cinematography Tip!

The post Cinematography Tip: Softening Digital Sharpness with Diffusion Filters appeared first on Filmmakers Academy.

In this Cinematography Tip of the Day, DP Shane Hurlbut, ASC, showcases on-set filter testing. He puts three popular Tiffen diffusion filters—Night Fog, Black Fog, and Soft Glow—through their paces, demonstrating their unique characteristics on both wide and telephoto lenses. This article explores that process, designed to help you understand the personality of each filter and choose the right tool for your story.

The Testing Methodology: “Break It to Find the Sweet Spot”

Shane begins with his core philosophy for testing filters: always start with the strongest grade to “break it.”

“If you go too little,” he explains, “then you really don’t know what the true effect of this filter is.”

By applying the heaviest strength first, you can clearly see the filter’s maximum impact on the image. This gives you a strong baseline, from which you can then dial it back incrementally to find that perfect “sweet spot” where the effect is present but not overpowering.

Filter Breakdown on a Wide Lens (21mm Optimo Prime)

The test begins on a 21mm lens to see how the filters perform on a wider field of view.

Tiffen Night Fog:

Shane describes this filter as “specular,” acting similarly to a White Pro-Mist. It aggressively blooms highlights and lifts the shadows.

Tiffen Black Fog:

This filter has a different character. Instead of a white, milky haze, it feels more like “black dust,” retaining deeper blacks while still blooming highlights.

Tiffen Soft Glow:

Shane compares this filter to Glimmerglass, noting its subtlety.

Filter Breakdown on a Telephoto Lens (100mm Optimo Prime)

Shane reiterates a crucial rule of thumb:

“Wider lenses, higher number. Longer lenses, smaller number.”

Because a telephoto lens magnifies a smaller portion of the glass, the diffusion effect is amplified, requiring a much lighter grade.

The Bottom Line: Choosing the Right Tool for the Feeling

This head-to-head comparison reveals the distinct personality of each filter. 

Night Fog is your tool for a heavy atmospheric effect, aggressively blooming highlights, and lifting shadows for a foggy or dreamlike state. 

Black Fog is a more subtle choice for adding atmosphere and softness while protecting your rich blacks. 

Soft Glow is the most delicate. It’s a finishing filter that adds a subtle polish, depth, and dimension without a heavy haze.

The key takeaway is that filtration is a nuanced art. It requires testing, understanding the relationship between focal length and density. And it’s about always choosing the filter and strength that best serve the emotion of your story.

For more expert advice and lighting breakdowns, subscribe to our channel and watch our full library of Cinematography Essentials.

Tiffen Filters:

• Tiffen Black Fog
• Tiffen Night Fog
• Tiffen Soft Glow 
• Black Pro-Mist Filter
• Tiffen Black Soft Glow
• Tiffen Golden Glow
• Tiffen Soft Glow Screw-In Camera Filter
• Tiffen Night Fog Filters Screw-In Camera Filter
• Tiffen Black Soft Filters Screw-In Camera Filter

The post Diffusion Filters: Night Fog vs. Black Fog vs. Soft Glow appeared first on Filmmakers Academy.

In a recent episode of the Inner Circle Podcast, a Filmmakers Academy member poses this very question, outlining his plan for a short film about an elderly man grappling with grief and Alzheimer’s. This sparked an in-depth discussion between hosts Shane Hurlbut, ASC, and Lydia Hurlbut, offering an amazing overview in using “camera emotions” to amplify a narrative.

This article breaks down the key insights from that conversation, providing a practical guide to using camera techniques to visually express complex emotions like loneliness, love, and fear.

(This article is an excerpt from Inner Circle Podcast Episode 21.)

WATCH THE FULL EPISODE:

CAMERA EMOTION: BUILDING A VISUAL STRATEGY

Patrick’s question centers on his short film about a man named John, whose story is told in four parts: his current state of loneliness and grief, flashbacks to happier times with his late wife, an anxiety attack, and a more hopeful ending. His instincts were to use observational, locked-off shots to convey loneliness and more energetic handheld movement for the flashbacks.

Shane praises these instincts, emphasizing the importance of creating “rules of engagement” for each character or emotional state. He shared an example from a film he lensed, Fathers and Daughters, where Russell Crowe’s character was always center-punched in the frame when he was in control, but pushed to the extreme edges of the frame with uncomfortable headroom or foot room during his manic seizures. This visual rule immediately communicated his psychological state to the audience.

VISUALLY REPRESENTING LONELINESS AND GRIEF

For the first part of John’s story, the idea of keeping the camera distant and using locked-off shots is a powerful way to depict loneliness. Shane adds to this, suggesting the use of a frame within a frame. By shooting through doorways or corridors, you not only make the character feel small but also physically trapped by their environment and their grief.

As the character’s journey progresses after a memory, you can then move the camera closer, perhaps using wider lenses to maintain a sense of the empty space around him. This creates a more immersive yet still isolating feeling, as if the walls are closing in. The key is to juxtapose the visual styles. The still, distant shots of his lonely present will contrast powerfully with the more dynamic, intimate shots of his past.

Fathers and Daughters (2015)

CRAFTING FLASHBACKS AND HAPPY MEMORIES

To create the flashbacks of happier times, the visual language needs to shift dramatically. Shane recommends a combination of techniques to create a warm, vibrant, and energetic feel.

DEPICTING PSYCHOLOGICAL DISTRESS: ANXIETY, CONFUSION & ALZHEIMER’S 

For moments of intense psychological distress, like John’s anxiety attack or his confusion from Alzheimer’s, the visual approach can become more abstract and unsettling.

Lydia notes that both grief and Alzheimer’s can create a profound sense of imbalance and disorientation. To translate this to the screen, Shane suggests a more radical tool: Swing & Tilt lenses. These lenses, which have a flexible bellows system, allow you to physically shift the focal plane during a shot. 

“You can literally pan the lens,” Shane explains, “not the camera.”

By moving the lens, you can make different parts of the frame slide in and out of focus in an unnatural way. This creates a powerful visual representation of a character’s fractured mental state—a moment of clarity followed by sudden confusion. Shane used this technique on Mr. 3000 to show Bernie Mac’s character focusing intently on a pitcher’s grip, creating a “Hawkeye” effect. For a character like John, it could perfectly visualize the disorienting experience of his mind being “in sync, and then all of a sudden it’s not.”

Other techniques for anxiety include using macro lenses for extreme close-ups with intensely shallow depth of field, or the old-school trick of applying Vaseline to a clear filter to create a distorted, blurry effect around the edges of the frame.

FROM LOVE TO FEAR: A VISUAL SPECTRUM

The conversation also touched on how to visually represent more fundamental emotions. 

CAMERA EMOTION: LOVE

To show two characters falling in love, start with “clean” single shots, keeping them separate in the frame. As their connection grows, gradually introduce “dirty” over-the-shoulder shots, moving the camera closer and tightening the frame until they are intimately linked, perhaps even overlapping, in the composition. 

The lens choice can also evolve from longer lenses (creating distance) to wider lenses (creating immersion) as their love deepens.

CAMERA EMOTION: FEAR 

Fear and suspense are often built by manipulating the audience’s perspective. The classic Point of View (POV) shot, as pioneered by John Carpenter, puts the audience in the killer’s shoes. 

Halloween (1978)

Handheld camera movement that follows a character down a dark hallway creates a sense of vulnerability, as if the threat is right behind them. Slow, deliberate pans into darkness can build immense tension, leaving the audience to imagine what lurks in the shadows.

THE BOTTOM LINE: YOUR CAMERA IS AN EMOTIONAL TOOL

As Shane Hurlbut’s insights reveal, every camera and lighting choice is an opportunity to deepen the audience’s emotional connection to the story. By thinking like a “visual psychologist,” you can create a deliberate and powerful visual language that goes beyond simply documenting the action. Remember, your camera is a tool for expressing emotion, revealing psychology, and immersing your audience in the world of your characters.

UNLOCK THE FULL MASTERCLASS LESSON!

