Film Production: Large Night Scenes

Forget everything you thought you knew about lighting night exteriors. In this excerpt from the Night Cinematography Masterclass, cinematographer Shane Hurlbut, ASC, throws down a challenge. Illuminate a sprawling 150-yard stretch of road with cinematic precision. Armed with Nanlux’s cutting-edge LED lighting system, Shane reveals the secrets to creating depth, dimension, and visual drama that elevates storytelling to new heights.

Prepare to be inspired as we delve into Shane Hurlbut’s expert techniques. We will dissect his lighting strategies and unlock the power of Nanlux to transform your night exteriors from ordinary to extraordinary.

Let’s break down Shane’s expert techniques.

LIGHTING SETUP AND TECHNIQUES FOR NIGHT EXTERIORS

Shane begins by emphasizing the importance of achieving a balanced, even wash of light across a vast distance. He likens the Nanlux 2400B fixtures, equipped with 30-degree reflectors, to classic Maxi Brutes, renowned for their ability to create narrow spotlights. 

“Maxi Brutes are the best way that I love to light night exteriors,” he explains. “You’re able to take a very narrow spot of light, and you’re able to tilt it up just above the set so it fires over the top of it. And all that light balances from the base of the Condor all the way 150 yards right up to your location.”

Drawing from his experience as a gaffer, Shane contrasts his preferred method of “full spotting” lights with traditional techniques that rely on nets to diffuse the light. He advocates for a precise, controlled approach, maximizing the output of the Nanlux fixtures to achieve consistent illumination across the entire scene. To further enhance the depth and dimension of the scene, he incorporates moving lights, strategically placed to highlight background elements and create subtle color contrasts.

“Imagine if, from this big crane shot that we’re going to do, this is going absolutely black in the background,” Shane explains. “I can swing a mover around, flood it out, spot it in, diffuse it, and all of a sudden bring those avocado orchards on that hillside to life. So you can build dimension, and you can play with different subtle color.

ADVANTAGES OF USING MOVING LIGHTS

Shane’s innovation of using moving lights in night exterior settings is a game-changer. By strategically positioning these fixtures, he can selectively illuminate background elements that would otherwise be lost in darkness. This not only adds depth and dimension to the scene but also allows for subtle shifts in color temperature and intensity. Hence, this filming technique creates a dynamic and visually engaging experience.

“So you can make it 200 to 300 degrees different than your main moonlight source,” Shane notes. “So you get this beautiful blend of color contrast.” The ability to precisely control the movement, color, and intensity of these lights adds another layer of artistry to the lighting design, allowing filmmakers to paint with light and shadow in a way that was previously impossible.

TECHNICAL DETAILS AND SETUP

To bring his vision to life, Shane collaborates closely with his gaffer, Tom Sigurdsson. So, let’s dive into the technical specifications of the Nanlux setup. Sigurdsson explains how the team utilizes a cage to securely mount four 2400B fixtures, maximizing their output while ensuring stability and safety. 

He also highlights the power efficiency of the Nanlux system, which is powered by a Santa Fe fleet battery tow plant, eliminating the need for cumbersome generators and cables.

“This is probably the equivalent of two or three 12-light Maxi Brutes,” Sigurdsson explains, “and maybe the equivalent of an 18K Arrimax, or 18K Fresnel HMI.” 

The team also incorporates two moving lights, controlled remotely via a “lunch box” with data. This permits for precise adjustments and real-time programming. This level of control and flexibility is thanks to the advancements in LED technology, which Shane enthusiastically embraces.

PRACTICAL CONSIDERATIONS AND EXECUTION

Shane emphasizes the practical advantages of LED technology. Particularly its ability to remotely adjust color temperature, intensity, and beam spread. This level of control streamlines the lighting process and allows for quick adjustments on the fly. 

“This is all on a dimmer board,” he explains. “I can change different color temps, I can go into Spot and Flood. If we had for nails on here, we could actually flood and spot them remotely.”

To achieve the desired height and coverage, the Nanlux fixtures are rigged to a Condor crane. This allows the team to position the lights high above the set and create an even wash of light. Shane encourages his team to meticulously plan the rigging process. Thus, ensuring safety and efficiency. 

“We rig this to the basket in a way that we can tilt and pan the basket so we don’t need anyone up in the lift,” he explains. “So it becomes this amazing a light that gets above. And as you can see, these trees are very tall around us. So, we got to get up very high to be able to do a beautiful even wash.”

THE BOTTOM LINE

This approach to lighting exemplifies Shane Hurlbut’s commitment to excellence and his passion for sharing his knowledge with aspiring filmmakers. But remember, this is only an excerpt. Uncover the full experience with the Night Cinematography Masterclass, and forever change how you look at night. 

Masterclass Gear List

Nanlux Lighting:

Lighting:

Cameras:  Camera Accessories: Sony Burano Cage Hollywood Handle Matte Box Monitor Mounts & Magic Arms Mini Locks Power, Audio & Video Cables Audio & Comms: Media Storage: Lenses: Monitor: DP Cart: Inovativ Deploy Workstation

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.

Cinema Digital Projector Special Effects and Lens Filters

Take your cinematography to a whole new level with camera effects and lens filters using projector lighting. In this video, cinematographer Justin Jones demonstrates how he created his projection lighting effect for his music video cinematography. Trust us, this will absolutely change how you look at projector lighting!