This article is inspired by the deep dive into camera emotions from Inner Circle Podcast Episode 21. For more in-depth lessons on how to master the art and science of cinematography, you need to be a part of Filmmakers Academy.

In our full courses, like Film & Camera Theory, part of the On Set Series: Cinematic Light Sources, you’ll find hours of detailed, on-set instruction to elevate your craft.

You can get access in two ways:

• Become a Filmmakers Academy Premium Member for unlimited access to this and hundreds of other in-depth courses, lessons, and resources.
• Or, make a one-time purchase of individual lessons or complete courses.

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

TUNE INTO PREMIUM FILMMAKERS ACADEMY PODCASTS

The post Camera Techniques for Emotional Storytelling appeared first on Filmmakers Academy.

CINEMATOGRAPHY TIP: CREATE EFFICIENT LIGHTING CONTROL

VISUALIZING LIGHT IN REAL-TIME: THE POWER OF LIVEPLOT

Imagine having a visual representation of your entire lighting setup. Particularly, right on an iPad using the lighting control app with the power to display the intensity levels of each individual light in real-time. That’s precisely what LivePlot offers. Instead of relying solely on verbal cues and physical checks, the cinematographer, gaffer, DIT, and programmer can all see a live digital map of the Blackout lighting landscape.

As Blackout programmer Ian Peterson adjusts the intensity of backlight units, Shane’s iPad instantly reflects those changes. Moreover, this immediate visual feedback is a game-changer for several reasons, including enhanced communication, increased efficiency, real-time problem-solving, and providing an invaluable overview for complex setups.

Shane emphasizes that as budgets and schedules tighten, this level of real-time visualization becomes absolutely crucial for maintaining quality and staying on track. Consequently, the ability for the entire crew to operate from the same visual information fosters a more collaborative and efficient workflow.

TACTILE PRECISION: INTRODUCING THE BLACKOUT NAVIGATOR

While the iPad interface of Blackout offers incredible mobility, Ian introduces the new Blackout Navigator, a dedicated lighting control panel designed to provide tactile control. Overall, this innovative piece of equipment bridges the gap between the intuitive touch interface and the precision of physical controls. That is to say, the Blackout Navigator gives you a physical lighting remote control switch for every function. 

The Blackout Navigator features backlit encoders for precise, hands-on control and motorized faders that offer the familiar feel of traditional lighting consoles. One of its most ingenious features is a built-in Wi-Fi router. Ian demonstrates how he can unplug the iPad from a wired connection, and the Navigator seamlessly takes over. Therefore, this enables true light control by remote, allowing untethered movement around the set to visually assess the lighting from various angles. In other words, a crucial aspect of a cinematographer’s work.

Shane immediately appreciates the “easy and effortless” nature of adjusting light levels using the Navigator. The tactile feedback allows for subtle and precise adjustments without having to look directly at a touchscreen. This hands-on control empowers cinematographers to fine-tune their Blackout lighting with greater intuition and speed.

SHANE’S TIP: EFFORTLESS CONTROL IS A GAME CHANGER

Shane’s key takeaway (and the Cinematography Tip of the Day) is to make lighting work for you and your needs with the right tools. For instance, the sheer ease and effortlessness that this lighting console brings to on-set lighting control makes it essential.

So, he demonstrates this by directing Ian to adjust the background lights and bring up the fill lights. The speed and accuracy with which these adjustments are made highlight the efficiency gains. 

Meanwhile, Shane underscores that having this level of immediate visual and tactile control is a game-changer for cinematographers. Above all, it allows them to focus on the creative, work more intuitively, and collaborate seamlessly with the entire team.

THE BOTTOM LINE:

In short, the Blackout lighting system, centered around its powerful lighting console and intuitive app, represents a significant leap forward in on-set lighting control. Shane Hurlbut, ASC, clearly sees the immense value in this technology, highlighting its potential to enhance efficiency, improve communication, and ultimately empower cinematographers to focus on their creative craft. By providing real-time visual and tactile feedback, Blackout is proving to be a true game-changer for film makers working under the pressures of an ever-changing landscape of film production.

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

The post The Future of Lighting Control: Blackout LivePlot appeared first on Filmmakers Academy.

Using the film Fathers & Daughters as a case study, we’ll delve into a pivotal sequence in Cameron’s apartment. Following a dramatic confrontation, the lighting design becomes crucial in exploring the emotional distance between Cameron (Aaron Paul) and Katie (Amanda Seyfried), and their tentative steps towards reconnection. Discover how practicals, deliberate color temperature choices, and nuanced contrast visually articulate their evolving dynamic, with a key standing lamp playing a central role in the blocking and lighting scheme.

WATCH LESSON EXCERPT

To explore the full collection, which offers an immersive look into various lighting techniques and challenges, visit On Set Series: Cinematic Light Sources.

EMOTIONAL DISTANCE & CONNECTION: LIGHTING CAMERON’S APARTMENT

Following the dramatic confrontation at the bar, a scene in Cameron’s apartment explores the emotional distance this event has created between him and Katie, and their subsequent attempt to reconnect. The lighting design for this sequence masterfully uses practicals, color temperature, and contrast to reflect these internal states and their evolving relationship. The primary blocking revolves around a large barrel shade standing lamp.

INITIAL SEPARATION: DISTINCT COLOR WORLDS

When Katie is first seen in Cameron’s bedroom, she is physically distant from him and emotionally uncertain. Shane describes her character’s foundation as being “on sand,” while Cameron’s is “brick and mortar.” To visually represent this, they lit Katie with a very unique and cool color tone. Meanwhile, they lit Cameron in a warmer environment.

KATIE’S COOL TONE (METAL HALIDE)

A 250-watt Metal Halide fixture (a true fixture purchased from Home Depot, not a cinema-specific light) was placed on a 60-foot Condor outside Cameron’s bedroom window. 

They directed the light towards Katie. Its color temperature was set around 4700 Kelvin with a significant green spike.

ROLLER SHADE DIFFUSION (SOFT TOPPER)

A key pro tip involved using the existing roller shades on the windows. Production design/set decoration provided these. They pulled the shade down to a specific point, typically cutting across Katie’s chin. 

The Metal Halide light filtering through this roller shade (acting like a bleached muslin) created a soft, diffused light on her face and a distinct eye light. The hard, direct Metal Halide light was allowed to hit her body below the shade line. This “soft topper” technique creates a beautiful gradation. 

CAMERON’S WARM TONE

Aaron Paul was primarily illuminated by the warm light of the large barrel shade standing lamp in the room.

EMULATING METAL HALIDE WITH LEDS

While they used a true Metal Halide fixture, Shane also discusses modern LED alternatives. To replicate the hard shadows of a Metal Halide, a focusable LED fixture like a Fiilex Q5 or Q10 would be preferable to a panel light (like a SkyPanel S30 or Vortex4, which would create softer light but could match the XY color coordinates). 

The RGBW Amber (or similar) capabilities of modern LEDs allow precise matching of the Metal Halide’s unique color signature (e.g., 4700K with significant green) by dialing in the specific XY coordinates. 

They also used a Kino Flo Celeb 200 with its green channel boosted to emulate Metal Halide light coming through another window in a back room (hallway/kitchen area).

KATIE MOVES CLOSER: A JOURNEY THROUGH LIGHT AND SHADOW

As Katie walks from the bedroom towards Cameron, her lighting transitions…

Initially, she is dimly lit, picking up motivation from the barrel shade lamp that is primarily lighting Cameron. 

The Metal Halide from the window can be seen edging a non-illuminated practical and items on the windowsill. They created a tea-stained, cyan-toned backlit effect with the roller shades.

A 212 photoflood bulb (tungsten balanced at 3200K) was inside the main barrel shade lamp. They dimmed it down to appear warmer (around 2900K). It contrasts with the camera’s white balance of 3700K and the cooler 4700K Metal Halide, creating rich color contrast. 

LIGHTING WITH INTENT:

As demonstrated in this look at Cameron’s apartment scene, every lighting choice can be imbued with narrative purpose. From establishing distinct color worlds with Metal Halide and warm practicals to create initial separation, to the subtle “soft topper” technique using roller shades for nuanced facial lighting, each element worked in concert to reflect Katie and Cameron’s emotional journey. The careful consideration of color temperature contrasts, the motivation of light from practical sources, and the dynamic interplay of light and shadow as characters move through the space, all highlight how cinematography can profoundly deepen an audience’s understanding of character and story.

These lighting techniques offer a glimpse into the detailed instruction. All of which found in the full “Actor Blocking with Practical Lighting” lesson.

Ready to master these techniques and elevate your own cinematic storytelling?

Dive deeper into the art and science of lighting with the complete “On Set Series: Cinematic Light Sources.” Join Shane Hurlbut, ASC to gain invaluable insights into practical lighting, mood creation, and professional problem-solving.

Watch the full series now at Filmmakers Academy and transform your approach to lighting!

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Use code FABLOG50 to save $50 on your annual membership!

The post Actor Blocking with Lighting Emotion appeared first on Filmmakers Academy.

In this lesson excerpt from our On Set Series: Cinematic Light Sources, acclaimed cinematographer Shane Hurlbut, ASC, reveals a surprisingly simple yet incredibly effective technique for gaining precise control over these often-problematic sources. Forget complex rigging or expensive modifiers. Sometimes, the solution comes from an unexpected place — the hairdresser’s toolkit!

This is a lesson in taming bare bulbs to work as a light source in your scenes. 

WATCH THE DIY HACK TO CONTROL BRIGHT BULBS

THE CHALLENGE: THE UNCONTROLLABLE BARE BULB

Shane sets the stage with a scene from the film The Rat Pack. In it, FBI agents are covertly listening in on conversations, their shadowy operation illuminated by a single, stark bare bulb hanging overhead. Visually, this bulb was a nightmare. 

“It was flaring the lens like you could not believe,” Shane explains. “Wherever I panned the camera, there was a double image of that bare bulb.” 

This is a common problem. The raw, omnidirectional output of a bare bulb can easily overwhelm the lens, creating distracting flares and a lack of control over the light’s direction and intensity.

THE SOLUTION: NOT PAINT, BUT “STREAKS ‘N TIPS”

Many might think of painting a bulb to reduce its output, but Shane quickly dismisses this. 

“When you hit a bulb with paint,” he warns, “it’s got a thicker lacquer or whatever chemical base to it… and it’s hard to clean off. And when you hit it with paint, it tends to explode.” 

This is obviously a safety hazard and impractical on a busy film set. Instead, Shane turns to “Streaks ‘N Tips” — a temporary hair coloring spray. 

This product, designed for hairdressers to add highlights or temporary color, has become an indispensable tool for cinematographers. 

THE TECHNIQUE: “PAINTING” WITH LIGHT, SELECTIVELY 

Shane’s method for The Rat Pack scene was meticulous and precise. First, he addressed the lens flare issue. 

“I will let the bulb sit there in all its firepower,” he describes, “and then I go up with black Streaks ‘N Tips, and I’ll literally just squirt a small little black hole around the hot part of the bulb.” 

This targeted application on the filament-facing side of the bulb neutralizes the direct glare that causes the lens flare, essentially dimming the brightest point source for the camera. 

But he didn’t stop there. To ensure the light still effectively illuminated the actors without spilling uncontrollably, Shane sprayed the backside of the bulb with black Streaks ‘N Tips. In the end, the whole back side of that bulb was black. 

This effectively turned the omnidirectional bare bulb into a more directional source. The light hitting the two FBI agents was left open, cleanly illuminating them, while the backside was controlled, preventing spill onto walls or other areas where it wasn’t wanted. 

“The edges illuminated our characters beautifully,” Shane notes. 

THE CORE PRINCIPLE: FINESSING PRACTICAL SOURCES

This technique, like using a Coke can or Depron to shape light from barrel shades (as discussed in PART 2 of this series), underscores a fundamental principle of Shane Hurlbut’s lighting philosophy: taking practical, often problematic, light sources and finessing them into controllable, cinematic tools. It’s about understanding the light you have and then shaping it with intention to serve the story and the emotional impact of the scene.

This seemingly simple trick of using hairspray on a lightbulb is a testament to the ingenuity and problem-solving that happens on set every day. It’s about having a deep understanding of how light behaves and finding creative, efficient ways to control it.

THE BOTTOM LINE: MASTER CINEMATIC LIGHT SOURCES

This exploration of taming bare bulbs with Streaks ‘N Tips is just one insight from the third installment lesson, Shaping Light Bulbs and Replicating Screen Lights, part of our comprehensive On Set Series: Cinematic Light Sources.

In the full lesson, Shane Hurlbut, ASC dives even deeper into manipulating practicals, finessing different types of bulbs, and even demonstrates how to replicate the unique glow of various screens (TVs, phones, computer monitors) to create believable and atmospheric lighting.

The post DIY Lighting: Streaks ‘N Tips on Light Bulbs appeared first on Filmmakers Academy.

In an excerpt from his comprehensive lesson, Film Firelight: Candles, Oil Lamps & Fire Effects, part of our new On Set Series: Cinematic Light Sources, Shane breaks down how he tackled complex firelight scenarios. Specifically, on the set of the period piece, The Greatest Game Ever Played. 

This is a lesson in creative problem-solving and achieving stunning visual narratives.

Watch the Excerpt from Film Firelight: Candles, Oil Lamps & Fire Effects

LIGHTING THE BILLIARD ROOM SCENE IN “THE GREATEST GAME EVER PLAYED”

To understand the genius of the Medusa light, we first need to step into the specific scene Shane Hurlbut designed. The billiard room in “The Greatest Game Ever Played.” He envisioned a space with a stark, potent emotional feel. 

The Greatest Game Ever Played (2005) | Walt Disney Pictures

“It almost feels like a boxing ring,” Shane explains, “where there’s only the light over the billiard table. And then sketchy, kind of scrapy lights illuminating and bringing up the walls from above.”

To achieve this, his team hung an entire lighting grid overhead, adding small Dedo light sources to create textured streaks on the walls. Although a real fire burned in a fireplace within the scene, a common issue quickly became apparent. The natural firelight alone proved insufficient to properly expose or shape the main character, Harry Vardon (Stephen Dillane), threatening to leave him lost in darkness. This immediately signaled the need for augmentation.

CREATING FIRELIGHT EFFECTS: THE BIRTH OF THE “MEDUSA”

Shane then reveals his inspiration for crafting a dedicated firelight effect. 

“It starts with reading American Cinematographer,” he recalls, referencing an article on the legendary Allen Daviau, ASC, and his work on “Van Helsing.” Daviau had pioneered a technique of taking standard photo flood bulbs and dipping them in various strengths of CTO (Color Temperature Orange) Rosco “bulb dip” paint — full, half, or quarter strength — to create an inherent fire-like color.

Building on this, Shane developed his own version of the “Medusa.” 

“This is my version of the Medusa,” he demonstrates with microphone flexible Gooseneck mounts. “And I put the bulb on the end of it, dipped them all.” 

This setup, with multiple CTO-dipped bulbs on flexible arms, allowed him to shape the fire effect precisely, making it “as wide or as tight as you want.” This customizable tool became key for generating convincing firelight. Especially for closer shots.

The Greatest Game Ever Played (2005) | Walt Disney Pictures

CHALLENGES AND SOLUTIONS IN LIGHTING

However, implementing such a device isn’t without its hurdles. In the wide establishing shot of the billiard room, Shane notes that he wasn’t able to hide the Medusa in the frame. 

Consequently, for that wider perspective, he had to rely on the real, practical fire in the scene to sell the effect. Augmented by practical lamps on the set sourced by the production designer, which added beautifully to the room’s ambiance.

Even with the real fire and the practical lamps, the challenge of illuminating Harry Vardon persisted. The combined firelight still wasn’t enough to properly rim or separate him from the shadowy background. 

Therefore, Shane’s team strategically hung another Dedo light from the overhead grid. This fixture provided a crucial back-top light, ensuring Vardon didn’t “just fall into blackness.” 

This highlights a vital principle: “Once again,” Shane emphasizes, “the fire cannot do the job. You’re having to do and emulate and hide sources to be able to pull it off.”