Remember that the longer the lens, the easier it is to hide that the lens filter is a piece of plastic. Justin makes his filters so each one comes with its unique qualities. This effect saves you time in post-production. Also, keep in mind, you are stuck with the effect since it’s burned into the camera.

Get Every Masterclass as an Annual All Access Member!

This is just a short excerpt from the Abstract Lighting & In-Camera Effects Masterclass by Justin Jones and presented by Filmmakers Academy.

Watch the complete masterclass by becoming an Annual All Access member! If you join Annual All Access before 1/01/24, you will save $150 on your first year of membership!

Cinematography Mentor Justin Jones

Justin Jones is a cinematographer with a fresh, unconventional style that integrates into narrative storytelling, especially in today’s fast-paced industry. With deep roots in the freelance music video world, he built upon streamlined techniques to accomplish some of the most ambitious projects within budget. Specializing in color and unique camera techniques, he creates a new perspective and brings a redefined look to filmmaking.

As a leading cinematographer with over a decade of experience, Justin dominated the music video world. He shot all around the world with some of the biggest artists in the industry including Zayn, Jack Harlow, Carlos Santana, Quavo, Tyga, Wiz Khalifa, G Easy, Pusha T, Three Days Grace, Falling in Reverse, PnB Rock, Rich the Kid, Travis Barker, Chris Brown, and many more.

Justin has since transitioned into narrative work with four feature films under his belt. His latest feature Issac, starring Rj Mitte and Dove Cameron, is in post-production and has been accepted to screen at the Sundance International Film Festival.

Join Filmmakers Academy for FREE!

Basic Membership normally costs $9.99/mo. but now we are offering the first month free. That way, you can test the platform before committing! (If you do not wish to proceed following your first month, just cancel your membership before the 30 days are up.)

See what everyone is talking about by joining Filmmakers Academy for FREE!

When at checkout, just be sure to use promo code: FREEBASIC

Film Noir Lighting Inside a Detective’s Office with Shane Hurlbut, ASC

Just as a painter mixes the colors on their palette to create a work of art, a cinematographer must harness various lights and fixtures to craft a memorable cinematic image.

In this video, DP Shane Hurlbut, ASC commands a chorus of lights to illuminate the interior of a detective’s office. From high-pressure sodium vapors to add a sense of realism to his legendary batten lights for their beautiful light quality, and water noodle lights that catch the eye, Shane reveals how to blend them all together for an impressive lighting setup!

This is but one segment from the all-new Cinematic Light Quality Masterclass presented by Shane Hurlbut, ASC and Filmmakers Academy.

Cinematographers build successful careers based on their ability to harness and control light. Such lighting methods become your signature calling card and make you extraordinarily marketable.

“I’m going to forever change how you look at light. This is the kind of approach to light quality that you will not learn in film school or even your first decade on set.” –Shane Hurlbut, ASC

Cyber Week 2023 Deal

Now and through Cyber Week 2023, Filmmakers Academy is offering its best deal ever for Annual All Access. Save $200 on your first year of membership and get every masterclass including the Cinematic Light Quality masterclass! Are you ready to take your cinematography to the next level?

CINEMATIC LIGHTING QUALITY MASTERCLASS

This is but one segment from the all-new Cinematic Light Quality Masterclass presented by Shane Hurlbut, ASC and Filmmakers Academy.

Cinematographers build successful careers based on their ability to harness and control light. Such lighting methods become your signature calling card and make you extraordinarily marketable.

“I’m going to forever change how you look at light. This is the kind of approach to light quality that you will not learn in film school or even your first decade on set.” –Shane Hurlbut, ASC

Shane Hurlbut, ASC is a master of light. For well over 30 feature films, Shane has painted some of the most iconic movie sets with everything from the largest movie lights in the business to the specialty DIY sources he builds in his backyard workshop.

In the Cinematic Light Quality Masterclass shot at Beam Studios, Shane goes even further than his world-renowned Illumination Tour Experience. Now, Shane shares his personal lighting secrets that he has kept to himself… until now.

Cinematic Lighting with Shane Hurlbut, ASC: Xenon Light

In this video, cinematographer Shane Hurlbut, ASC shines the laser-strong Xenon through the backside of a 1-inch foam bead board that yields an impressive light quality. Then, when they add fill light with a 4×8 Pipelight, the entire lighting setup comes together beautifully.

Showcasing the soft light quality of the Xenon light, Shane shines a light on some useful techniques like how he and his team dealt with its 5600 Kelvin daylight balance by adding a full CTO to keep their cameras all at 3200 Kelvin.

Cinematic Lighting Quality Masterclass

This is but one segment from the all-new Cinematic Light Quality Masterclass presented by Shane Hurlbut, ASC and Filmmakers Academy.

Cinematographers build successful careers based on their ability to harness and control light. Such lighting methods become your signature calling card and make you extraordinarily marketable.

“I’m going to forever change how you look at light. This is the kind of approach to light quality that you will not learn in film school or even your first decade on set.” –Shane Hurlbut, ASC

Shane Hurlbut, ASC is a master of light. For well over 30 feature films, Shane has painted some of the most iconic movie sets with everything from the largest movie lights in the business to the specialty DIY sources he builds in his backyard workshop. 