USING THE FLICKER BOX FOR ULTIMATE REALISM

With the Medusa positioned for closer shots, bringing its warm, CTO-colored light onto Harry Vardon’s face, one final element was crucial for ultimate realism: movement. This is where the “Magic Gadget,” as Shane calls it — the flicker box — came into play.

“The Medusa is down low, and it’s working its magic,” he describes. “When you see that scene, you can see the flicker is happening really beautiful on his face. It looks very realistic. And it’s got the nice undulation, and this was all put into a flicker box.” 

These specialized units have multiple adjustable toggles and often feature different pre-programmed firelight settings. The team achieved a convincing “dancing light” effect by connecting the Medusa light to a flicker box. By setting it to a realistic fire pattern, they truly emulated an organic movement.

THE BOTTOM LINE: FIRELIGHT THROUGH INGENUITY & AUGMENTATION

Shane Hurlbut, ASC’s breakdown of the Medusa light technique offers a powerful insight into the world of practical lighting. What we’ve learned here is that creating believable firelight is rarely about relying solely on the practical source itself. Instead, it demands careful observation, creative problem-solving, and skillful augmentation. 

By understanding the characteristics of fire, drawing inspiration from masters like Allen Daviau, and employing tools like custom-built rigs and flicker boxes, cinematographers can gain precise control over one of filmmaking’s most atmospheric elements.

This matters because authentic lighting elevates storytelling. It immerses the audience in the world you create. Whether it’s the subtle intimacy of a candle or the dramatic intensity of a larger flame, mastering these techniques allows you to shape mood and emotion effectively.

This look at the Medusa light is just a glimpse into the comprehensive knowledge shared in Film Firelight: Candles, Oil Lamps & Fire Effects. To dive deeper into augmenting practicals, learn about lighting with oil lamps, witness the creation of the “Trash Can Light,” and understand how to balance firelight with ambient exposure for period pieces and beyond, explore the full lesson. 

It’s the premiere installment of our new On Set Series: Cinematic Light Sources. This series is designed to bring you directly onto the set with industry-leading ASC cinematographers.

Ready to ignite your lighting skills?  

The post Film Firelight & Fire Effects: The Medusa Light appeared first on Filmmakers Academy.

Movie Lighting: The Fly Swatter Moonbounce

Recreating the soft, ethereal glow of moonlight in film production is a challenge that has tested cinematographers for decades. You can’t simply point a powerful light at your scene and call it a night. Natural moonlight is diffused, bounces off surfaces, and fills shadows in a way that a single, harsh light source can never replicate. That’s where a powerful tool — often overlooked by aspiring filmmakers — comes into play: the fly swatter. 

Fly Swatter | Photo Credit: Betina La Plante

This article will give you a taste of the techniques used by Hollywood professionals to craft believable and beautiful night exteriors, focusing on how a properly rigged fly swatter can transform your set.

MOONLIGHT AMBIENCE TECHNIQUES: IT’S ALL ABOUT THE BOUNCE

Cinematographer Shane Hurlbut, ASC, understands that emulating moonlight isn’t about raw power; it’s about the quality of light. Think about how real moonlight works. It’s not a direct beam; it’s reflected and scattered light. It bounces off buildings, the ground, and even the atmosphere itself. This creates a soft, ambient glow that fills in shadows and wraps around objects.

Shane Hurlbut, ASC | Photo Credit: Betina La Plante

To achieve this on set, we use a technique called “fly swatting.” A fly swatter, in film terms, is a large frame (often 20×20 feet!) covered with a reflective or diffusive material. This frame is then rigged to a Condor boom lift, placing it high above the set, mimicking the position of the moon.

There are two primary approaches…

1. MOON BOUNCE

We can bounce powerful lights off the fly swatter’s surface. This creates a large, soft source, spreading the light over a wide area. 

The choice of bounce material is crucial. A bleached muslin fabric provides a gentle, diffused reflection, perfect for that classic moonlight look. An “ultra bounce” material, on the other hand, creates a harder, more specular reflection. This is useful for creating highlights or a slightly more stylized feel.

2. MOON BOX

Alternatively, we can place lighting units within the frame, creating a large, diffused light source directly. Grips accomplish this technique with specialized lighting panels.

In this article (and the full course), we’ll focus on the bounce technique, specifically using a 20×20 fly swatter with bleached muslin.

BUILDING THE FLY SWATTER SETUP: RIGGING FOR SUCCESS

The fly swatter isn’t just about the fabric; it’s about the rigging. Local 80 Key Grip Brendan Riel emphasizes that a safe and effective fly swatter setup requires careful construction and a thorough understanding of weight distribution and stability.

The core of the setup is a 20×20 foot frame, typically made of speed rail. This frame is then attached to a Condor boom lift — a powerful piece of equipment that allows us to position the fly swatter high above the set. But we can’t just hang the frame directly from the Condor basket. We need a support structure.

Inside the Condor basket, we build a “goal post” using speed rail and cheeseboros (heavy-duty clamps). This goal post provides the primary attachment points for the frame. Then, a tri-truss — a triangular structure built from speed rail and specialized connectors — extends from the goal post to support the 20×20 frame itself. Finally, kickers (additional lengths of speed rail) are added to provide extra stability and prevent the frame from swaying or twisting in the wind.

CALCULATING WEIGHT CAPACITY & SAFETY: IT’S MORE THAN JUST ADDING NUMBERS

Safety is the paramount concern when working with aerial lifts and large, heavy rigs. It’s not enough to simply add up the weight of the frame, fabric, and rigging hardware. We need to understand the combined center of gravity and how it affects the Condor’s weight capacity.

Direct weight is considered anything positioned behind the Condor’s control panel (towards the arm). Likewise, adjusted weight is anything in front of the panel (towards the outer edge of the basket). The adjusted weight has a much greater impact on the lift’s stability.

To calculate the adjusted weight, we consult the manufacturer’s manual (in this case, JLG’s supplemental manual). This manual provides charts that help us determine the safe operating limits based on the adjusted weight and the new center of gravity. Failing to perform these calculations accurately could lead to catastrophic equipment failure and serious injury.

FINAL PREPARATIONS & SAFETY MEASURES: READY TO FLY 

Once the frame is built, the tri-truss attached, and the kickers in place, it’s time for final adjustments. The frame must be perfectly level to ensure even light reflection. Achieve this by using a combination of tag lines (ropes) and making careful adjustments to the speed rail kickers.

Then, attach the bleached muslin bounce material to the frame. Cleanliness is critical here — any smudges or dirt on the white fabric will be visible in the reflected light. After that, secure the fabric at the corners first, then the center points, ensuring even tension and a smooth, wrinkle-free surface.

Before raising the fly swatter, double-check all connections and make sure to carefully monitor the wind speed. For a 20×20 fly swatter, the recommended maximum wind speed is typically between 5 and 11 mph, according to JLG guidelines.

THE BOTTOM LINE: MASTERING THE ART OF ARTIFICIAL MOONLIGHT

The fly swatter, when properly rigged and deployed, is an incredibly powerful tool for creating beautiful, realistic moonlight on film. It allows cinematographers to control the quality, direction, and intensity of the light, shaping the scene and creating a specific mood. But it’s not a simple setup. It requires a deep understanding of rigging principles, weight calculations, and safety procedures.

Want to see the Fly Swatter in action and learn the complete process from start to finish?

GET THE NIGHT CINEMATOGRAPHY MASTERCLASS

This article only scratches the surface of what you’ll learn in the full Night Cinematography Masterclass. You’ll see Shane Hurlbut, ASC, and Brendan Riel build and deploy the 20×20 fly swatter, step-by-step, with detailed explanations and close-up shots of every connection. 

You’ll learn:

• Detailed weight calculations and safety procedures.
• How to build the goal post and tri-truss.
• The art of triangulation for maximum stability.
• How to level the frame and attach the bounce material perfectly.
• And much, much more!

Don’t just read about it — see it! Unlock the secrets of professional night cinematography and elevate your filmmaking to the next level. Click here to get the Night Cinematography Masterclass today! 

The post Movie Lighting: The Fly Swatter Moonbounce appeared first on Filmmakers Academy.

Understanding this “grip talk” isn’t just about sounding knowledgeable; it’s about understanding the why behind the rigging choices, which ultimately impacts the safety and effectiveness of your lighting.

THE SCENARIO: A 120-FOOT CONDOR FOR NIGHT EXTERIORS

Imagine you’re preparing to light a massive night exterior scene, with a car traveling down a long stretch of road. To achieve even illumination, you’re using a 120-foot Condor boom lift, positioning powerful lights high above the set. This isn’t a simple matter of putting a light on a stand; it requires careful rigging and a precise understanding of the equipment.

KEY TERMS AND THEIR PRACTICAL APPLICATION: 

Rigging a Condor boom lift is a precise and demanding task, where safety is paramount. Every component, every connection, has a specific purpose. In this section, we’ll decode the essential grip terminology used in this process, explaining not just what these terms mean, but why they matter in ensuring a secure and effective lighting rig.

THE IMPORTANCE OF REDUNDANCY:

Notice that the moving lights are attached to the truss using both ratchet straps and hard mounts. This is a crucial safety principle in rigging: redundancy. If one attachment method were to fail (a strap breaks, a clamp slips), the other would still hold the lights securely in place. This is especially important when dealing with heavy equipment suspended high above the ground.

WHY THIS MATTERS TO YOU (EVEN IF YOU’RE NOT A GRIP):

As a filmmaker — whether you’re a director, DP, or producer — you might not be the one climbing the Condor. However, understanding the language of rigging is far from irrelevant. In fact, it’s essential for effective collaboration and informed decision-making. Knowing these terms empowers you to communicate your vision clearly to your key grip and gaffer. You’ll understand the constraints they’re working under and be able to discuss potential solutions collaboratively. 

This knowledge also enhances your safety awareness on set, allowing you to recognize potential hazards and contribute to a safer working environment. Beyond the practicalities, understanding how lights are rigged opens up a world of creative possibilities. You’ll be able to envision more complex and ambitious lighting setups, knowing what’s feasible and how to achieve it. It will also ensure that the necessary equipment makes it into the film’s budget.

THE BOTTOM LINE: BEYOND THE GRIP JARGON

The language of filmmaking, like any specialized field, can seem daunting at first. But by breaking down these terms and understanding their practical application, you’ll gain a deeper appreciation for the craft of film rigging and the crucial role it plays in bringing cinematic visions to life.

Want to learn more about Condor rigging, safety protocols, and advanced lighting techniques? 

This excerpt is from our comprehensive Film Production Rigging: Condor Boom Lifts course, available exclusively to Filmmakers Academy All Access members or as a one-time purchase. 

Elevate your filmmaking knowledge and unlock new creative possibilities!

NIGHT CINEMATOGRAPHY MASTERCLASS

This Condor rigging lesson gave you the how. Now, are you ready to see the why? In our Night Cinematography Masterclass, you’ll witness the stunning results of this very setup in action. We’ll break down how the principles of Condor rigging, combined with expert lighting techniques, create truly breathtaking night exteriors. You’ll see how the theory translates into practice, and learn how to apply these techniques to your own films. Don’t just learn about rigging — see the cinematic magic it unlocks! 

Get the Night Cinematography Masterclass now and transform your night shoots.

The post GRIP TALK: THE LANGUAGE OF CONDOR RIGGING appeared first on Filmmakers Academy.

Rigging a Condor Boom Lift: Weight, Safety & Strategy

Imagine lighting a scene that stretches for hundreds of yards, under the cloak of night. How do you achieve even, controlled illumination at that scale? The answer, often, is a Condor boom lift. I’m Shane Hurlbut, ASC, and in this exclusive excerpt from our Film Production Rigging course, we’re going up — way up — with a 120-foot Condor, revealing the real-world planning, rigging, and safety considerations that go into creating cinematic magic. Joining me are my trusted gaffer, Tom Sigurdsson, and key grip, Brendan Riel, to break it all down.

WHY A CONDOR? CHOOSING THE RIGHT TOOL FOR THE JOB:

For this particular night exterior, we have a challenging scenario. Our scene involves a car traveling down a road, covering approximately 150 yards. We need to light that entire stretch of road evenly and consistently. 

While there are many ways to approach night exteriors, a Condor boom lift offers several key advantages in this situation.

HEIGHT AND REACH

A 120-foot Condor allows us to get our light sources high above the surrounding trees and obstacles, creating a broad, even wash of light.

STABILITY

We’re opting for a straight-arm Condor, rather than one with a jib or knuckle. Straight arms offer superior stability, especially at significant heights and with heavier lighting payloads. Jibs, while offering more articulation, can be prone to swaying or failing under load.

CONTROL

A Condor provides precise control over the positioning of our lights, allowing us to fine-tune the angle and direction of the beam.

THE LIGHTING PLAN: EMULATING A MAXI BRUTE WITH LEDS

My go-to approach for lighting large night exteriors has often involved Maxi Brutes — powerful banks of incandescent PAR lights. They create a beautiful, directional beam that can be “wasted” off the set, creating an even wash over a long distance. However, technology has advanced, and we now have LED options that offer similar (or even superior) performance with greater flexibility and efficiency.

For this setup, we’re using four Nanlux 2400B LED fixtures. These powerful lights, combined with 30-degree reflectors, will effectively mimic the output of multiple Maxi Brutes. The narrow beam angle allows us to create a focused, long throw of light, minimizing spill and maximizing control. The idea is to “full spot” the lights and then position them so the beam just grazes the top of the set, creating an even wash of light from the base of the Condor all the way to the end of our 150-yard stretch of road.

ADDING DIMENSION: MOVING LIGHTS FOR BACKGROUND HIGHLIGHTS

To add depth, dimension, and visual interest, particularly for wide crane shots, we’ll also incorporate moving lights (often referred to as “rock and roll” lights) into our Condor rig. These remotely controllable fixtures allow us to highlight specific elements in the background, such as trees or buildings, creating a sense of scale and visual separation. We can also adjust their color temperature slightly differently from our main moonlight source, adding subtle color contrast to the scene.

THE SETUP: A DETAILED BREAKDOWN 

It’s time to break down the technical details of our Condor setup. Gaffer Tom Sigurdsson explains the mounting, power, and control systems that will bring our lighting plan to reality.

The four Nanlux 2400B fixtures will be mounted in a custom cage. This cage allows us to remove the yokes from the individual lights, reducing weight and creating a more compact unit. This cluster of lights will be positioned at the top of the Condor basket. Power will be supplied by a Santa Fe fleet battery tow plant, providing clean and reliable power for the duration of the shoot.

Crucially, we’ll use a lunchbox with data connections to allow for remote control of the lights. This means our lighting programmer, positioned hundreds of feet away, can adjust color temperature, intensity, and the movement of the moving lights without needing to be in the Condor basket itself. This is a huge advantage in terms of efficiency and safety. The use of the LED lights also bring a benefit over the older, traditional Maxi Brutes.

RIGGING AND SAFETY: THE PARAMOUNT CONCERN 

Now, let’s get into the nuts and bolts of rigging the Condor. This isn’t just about attaching lights; it’s about understanding weight distribution, capacity limits, and the engineering principles that keep everything safe and stable. Key Grip Brendan Riel breaks down the essential considerations, from weight restrictions to the rigging plan.

WEIGHT RESTRICTIONS 

Every Condor boom lift has specific weight capacity limits, both “restricted” and “unrestricted.” The “unrestricted” capacity (in this case, 500 pounds) applies to the full range of the boom’s movement. The “restricted” capacity (1000 pounds) applies to a limited range, typically at higher elevations and with less extension. Exceeding these limits is extremely dangerous and can lead to equipment failure.

THE RIGGING PLAN 

Traditionally, lights would be mounted on “candlesticks” (vertical speed rail) attached to the Condor basket. However, due to the weight of the Nanlux cluster and the cage, additional support may be necessary. Brendan outlines a plan that involves using 6-inch Module X truss, strapped to the bottom of the basket, to provide a secure mounting point for the moving lights.