In the Cinematic Light Quality Masterclass shot at Beam Studios, Shane goes even further than his world-renowned Illumination Tour Experience. Now, Shane shares his personal lighting secrets that he has kept to himself… until now. 

Black Friday and Cyber Week Deal

Paint the set with gorgeous light and transform your cinematography with Shane Hurlbut, ASC’s Light Quality Masterclass.

This Black Friday, save $200 off Annual All Access for complete access to our catalog, community, masterclasses, and coaching opportunities!

Learn the kind of knowledge you won’t learn in film school or even your first decade on set! 

A Filmmaker’s Guide to Inspecting Power Distro Box and Electrical Rentals

In this lesson, Director of Photography Shane Hurlbut, ASC demonstrates how to check in distro equipment.

You’re going to learn how to: Inspect Distro Boxes Inspect Snake Bites  Inspect Gang Boxes Inspect Bates Cables Inspect Soft Threefers Inspect Cables

DISTRO BOX INSPECTION:  

There are many features to check on the distro equipment so you can enter production with confidence and assure optimal performance. 

First, you want to inspect the lunch boxes and ensure the switches are not loose and the outlets look good in the circuit breaker. 

Also, does the box itself look good or does it appear to have suffered some damage? 

Shane begins with a 1200 amp distro box that delivers 220 out and 110 from the back. 

He inspects the breakers and cam locks on the side. In the example below, notice the dent. However, Shane affirms that it is just cosmetic damage. 

SNAKE BITE INSPECTION:

Taking up a 100 Amp Snake Bite, Shane makes sure the Camlock connectors look clean. 

GANG BOX INSPECTION:

Shane takes up the 100 Amp Gang Box next. While a lot of filmmakers choose the lunchboxes over the gang box, the latter works well with generators and provides plenty of extra outlets. 

BATES CABLE INSPECTION:

Next up is the 60 Amp to 60 Amp Bates Cable. Check to make sure there are no wires hanging out of your 60-to-60 and 100-to-100 amps Bates Cables. 

SOFT THREEFER INSPECTION:

Look at the ends of the Soft Threefers and make sure there are not any cuts or exposed wires. 

CABLE INSPECTION:

Shane likes to begin by organizing all of the cables into lines by type so they are easy to count. 

It requires minimal inspection that primarily consists of looking at both ends of the Camlocks. 

You are really trusting the rental house to provide cable that doesn’t have slices in it. Depending on the quality of your rental house, you may have to go through and check. If there is a slice and water gets in, that will obviously create issues. 

Shane maintains the same process as stated above for the 5-Wire Banded Cable, 100 Amp Cable, and 60 Amp Cable.  

IN CONCLUSION:

The distro equipment check-in is primarily a visual process. Organize everything in a clear fashion by laying it out on the ground, and perform a visual inspection of the distro gear. 

Lighting Equipment Check-In 

Check your lights like Shane Hurlbut, ASC’s elite team!

• 4 Lessons
• 45 minutes of instructional videos 

Lighting Equipment Check-In is a comprehensive guide through the process of checking in lights from the rental house. 

Shane Hurlbut, ASC demonstrates how to inspect lighting equipment while considering industry etiquette and protocols. In this course, Shane checks in Tungsten, HMI, and Kino Flo lighting units along with power distro equipment. 

• Detailed Written Breakdown
• English Subtitles

Module 1 — Lighting Unit Check-In 

• 01-HMI Lights 
• 02-Tungsten Lights
• 03-Kino Flo Lights
• 04-Distro Equipment

Cinematography Tip: Remove Glare from Reflective Objects with Dulling Spray

Cinematographer Shane Hurlbut, ASC demonstrates how to reduce the shine, glare, and reflections on items with dulling spray for film production – and it also works for photography!

Discover more about lighting and cinematography by becoming a member of Filmmakers Academy!

HOW TO LIGHT DAY INTERIORS: VOL. III

Master lighting day interiors with natural + artificial lights!

• 6 Lessons
• 1 hour of instructional videos

How do you shape natural light to deliver that brilliantly lit, cinematic look and texture? In How to Light Day Interiors Vol. III, Shane Hurlbut, ASC clues you in on his methodology for handling negative fill, black tablecloth, mirrors, and mirror board without relying on expensive lights.

Then, Shane deconstructs the pros and cons of natural light before flipping it all on its head to reveal how to achieve the same look with artificial light! This course is a must-have for all cinematographers.

• Detailed written breakdowns
• Top-down Blocking & Lighting schematics
• Lighting lists templates
• Camera lists templates
• Side-by-side comparisons
• English subtitles included

ABOUT SHANE HURLBUT, ASC

Director of Photography Shane Hurlbut, ASC works at the forefront of cinema. He’s a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. Hurlbut is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.

Notable Credits

Hurlbut frequently joins forces with great directors. This includes McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor. Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters.

His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.

Early Career

Earlier in his career, Hurlbut lensed iconic music videos including Guns N’ Roses’ November Rain. He collaborated with artists Smashing Pumpkins, Stone Temple Pilots, The Rolling Stones, and Nirvana. His debut feature film, The Rat Pack, received critical acclaim and earned him a nomination from the American Society of Cinematographers. This made him the youngest nominee to date.

Standardizing Exposure with the El Zone System

You often hear “take it three stops down” or “four stops over,” but what does that actually mean?