CALCULATING THE LOAD

Brendan meticulously calculates the weight of every component: speed rail, cage, lights, movers, truss, cheeseboros, cables, etc. This detailed accounting is essential to ensure we remain within the Condor’s safe operating limits. In this particular case, the total weight with the moving lights comes to 929.2 pounds. Without the movers, it’s 682.2 pounds.

THE TRADE-OFFS 

Because our total weight exceeds the 500-pound unrestricted capacity, we’ll likely need to operate within the “restricted” range. This may limit the maximum height we can achieve, potentially to around 100 feet instead of the full 120 feet.

FINALIZING THE PLAN: SAFETY, FLEXIBILITY, AND COMMUNICATION

The final stage brought together myself (Shane), Brendan, our key grip, and Tom, our gaffer, for a crucial discussion. We needed to weigh our creative goals – lighting that 150-yard stretch of road – against the very real practical limitations of the Condor, namely weight restrictions and potential height limitations. This is where the rubber meets the road, where the ideal plan confronts the realities of physics and safety.

And safety is always paramount. That’s non-negotiable. We would never compromise safety for the sake of a shot, no matter how ambitious. If the weight calculations or the lift’s inherent limitations prevented us from achieving our initial vision, we would absolutely adapt. That might mean scaling back our lighting package, perhaps using fewer moving lights or opting for lighter-weight fixtures. It could even mean modifying the entire rigging approach. Flexibility is essential in this business; you have to be prepared to adjust your plan based on real-world conditions.

This adaptability hinges on open and honest communication. The DP, gaffer, key grip, and, crucially, the Condor operator, must be on the same page. Everyone needs to understand the plan, the limitations, and the safety protocols. There’s no room for ambiguity or assumptions when you’re dealing with heavy equipment at significant heights.

In this particular instance, after reviewing Brendan’s meticulous weight calculations and the Condor’s specifications, we determined that operating within the restricted range was the only safe option. While this might limit our maximum height to around 100 feet instead of the full 120, we collectively agreed that this was acceptable for the specific location and the desired look. We proceeded with the rigging plan, confident that we had a solution that was both creatively effective and, most importantly, safe.

THE BOTTOM LINE: PLANNING, PRECISION & ADAPTABILITY

This pre-rig exercise demonstrates the complexities and considerations involved in using a Condor boom lift for night exterior lighting. It’s not simply a matter of sticking a light on a lift and sending it up. It requires careful planning, precise weight calculations, a thorough understanding of the equipment’s capabilities and limitations, and, above all, a commitment to safety. It also requires teamwork and clear communication.

This lesson is just a small glimpse into the world of production rigging. To gain a comprehensive understanding of rigging techniques, safety protocols, and the art of shaping light on a large scale, we invite you to explore the full Film Production Rigging course, available exclusively with a Filmmakers Academy All Access membership or as a one-time purchase.

You’ll learn from industry experts, gain practical skills, and elevate your filmmaking to new heights. Don’t just light your scenes — control your light, shape your world, and tell your story with power and precision.

NIGHT CINEMATOGRAPHY MASTERCLASS

This Condor rigging lesson gave you the how. Now, are you ready to see the why? In our Night Cinematography Masterclass, you’ll witness the stunning results of this very setup in action. We’ll break down how the principles of Condor rigging, combined with expert lighting techniques, create truly breathtaking night exteriors. You’ll see how the theory translates into practice, and learn how to apply these techniques to your own films. Don’t just learn about rigging — see the cinematic magic it unlocks! 

Get the Night Cinematography Masterclass now and transform your night shoots.

The post Rigging a Condor Boom Lift: Weight, Safety & Strategy appeared first on Filmmakers Academy.

Cinematic Light Quality: Silver Bounce

Tired of flat, lifeless lighting? In this excerpt from the Cinematic Light Quality Masterclass, I, Shane Hurlbut, ASC, will show you how to use silver bounce to add dimension, sparkle, and a touch of magic to your images. We’re moving beyond basic white bounce and into a whole new realm of possibilities.

While white bounce provides soft, diffused light, silver bounce introduces a specular element, creating a quality of light that can add depth, shimmer, and a touch of magic to your images. This is not about creating harsh, uncontrolled reflections, but rather about subtly shaping and blending hard and soft light to achieve a specific look.

YOU WILL LEARN: Understand the unique properties of silver bounce lighting Identify specular highlights Layer different light qualities Control light with diffusion Emulate natural light Experiment with different setups  Build a silver bounce setup  Apply principles to other light sources

More Lessons on Cinematic Light Quality:

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

THE INSPIRATION: LIGHT IN THE WILD

Let’s start by looking at light outside the studio. See that glint of sun on wet pavement? Notice the sheen on a polished floor? Those subtle highlights from distant reflections? That’s not the soft, even light of a white bounce. Rather, it’s specular light — directional, with a beautiful sparkle. That’s what we’re after with silver bounce.

THE SETUP: COMBINING HARD AND SOFT

The core concept of this technique involves bouncing a relatively hard light source off a silver reflector and then, often, further diffusing that reflected light. This creates a blend of hard and soft light, giving you the control of a directional source with the added benefit of a subtle, specular highlight.

For this demonstration, we’ll be using…

LIGHT SOURCE — VORTEX 8 LED PANELS

These powerful, color-tunable LEDs provide a consistent and controllable source. SkyPanels are also an option. The key is a source that can deliver sufficient intensity to bounce effectively.

SILVER REFLECTOR — HONEYCRATE SILVER BOUNCES 

We’ll use Honeycrate silver bounces. These are lightweight, rigid reflectors with a textured silver surface. There are two primary options:

Full Silver: This provides the most specular reflection, the “hardest” quality of the silver bounce options. Silver and White: This combines a silver reflective surface with a white diffusion layer, softening the light slightly while still retaining some of the specular quality.

DIFFUSERS — HALF SOFT FROST & MAGIC CLOTH

We’ll experiment with adding layers of diffusion in front of the silver bounce to further modify the light quality. Specifically, we’ll use:

Half Soft Frost: This provides a moderate level of diffusion, softening the light without eliminating the specular highlights entirely. Magic Cloth: This is a heavier diffusion material, creating a very soft, even light.

THE DEMONSTRATION: LAYERING LIGHT QUALITIES

Let’s put theory into practice. In this on-set demonstration, we’ll build a silver bounce lighting setup, layer by layer, and explore the impact of each modification on the final image.

1. HARD SILVER SIDE LIGHT

We begin by positioning one Vortex 8, firing into a full silver Honeycrate bounce, as a side light on our subject. Observe the quality of light. Notice the sheen and highlights, particularly in the eyes. This is the “hardest” version of this setup.

2. SILVER AND WHITE WRAP

We then introduce a second Vortex 8, bouncing into a silver-and-white Honeycrate, positioned to wrap around the subject’s face (the fill side). This adds a softer, more diffused light, filling in the shadows created by the harder side light. Notice how the combination of the two sources creates a beautiful blend of highlight and shadow, with a subtle specular quality that adds life to the eyes.

3. ADDING DIFFUSION: HALF SOFT FROST

We now place a sheet of Half Soft Frost in front of the harder, full-silver side light. Observe how this softens the light slightly, reducing the intensity of the highlights but still retaining some of the specular quality. The light becomes more subtle, but the directional nature of the silver bounce is still evident.

4. ADDING DIFFUSION: MAGIC CLOTH

We then replace the Half Soft Frost (or add to it) with Magic Cloth. This creates an even softer, more diffused light. The specular highlights are further reduced, and the overall effect is more subtle and gentle.

Adding Half Soft Frost & Magic Cloth Diffusion Together

5. ADJUST THE FILL

With the Magic Cloth softening the key light, we can bring up the intensity of the fill, which has been created by a silver and white bounce. Bring it to a level that wraps into the eye of the model.

6. KILL THE FILL

Now, we can see how effective the side light with magic cloth is, and experiment by lowering and raising the intensity of the fill light.

7. ADJUST TO TASTE

Experiment with the levels of fill light, and adjust for personal taste, as well as for the story of the shot you’re trying to create.

KEY OBSERVATIONS AND PRINCIPLES:

What have we learned from this demonstration? What are the key principles that make silver bounce such a powerful and versatile lighting technique? Let’s break down the essential takeaways.

KEY ON KEY

This technique involves layering different qualities of light. We’re using a harder, more specular light (from the silver bounce) as our key, and then wrapping it with a softer, more diffused light (from the silver-and-white bounce and/or diffusion). This creates a more complex and nuanced light quality than using a single source alone.

EYE LIGHT

Pay close attention to the effect of the different light qualities on the subject’s eyes. The specular highlights created by the silver bounce add life and sparkle, while the diffusion helps to soften the overall look.

SUBTLETY

The goal is not to create an overly “silvery” or artificial look. The specular element should be subtle, adding a hint of sheen and dimension without being distracting.

EXPERIMENTATION

Don’t be afraid to experiment with different combinations of silver reflectors, diffusers, and light sources. The specific look you achieve will depend on the materials you use, the distances involved, and the overall lighting environment.

THE BOTTOM LINE: THE POWER OF OBSERVATION

The key takeaway from this lesson is the importance of observing light in the real world and then creatively adapting those observations to your cinematic lighting setups. Don’t be limited by conventional wisdom or pre-conceived notions about “hard” and “soft” light. 

Experiment with different materials, different combinations of sources, and different levels of diffusion. By understanding the fundamental principles of light quality and developing your own eye for light, you’ll be able to create truly unique and compelling images. This lesson has been an excerpt from our larger Cinematic Light Quality Masterclass.

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

DOWNLOAD FILMMAKERS ACADEMY APP

For the best experience, download the Filmmakers Academy app from your favorite platform!

• App Store
• Google Play
• Roku 
• Amazon Appstore

The post Cinematic Light Quality: Silver Bounce appeared first on Filmmakers Academy.

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.

DOWNLOAD FILMMAKERS ACADEMY APP

For the best experience, download the Filmmakers Academy app from your favorite platform!

• App Store
• Google Play
• Roku 
• Amazon Appstore

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

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Office Hours: Film School Experience without the Price Tag

Office Hours is the Latest Feature of Delivering Filmmakers Academy’s New Standard of Film Education!

Let’s ditch the stuffy film school brochures and have a real talk. We all know breaking into the industry can feel like scaling Mount Everest in a pair of Crocs. But here’s the thing: the times they are a-changin’! Forget those archaic brick-and-mortar institutions with their outdated curriculums and eye-watering tuition fees. The future of filmmaking education is online, and Filmmakers Academy is leading the charge.

Not only is Filmmakers Academy making world-class film education accessible to everyone, but we’re also bridging the gap between film school theory and real-world production. We’re talking about learning from actual working professionals who are using the latest gear and techniques right now on real film sets. Forget dusty textbooks and hypothetical or dated scenarios. This is the real deal. And guess what? We just dropped a bombshell feature that’s about to blow your mind: Office Hours!

WHAT IS OFFICE HOURS?

Photo Credit: Betina La Plante

Imagine chilling with your laptop, sipping your coffee (or that third energy drink, we feel you), and BAM! You’re face-to-face with mentors like Lydia Hurlbut, Brendan Sweeney, and the legendary Shane Hurlbut himself! No, it’s not a fever dream, it’s Office Hours, and it gives you that film school attention without the huge price tag.

To join, keep an eye on your inbox for email alerts, the community feed, or simply head to the calendar and select the Office Hours session you’d like to attend. And, of course, you need to be a premium member. 

This isn’t just some stuffy webinar where you passively listen to someone drone on. This is your chance to pick the brains of the pros, unlock the secrets of the platform, and to get inspired. 

TAP INTO THE MINDS OF FILMMAKERS ACADEMY PROS 

More than just answering your questions, they’ll offer invaluable insights gleaned from years of experience. This gives you the edge you need to succeed. And let’s not forget the networking potential. 

This is your chance to build connections with other members, potentially opening doors to future collaborations and career opportunities.

UNLOCK THE FULL POTENTIAL OF YOUR MEMBERSHIP 

Office Hours is also your key to unlocking the secrets of the platform and maximizing your Filmmakers Academy membership.

The platform is packed with resources, but navigating it can feel like trying to pilot the Millennium Falcon. Office Hours is your chance to master the platform like a pro, discovering hidden features and extracting maximum value from your membership. 

You’ll learn how to bridge the gap between theory and practice, getting personalized guidance on how to apply course content to your own films. And you’ll get the inside scoop on the latest filmmaking app offerings, software, and resources that can elevate your projects to the next level.

FUEL YOUR CREATIVE FIRE

Get ready to be inspired and reignite your passion for filmmaking. Hearing firsthand accounts of overcoming challenges and achieving success in the industry can give you a fresh perspective on your own journey. 

Sometimes all it takes is a little inspiration to push through creative blocks. Plus, you’ll be connecting with a community of passionate filmmakers, sharing your struggles, celebrating your wins, and finding support in a community of like-minded creatives.

Office Hours is a direct line to career advancement advice, a source of invaluable knowledge, and a powerful tool for unlocking your full potential as a filmmaker.

UNLOCK THE POWER OF OFFICE HOURS

Photo Credit: Betina La Plante

Okay, here’s the deal… This awesome feature is exclusively for our Premium members. The same way you can seek out a professor or guidance counselor at a university, Office Hours gives you a similar experience — only it’s virtual!

As a Premium Member, you’ll also get:

• More courses than you can shake a stick at from cinematography to directing to post-production.
• Exclusive content that will blow your mind with behind-the-scenes footage, bonus materials, downloadable resources, and more.
• Connect with like-minded creatives, share your work, and maybe even find your next collaborator.

FILMMAKERS ACADEMY: YOUR AFFORDABLE TICKET TO FILM SCHOOL

Photo Credit: Betina La Plante

Let’s face it, traditional film school can cost an arm and a leg (and maybe a kidney). But Filmmakers Academy is changing the game by offering a world-class film education. Only it’s actually affordable.

With Office Hours, we’re taking things to the next level. We give you that personal connection you’d get in a traditional film school setting. It’s like having your own personal guidance counselor, but without the hefty price tag.

MORE WAYS TO LEARN FROM THE MASTERS

Office Hours is just the tip of the iceberg. Filmmakers Academy also offers a variety of ways to connect with industry professionals and accelerate your filmmaking career.

SPOTLIGHT GROUP COACHING SESSIONS

Think of it as Office Hours on steroids, with a different industry pro each month and a laser focus on specific techniques.

The post Office Hours: Film School Experience without the Price Tag appeared first on Filmmakers Academy.

One of the key challenges in achieving pristine audio, particularly in scenarios involving on-screen talent, is microphone placement. Visible microphones can be distracting, pulling the viewer out of the scene and breaking the fourth wall. This is where the art of concealing microphones comes into play, demanding both technical skill and creative problem-solving. And this is precisely where the new Hollyland Lark M2S wireless microphone system excels.

The Lark M2S wireless mic system

THE SIGNIFICANCE OF CONCEALED MICROPHONES

Concealing microphones is essential for maintaining the visual integrity of a scene while capturing crystal-clear audio. Whether it’s a dramatic film, a documentary interview, or a dynamic vlog, hiding the microphone allows the audience to focus on the subject and the story without the distraction of visible equipment.

Traditionally, concealing microphones has involved a variety of techniques, from using lavalier mics hidden under clothing to employing boom mics strategically positioned just out of frame. Each method has its own set of challenges, including issues with clothing rustle, inconsistent sound quality, and limitations in movement.

The Hollyland Lark M2S offers a revolutionary solution to these challenges. This ultra-mini wireless microphone system is designed specifically for discreet recording, boasting an incredibly small and lightweight form factor that allows it to be easily hidden within an outfit. 

With its advanced features and exceptional audio quality, the Lark M2S empowers filmmakers, vloggers, educators, and content creators to capture professional-grade sound without compromising the visual aesthetic. This solves the problem of distracting visible microphones, creating an improved, immersive audio experience.