In this episode of The Inner Circle podcast, Shane Hurlbut, ASC takes a deep dive with Ed Lachman, ASC into the El Zone System and standardizing exposure in the digital age.

Throughout this interview, the two ASC cinematographers discuss the lack of specificity in IRE values, waveform monitors, and false colors. In fact, they’re not consistent from one monitor manufacturer to the next. Lachman explains how the El Zone System changes all that and brings the cinematography world into perfect harmony. 

CINEMATOGRAPHER ED LACHMAN, ASC

If you don’t know legendary cinematographer, Ed Lachman, ASC, you certainly know his work. The acclaimed director of photography has lensed iconic films like I’m Not There, Carol, The Virgin Suicides, and Erin Brockovich. 

WHAT IS THE EL ZONE SYSTEM?

The El Zone System is an intuitive, innovative, and essential exposure tool that helps cinematographers accurately gauge exposure by systematizing its values. It’s based on 18% gray, the universal standard for photography. Similar to a spot meter in your viewfinder or monitor, you can toggle it on and off as you please. 

PRO TIP: Print out the ROY G BIV rainbow and tape it to your monitor or EVF.

• White — Over-exposed by 6 stops or more
• 18% Gray — Normal-Neutral
• Black — Under-exposed by 6 stops or more

ENERGACAMERIMAGE 2023

LACHMAN’S APPROACH TO EXPOSURE

Around 50 years ago when Lachman was in art school, he wanted to figure out how to create a style and look with latitude and exposure. When he observed his environment or looked at paintings, photographs, and other films, it felt like a mystery. He wondered how did they create that exposure range and latitude? 

At the time, he referenced Ansel Adams’ Zone System. He was able to place the negative where he wanted the exposure to read the shadow and highlight details and not lose one for the other. 

So, Lachman created his own system. Back then he would shoot 3000 ASA Polaroids and his gaffer John de Blau (who he still works with to this day) worked out on the back of the Polaroid camera what ASA he worked with to what stop. There was a scale that would equate the exposure. 

When Lachman thought about it, he realized the Polaroids were almost like Rec.709 because they didn’t have the range that a negative would. But they would put him in the area where he had exposure. The Polaroid essentially places a “LUT” on the image. 

Lachman would write the ASA of the film stock and read it with his spot meter. Then, he would write the actual stop on the Polaroid. So, he had a visual reference which now you can do through your camera since today the camera itself functions like a spot meter. 

EXPOSURE IN THE DIGITAL AGE

In the past, cinematographers kept a detailed light book to record where the lights were, the ASA, exposure, etc. for when they would return to a location. So, when the digital revolution struck, Lachman wondered how he would understand exposure in this new age of digital capture. He didn’t want to only rely on a DIT and camera manufacturer. He wanted to have control of the range and exposure. When he shot on film, he had the ability to adjust the look.  

For over 10 years, Lachman conveyed his concerns to different camera manufacturers. Barry Russo at Panasonic (who started out as a DIT) loved the idea. That’s because every manufacturer has their own interpretation of color and false color. When Lachman researched IRE, he discovered it stood for International Radio Engineers and used it to track lightning! 

So, basically, cinematographers are judging their exposure based on radio signals. While we often use Waveform monitors, they show the curvature of the exposure but they fail to map the exposure exactly to what your frame is. 

“When SmallHD came on board with this, it was a godsend, because now I could map the exact exposure of the frame in stops. Because everything that we work with, we still [do so] in stops.” 

Now that it’s in monitors and cameras, Lachman is pleased to see how the El Zone System is taking off. 

THE ADVANTAGE OF THE EL ZONE SYSTEM

According to fellow ASC cinematographer, Shane Hurlbut, “This is a no-brainer for cinematographers. That immediately we’re going to know, ‘Oh, that’s six over? Okay, gotcha.’” —Ed Lachman, ASC

Hurlbut also notes how Lachman’s El Zone System makes pickups easier as well as additional photography because now you will know exactly what your contrast ratio is. 

Lachman pulls out his spot meter in the studio at 800 ISO and reads between 4.2 and 4.3 stops. The most important part of the El Zone System is the 18% Gray because it sits at the center of the exposure range. 

Lachman fashioned the scale to include half a stop between the 18% Gray, because for him the most important part is the flesh tone. 

There are other systems that try to do what Lachman has created with the El Zone System, but they’re based on IRE. 

The problem with IRE versus logarithmic stops is that IRE is linear — i.e. 0-1 or 0-10. So, 2 to 2.8 is 0 – 1, and 2.8 to 4 is 0-1. That’s why there’s always a discrepancy when you use your meter on set, it never matches. But Logarithmic means you double the amount of light. When you go 2 to 2.8, you double the amount of light. When you go 2.8 to 4, you’ve doubled the amount of light. 

“From a light standpoint,” explains Hurlbut, “if I want another stop, say I have a 5k that’s keying us. If I want another stop, I need to add another 5k. I can’t add a 2k. I have to add another 5k to actually add one stop. A lot of people don’t really understand that.”  

TUNE INTO PREMIUM FILMMAKERS ACADEMY PODCASTS 

Did you like this episode of The Inner Circle podcast? Then, you’ll love our other episodes about all things filmmaking on Spotify and iTunes (and pretty much anywhere else you listen to podcasts)!