LOGO-FREE, SLEEK & SECURE: DESIGNED FOR INVISIBILITY

The Lark M2S is a marvel of miniaturization. Each transmitter measures a mere 1.3cm x 0.63cm, smaller than a small fingernail, and weighs just 7g. This incredibly compact design, coupled with a logo-free aesthetic, allows the microphone to blend seamlessly into clothing, becoming virtually invisible to the camera.

But don’t let its small size fool you. The Lark M2S is built to withstand the demands of active use. Its innovative titanium alloy clip provides exceptional strength and durability while remaining lightweight and corrosion-resistant. This secure clip ensures the microphone stays firmly in place, even during energetic movements, eliminating the worry of it slipping or falling off during crucial moments.

EXCEPTIONAL SOUND PICKUP WITH REDUCED NOISE

Despite its diminutive size, the Lark M2S delivers outstanding audio quality. With a sampling rate of up to 24 bit/48 kHz, a 70dB signal-to-noise ratio (SNR), and 2.4GHz transmission, it captures clear, articulate, and natural human voices, preserving all the nuances and details that make a recording truly engaging.

One of the standout features of the Lark M2S is its advanced Environmental Noise Cancellation (ENC). With just a press, the ENC automatically minimizes background noise, ensuring that the subject’s voice remains prominent and clear, even in challenging environments. 

Whether you’re shooting on a busy street, in a crowded room, or amidst the unpredictable sounds of nature, the Lark M2S helps you capture pristine audio. Furthermore, the system supports an impressive range of up to 984ft (300m), allowing for freedom of movement across large areas without losing connection—ideal for on-location shoots.

30-HOUR BATTERY WITH A PORTABLE CHARGING CASE

Long shoots require reliable power, and the Lark M2S delivers. Each transmitter provides up to 9 hours of continuous use. Plus, the included charging case extends that to an impressive 30 hours. 

This extended battery life eliminates the need for frequent recharging, allowing you to focus on capturing your content without interruption. The new dial design in the Combo version provides easy access to power, pairing, mute, and volume controls, with options for high, medium, and low levels.

ACCESSIBLE PROFESSIONAL AUDIO

The Hollyland Lark M2S is available through local distributors and on Hollyland’s Amazon store. The system is offered in three versions to suit various needs:

• LARK M2S Combo: (with Camera RX + USB-C RX + USB-C to Lightning Cable) – $149
• LARK M2S Mini Combo: (with Camera RX + USB-C RX) – $139
• LARK M2S with USB-C Plug: –   $119

This competitive pricing makes professional-quality, discreet audio accessible to a wide range of content creators, from independent filmmakers to vloggers and online educators. You can control settings fully through the LarkSound App, where you are able to check audio settings, volume levels, noise reduction, and battery life.

ABOUT HOLLYLAND: A LEGACY OF WIRELESS INNOVATION

Hollyland is a trusted name in wireless solutions. They are a leading provider for the film, video production, and content creation industries. Founded in 2013, Hollyland has quickly grown to serve millions of users. They offer a diverse product line. This includes wireless intercom and video transmission systems, monitors, and microphones.

Hollyland has a vast sales network covering over 120 countries and regions. They support this with dozens of local operation offices worldwide. Hollyland is dedicated to providing creators with innovative and reliable wireless technology.

THE BOTTOM LINE

The Hollyland Lark M2S is a game-changer for wireless audio. Its tiny size and powerful features make it perfect for discreet recording. You get exceptional sound quality without visible microphones. This makes it ideal for filmmakers and content creators.

For a more in-depth look at the Lark M2S, check out this review by Mark Bennett. He compares it to the Lark M2 and DJI’s Mic Mini:

Ultimately, the Lark M2S helps you elevate your productions. It’s a valuable tool for anyone focused on achieving high-quality sound.

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In this article, we’ll plunge into essential media management techniques, drawing from a valuable cinematography tip shared by Shane Hurlbut, ASC. We’ll explore the importance of on-set backups, the advantages of dual card recording, and why reliable media, like Angelbird cards, is a worthy investment.

THE IMPORTANCE OF MEDIA MANAGEMENT

Effective media management is the backbone of a smooth and successful production. It encompasses everything from organizing and labeling your footage to ensuring its safety and integrity throughout the shoot and into post-production.

 A well-defined media management plan helps you stay organized, protect your valuable assets, and maintain a streamlined workflow, ultimately saving you time, money, and a lot of stress.

BENEFIT OF RECORDING BACKUPS WHILE SHOOTING ON THE B CARD

One of the most effective ways to safeguard your footage on set is to record simultaneous backups. 

As Shane highlights in his cinematography tip, many cameras, including some Canon models, offer the ability to record to two cards (often designated as “A” and “B” slots) at the same time. This feature is a game-changer, particularly for indie filmmakers.

By utilizing the dual-card recording feature, you’re essentially creating an on-set insurance policy for your footage, ensuring that your hard work is protected from unforeseen technical glitches.

DATA RECOVERY SERVICE: AN ADDED LAYER OF SECURITY

Even with the most reliable media, unforeseen issues can sometimes occur. That’s why Angelbird offers a professional data recovery service for their products.

If you ever experience data loss on an Angelbird card, their team of experts will do their best to recover your valuable footage. This service provides an invaluable safety net, giving filmmakers extra peace of mind.

ANGELBIRD RELIABILITY YOU CAN TRUST

When it comes to choosing the right media for your camera, reliability is paramount. This is where Angelbird has proven itself as an industry leader. As Shane mentions, their two-terabyte SD cards offer ample storage capacity for extended recording sessions, reducing the need for frequent card swaps that can disrupt the flow of a shoot.

At Filmmakers Academy, we’ve relied on Angelbird media for numerous productions, including extensive recording sessions, and have consistently experienced their exceptional reliability. Their commitment to quality and performance makes them a trusted choice for filmmakers who demand the best. 

THE BOTTOM LINE

Mastering media management is an essential skill for every filmmaker. By implementing robust on-set backup strategies, such as utilizing dual-card recording, and investing in reliable media like Angelbird cards, you can significantly reduce the risk of data loss and ensure the safety of your valuable footage. 

Remember that proper media management is not just about avoiding disasters; it’s about creating a smooth, efficient, and stress-free workflow that allows you to focus on what truly matters: capturing your cinematic vision.

By adopting these practices, you’ll be well on your way to safeguarding your footage and ensuring a successful production, from set to post.

NIGHT CINEMATOGRAPHY

Transform your night scenes from ordinary to extraordinary. In our Night Cinematography Masterclass, you’ll go beyond the basics and learn to wield darkness as a powerful storytelling tool. Inspired by Shane Hurlbut, ASC’s groundbreaking techniques, this comprehensive course will empower you to master the art and science of filming at night.

Gain in-depth knowledge of specialized lighting techniques, optimal camera settings, and compositional strategies designed specifically for low-light environments. Learn to harness the magic of moonlight, the versatility of artificial lights, and the impact of practical sources to craft captivating atmospheres and evoke powerful emotions.

Enroll today and unlock the secrets to illuminating the night. 

Masterclass Gear List

Media Storage: AV PRO CFexpress A (CFexpress 4.0 Type A: 256 GB, 512 GB, 1 TB) AV PRO SE CFexpress A (CFexpress 2.0 Type A: 160 GB, 330 GB) Card Reader PKT CFexpress A AV PRO CFexpress B AV PRO SE CFexpress B 1 TB Card Reader PKT CFexpress B Angelbird’s SDXC memory cards Card Reader PKT SD   Nanlux Lighting:

Special Thanks

A huge thank-you to Craterr and sponsors Hollyland, Kondor Blue, Sony Cine, Irix Cine Lenses, Angelbird, Nanlux, and CineMoves for making this production possible.

Supported by

Inovativ, Flanders Scientific, Tiffen, Herc Entertainment, Saniset Fleet, Keslow Camera, MBS Equipment, Premier Lighting, Northern Lighting, Legacy Grip, Division Rentals, Musicbed, and B&H.

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