•  Spotify
• Apple Podcasts
• Google Podcast
• Podcast Index

To get premium courses and lessons, become an All Access member today!

As an All Access member, you get full access to every course and lesson instructed by industry professionals, like Shane Hurlbut, ASC, David Cole, Jamee Ranta, and more. On top of that, you gain entrance into our exclusive community and can use the FA app to enhance your skills while on the job! 

Cheap Lighting Diffusion for DIY Filmmakers

Watch as cinematographer Shane Hurlbut, ASC demonstrates how to dial in the lighting and layering shadows for a night interior scene. He does so using a $2 plastic tablecloth for diffusion as a cheap alternative to expensive Duvetyne.

Access the complete course by joining Filmmakers Academy or exclusively in the Filmmakers Academy shop! 

HOW TO MASTER MOONLIGHT

An illuminating experience that sheds light on how to cinematically recreate the moon!

• 3 Lessons
• 30+ minutes of instructional videos

Discover how to light moonlight and achieve that beautiful Gray-Blue tone! In How To Master Moonlight, Shane Hurlbut, ASC uncovers the advantages versus disadvantages of 3 different tungsten sources. Then, he shows specific gels and how to set your camera’s color temperature for the ultimate effect.

Plus, you’ll learn the advanced usage of Fresnel lights for hard shadows. Hurlbut also explains key tips to make your characters stand out in total darkness.

About Shane Hurlbut, ASC

Director of Photography Shane Hurlbut, ASC works at the forefront of cinema. He’s a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. Hurlbut is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.

Hurlbut frequently joins forces with great directors: McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor; and Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters. His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.

Earlier in his career, Hurlbut lensed iconic music videos including Guns N’ Roses’ November Rain. He collaborated with artists Smashing Pumpkins, Stone Temple Pilots, The Rolling Stones, and Nirvana. His debut feature film, The Rat Pack, received critical acclaim and earned him a nomination from the American Society of Cinematographers. This made him the youngest nominee to date.

Lighting Closeups with Natural and Artificial Light

In this brief excerpt from the course, How To Light Day Interiors: Vol. III, cinematographer Shane Hurlbut, ASC demonstrates first-hand how to control and shape natural light for cinematic results. He provides essential insights into expertly manicuring close-ups, all while referencing shots from the feature film ‘We Are Marshall’ as a case study.

Master lighting day interiors by becoming a Filmmakers Academy All Access member!

HOW TO LIGHT DAY INTERIORS: VOL. III

Master lighting day interiors with natural + artificial lights!

• 6 Lessons
• 1 hour of instructional videos

How do you shape natural light to deliver that brilliantly lit, cinematic look and texture? In How to Light Day Interiors Vol. III, Shane Hurlbut, ASC clues you in on his methodology for handling negative fill, black tablecloth, mirrors, and mirror board without relying on expensive lights. Then, Shane deconstructs the pros and cons of natural light before flipping it all on its head to reveal how to achieve the same look with artificial light! This course is a must-have for all cinematographers.

• Detailed written breakdowns
• Top-down Blocking & Lighting schematics
• Lighting lists templates
• Camera lists templates
• Side-by-side comparisons
• English subtitles included

ABOUT FILMMAKERS ACADEMY MENTOR SHANE HURLBUT, ASC

Director of photography Shane Hurlbut, ASC works at the forefront of cinema as a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. He is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.

Hurlbut frequently joins forces with great directors: McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor; and Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters. His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.

Earlier in his career, Hurlbut lensed iconic music videos including Guns N’ Roses’ November Rain. He collaborated with artists Smashing Pumpkins, Stone Temple Pilots, The Rolling Stones, and Nirvana. His debut feature film, The Rat Pack, received critical acclaim and earned him a nomination from the American Society of Cinematographers, making him the youngest nominee to date.

SIMILAR FILMMAKERS ACADEMY COURSES

• How To Bounce Light
• How To Soften Light
• DIY Lighting Tips and Tricks

Music Video Cinematography: Projector Lighting

In this excerpt from the Abstract Lighting & In-Camera Effects Masterclass, cinematographer Justin Jones presents how he creatively lights with a projector for music videos.

Access the complete 2+ hour masterclass by becoming a Filmmakers Academy member today!

Abstract Lighting & In-Camera Effects Masterclass

Discover dreamy and abstract camera and lighting techniques!

In this insider study into shooting music videos for major artists, cinematographer Justin Jones reveals his most effective and streamlined camera and lighting techniques and methodologies.

Beginning with theory, Justin shows his process of creating the look and feel of each technique and then demonstrates how he pulled it all off. He exposes the nuances of moving hard light, handling shutter speed effects, and lighting with a projector.

Over the course of this masterclass, Justin breaks down three masterful setups from three of his most iconic music videos.

• Moving Hard Light — “The Shower Scene” by Ice Nine Kills
• Shutter Speed Effects — “Blue Football” by August Royals
• Projector Cinematography — “MMMY” by XX Bridge

About Justin Jones

Justin Jones is a cinematographer with a fresh, unconventional style that integrates into narrative storytelling, especially in today’s fast-paced industry. He has built upon practical techniques to accomplish some of the most ambitious projects within budget. Specializing in color and unique camera techniques, he creates a new perspective and brings a redefined look to filmmaking.

As a leading cinematographer with over a decade of experience, Justin bested the music video world. He’s shot all around the world with some of the biggest artists in the industry. These include Zayn, Jack Harlow, Carlos Santana, Quavo, Tyga, Wiz Khalifa, G Easy, Pusha T, Three Days Grace, Falling in Reverse, PnB Rock, Rich the Kid, Travis Barker, Chris Brown, and many more.

Presently, Justin has since transitioned into narrative work with four feature films under his belt. His latest feature “Issac,” starring Rj Mitte and Dove Cameron, is in post-production and has been accepted to screen at the Sundance International Film Festival.

Cinematography Breakdown: How To Light a Car Scene

Shane Hurlbut, ASC breaks down how he lit this interior car scene from SYFY’s Resident Alien. This is a clip from our Camera Movement: Create Character Emotions.

LIGHTING CAR INTERIORS:

When Shane lights the interior of a vehicle, it’s all about the ambiance which motivates him. For this scenario, he placed two 12×20 ultra bounces and blasted 18Ks and 4K Parcans into them. 

And to wrap the light, Shane would stage it more in the front depending on the angle. Then, Shane would typically bring down Harry’s over in the DI process by adding a little window. 

In addition, Shane also places some duvetyne on the back side of the truck with 4×4 floppies to overhang and create more shadow in the foreground. That way, your eye is driven to Asta. 

Likewise, when Shane switches coverage to Harry’s side, he just mirrors the same setup on the other side. Shane will also use 4×4 floppies over the top of the camera to bring Asta down in the foreground. Then, the audience’s eye is driven to Harry.

Camera Movement: Create Character Emotion 

Create character emotion with camera movement and composition!

• 1 Lesson
• 13 minutes of instructional video 

In Camera Movement: Create Character Emotions, Shane Hurlbut, ASC deconstructs a case study from the SYFY series to reveal how character emotion motivated the movement of the camera. 

From reading the script and understanding the characters on an in-depth level, Shane instructs how to turn it all into cinematic language. He shares why he made the decisions he did and guides you through the process with excerpts from the script, the shot list, and diagrams. 

• Detailed Written Breakdown
• English Subtitles

Horror Cinematography: Lighting Closeups

Do you need some help making your horror film feel, well, scary? We get it. You want to scare the pants off your audience but for whatever reason, you feel like you’re missing part of the horror recipe. Even if you feel like you are doing everything right, there may be a crucial technique you’re lacking. In this snippet from our How To Light Horror course, Shane Hurlbut, ASC takes you through how he lights this close-up and the slight adjustments you can make to enhance your horror cinematography.  

Create terror and tension with this light technique!

Do you want to learn more about horror cinematography? Discover how to light heart-thumping horror movies like a pro as a premium member!

In addition to horror cinematography, you learn on-the-ground lighting and cinematography techniques from ASC cinematographer, Shane Hurlbut!

SHANE HURLBUT, ASC

SCHEDULE 1-ON-1 VIDEO CALL WITH SHANE HURLBUT, ASC

Looking for a mentor in the film industry? Schedule a 1-on-1 meeting with Shane Hurlbut, ASC today! This is where you can get expert advice from an industry professional on your career or a particular project.

How To Light a Horror Film

Peel back the veil to discover professional horror film techniques

• 6 Lessons
• 1+ hours of videos

Horror is one of the most popular film genres. When done right, light builds tension and boosts terror for a scary effect.

In How To Light a Horror Film, Shane Hurlbut, ASC brings you on set and shows you how to turn any ordinary location into a place of suspense and terror. All through the power of lighting. You’ll learn how much light works best to create tension, the ideal amount of color contrast, and how to use shadows to your advantage.

• Detailed written aides
• Top-down light charts
• Side-by-side examples
• English subtitles

Pipe Lighting developed a new inflatable LED lighting system that may change the face of lighting cinema. As a director of photography, I’m obsessed with emulating specific light quality. In fact, I’m constantly in search of light that produces an amazingly soft quality that wraps nicely, along with how easily it can be controlled so it doesn’t fly all over the place. However, I also prefer something that’s lightweight. 

These reasons are why I created my (now legendary) batten lights. At first, my colleagues couldn’t understand my obsession with them. Especially since they looked like I built them in my garage – which I did. 

Not only do I personally try to innovate the landscape of cinematography, but I also celebrate those companies and products that help us elevate our craft. That’s why the company Pipe Lighting and its innovations in LED lighting technology drew my interest. 

Here’s my complete review of Pipe Lighting and how their lighting products transformed how I light. 

PIPE LIGHTING SETUP 

Pipe Lighting developed an inflatable light that you inflate in a matter of seconds. It comes with its own little compressor and works just like you would blow up an air mattress. Although, what you are inflating is a diffusion that is very much like magic cloth. It just requires one person to inflate the light. 

Here’s what’s inside each unit: 

• Lamp head
• Color temperature and brightness controller
• Mount system (baby pin plate)
• Power cable
• Lamp head cable extension
• Full side-skirt
• Air pump
• Transportation bag
• Soft grid (*supplied separately)

I like how Pipe Lighting lights have 100 feet of head extension to give you plenty of room to work with. Additionally, they have DMX so you can channel to your dimmer board, they range from 2600 Kelvin to 5700 Kelvin, and have a beautiful source. 

What I also like about these lights is how they include a skirt that you can attach with Velcro. They also extend and you can coat them with bleach muslin, or make your own skirt with ultrabounce – so, it’s black on the outside and white on the inside. Plus, it also has an egg crate that Velcros to it in case you want to contain that light even more. 

Pipe Lighting’s sources don’t have hotspots. By comparison, you can feel the heat even with the thickest diffusion on each one of the SkyPanels in the softbox. Since Pipe Lighting lights have a bed of LEDs in them, they fill the space and shape of your desired Pipe Lighting size. 

PIPE LIGHTING SIZES

• PIPE 2 (65 x 35 x 20)
• PIPE 4 (135 x 35 x 20)
• PIPE 8 (260 x 36 x 20) 
• PIPEWIDE 44 (125 x 125 x 20)
• PIPEWIDE 63 (180 x 90 x 20)
• PIPEWIDE 84 (240 x 120 x 20) 

LIGHT QUALITY 

What Pipe Lighting has done is place a bed of LEDs in their product. In the PIPEWIDE 84 (a 4×8 source), for example, it has an output of two ARRI SkyPanels. It’s double-diffused inside and weighs around five pounds and emits soft light without additional diffusers. Plus, it comes with an aluminum frame infrastructure so that you can easily mount it. However, you don’t need to use it. 

Pipe Lighting lights are waterproof and are operative in any weather condition. You can control the light with CRMX/wireless DMX and it includes a professional CRI index. 

Pipe Lighting units give you the flexibility to move the camera and serve as a quick and effective top light. That said, you don’t need to use them only for top light. I’ve actually begun to use these units as sources for lots of different scenarios. 

Typically when pushing a source through a diffusion, you’ll get a hotspot (unless you’re working with magic cloth). But the Pipe Lighting light quality is so beautiful and wraps so nicely that it makes the reflection of the eye gorgeous. It provides a consistent band of white reflection that looks beautiful in the eyes. 

It’s also great to actually fly directly over the camera slightly above eyeline for a beauty look. Then, you could shape it with flags if need be. I feel like the 4×4 is the perfect unit for this. I chose the 4×8 unit because of its versatility in dining room and kitchen scenes (i.e. the kitchen table where we captured multiple coverage).

HOW I COULD HAVE BENEFITED FROM PIPE LIGHTING

On the film A Casa Tutti Bene (There’s No Place Like Home), we built a very large softbox for the dining room scenes. This enabled us to shoot two or three cameras simultaneously from any direction. 

The film’s director Gabriele Muccino wanted to shoot six to seven pages of dialogue that day. This was before I discovered Pipe Lighting. We used SkyPanels, Celeb 30s, and Select 30s in the softbox. So, we constructed a 5×20 softbox that was suspended over the table with 19 actors beneath it. 

Learn more about how I lit A Casa Tutti Bene as well as about blocking, lighting, and composition. 

We were on a very tight budget so could only afford three SkyPanels. Imagine if we had the option of Pipe Lighting back then? We could have produced just as beautiful light as we did but for a fraction of the cost. I would have used three or four Pipe Lighting units without the need for a massive grid. 

PIPE LIGHTING: LIGHTWEIGHT AND EASY TO RIG 

Pipe Lighting lights are highly versatile and simple to use. For instance, you can rig them with a gobo head and a c-stand. They don’t require steel pipe, junior pipe clamps, and a massive grid to support them. Instead, you can fly them from scissor clips. 

When you’re in search of light quality and quantity, you must also consider weight. Ultimately, you want beautiful quality that can also be easily rigged and suspended in ceilings, drop ceilings, etc. Pipe Lighting provides incredible quality without the extensive rigging, piping, and grid in order to suspend it. 

Each unit comes with its own travel bag that makes it compact and manageable to pack and store. 

The advantages are considerable. 

• Ultimate power-to-weight ratio
• Soft light without any additional diffusers
• Waterproof and functional under any weather condition
• Each unit is compact and supplied with its own travel bag
• CRMX/wireless DMX control
• Professional CRI-Index
• Noiseless passive cooling
• Flicker-free

Here’s an interview DIYPhotography did with Pipe Lighting CEO Eduard Bochanov at IBC 2022. 

PIPE LIGHTING SUPPORTS CINEMATIC STORYTELLING

Back when I first started, the state of cinematography was more conventional. But today, more cinematographers are pursuing complicated camera maneuvers like oners and immersive camera angles that place you in the headspace of the characters you’re watching. 

To get what you want, it takes man-hours and money. Let’s take Holidate, for example. We were rigging three S60 SkyPanels on stage. I asked the grip department to construct 4×8 foam core structures with an inch-square rail. They built the three frames that are required with one at: 

• The top
• For the diffusion
• The bottom for the skirt

There are two rails and they basically build a rectangle box and then they coat it with Ultrabounce. And then we add our three SkyPanels. 

In another scenario, we had a set that had six of the 4×8 softboxes in the foyer, the living room, the dining room, and the kitchen. 

Guess what? Now, those can all be replaced by Pipe Lighting. It only takes one electrician to inflate them and a grip to rig them. They don’t have to get one-inch square stock, make all these frames, buy all the ultrabounce material, build them all, rig them all, etc. So, now, you’re saving work days while getting a light quality that feels superior to the SkyPanels in the softbox. 

When it’s all said and done, you are battling the budget with labor. That’s because the gear is somewhat cheap compared to what it takes to employ the technicians to make it happen (like my grip friends). So, you must find specific lights that not only deliver the same quality as described above but also saves you time. 

HOLIDATE LIGHTING SCENARIO

On Holidate, it was my mission to break the mold of the stereotypical Rom-Com. Classically, romantic comedies are shot with an over-over and a 50/50. Then, you would pick up another situation with the same scenario. 

However, on Holidate, I wanted to immerse the audience with a more dramatic camera movement. So, when Sloane (Emma Roberts) entered the house, we followed her in and wrapped around her, then went profile, bringing her into the kitchen and setting the whole scene. 

What I found is the 2×8 and the 1×6 Pipe Lighting units work the best in foyers. If you settle with a Chimera pancake or a small, little top source, the actors will have skull eyes when they enter. 

A foyer is typically six feet wide (or like a smaller hallway), so the aforementioned sizes work best. Then, you can skirt it so all the light that is projecting out away from the door fills their eyes so they like nice and don’t experience shadows in their eyes. 

LOVE HARD LIGHTING SCENARIO

On Love Hard, I also could have utilized Pipe Lighting to support our immersive camera work. That way, we could move throughout Natalie’s (Nina Dobrev) apartment, go down the hall into her bathroom and bedroom, and rotate around her in the living room. 

There were many times when Natalie is at the dining room table when a conversation ensues. So, we would move around the table with a dolly all 180 degrees while they made gingerbread houses. This required top light and Pipe Lighting would have made it simple and, most importantly, supplied an amazing soft source of light. 

WHY USE PIPE LIGHTING?

From its beautiful light quality to its affordability and versatility, Pipe Lighting is the future. I have always championed the tools that are not only the future but are available to the masses. Just look at my work with the DSLR Revolution. 

Whether you’re a Do-It-All filmmaker or someone like me filming feature films, Pipe Lighting technology is what you want in your kit. 

• Amazing Light Quality
• Very affordable
• Requires fewer technicians and labor
• Saves lots of time
• Allows you to film multiple cameras with ease

You will save a ton of time rigging while still getting the same output of industry-standard lights. And the great thing about having more output is you have the power to always dim it down. So, the bottom line is that I’m going to be incorporating more Pipe Lighting lights into my lighting arsenal. It’s a slam dunk for saving time, money, and labor. 

-Review by Shane Hurlbut, ASC

Cinematography Tip: How To Shape Large Light Sources

Light is essential to cinematography but it’s only as effective as you can control and shape it. Learning how to shape large light sources is something every filmmaker and cinematographer should master. Director of Photography Shane Hurlbut, ASC, and his Key Grip Dave Knudsen teach you how to control light, prevent light from bouncing into the ceiling, and how to wrap light under your talent’s face.

Control the light with Egg Crate

There are some times when you’d want this beautiful large source, which is backlighting Dave Knudson to bloom. It looks the best when you can control its bloom. It has such a beautiful, soft wrap. If you control the light, like with this egg crate, it actually makes the light harder.

When I stand here, I am actually seeing the whole source. When I stand closer to the egg crate snap grid, I am only seeing 1/3 of the source. That light is going to be much harder on me than if I’m able to see the whole source. 

A big thing that I like to be able to do is to create huge sources and then shape them. So, let’s take this grid apart.

Control large light sources with solids and T-bones

Instead of going through an LCD, we have used 12×12 solids that are on T-bones that contain this whole thing so it’s not hitting me at all back here behind the 12×12. Because of the 12×12, I won’t be in the light. 

If I walk in parallel to the light source and past the 12×12 sider, the light then hits me.

Lighting Under the Chin with a Drop Shadow

Let’s say we don’t want it to hit that ceiling and we want to bottom it a little bit. When a source is this huge it tends to wrap underneath the chin and I like to control that. 

Wrapping underneath the chin just doesn’t look that good to me. It looks fake. I don’t want to compromise with a smaller source, though, because I like the quality of the bigger source. I like the chin to have a beautiful drop shadow so that it looks much more cinematic. 

What we can do is use more 12x12s. We’re looking at a massive source so using something like 4×4 solids would not be the right tool for the job. We’ll bottom it, and then we’ll also top it. 

Again, you can see that we’re pointing the soft side out toward the product (or the actors). This is a big deal. 

Floppy Etiquette

The etiquette of flying 4×4 floppies is the same. Even when using negative fill with the 4x4s, always put the soft side towards the product.

When setting your stand, you want it to flop down so no light can come in there, hit the chrome stand, and reflect onto the face. So, always set your c-stand so that the cloth will flop towards the talent. That’s very important.

 I can’t tell you how many times I’ve had a situation where I’m looking at something and I’m like, ‘Where is that light coming from? It looks reflective and hot.’ Then, you realize that they set the floppy on the wrong side and the sun is hitting the c-stand and giving us a weird shadow on the face. 

Let’s go up with this 12×6 bottomer. I don’t want that filling in underneath my face. It’s coming from above, which is great. Now, I want to eliminate all that light that is leaking into the ceiling. Let’s send another 12×6 to the moon. 

Lighting Office Spaces

When shooting in a lot of office spaces, you have to deal with a lot of white walls as well as low, white, drop ceilings. When you turn on a light that is a fresnel or an open face, it’s going to fly everywhere. 

You need to understand how to shape the light. Many times the light that is ruining the mood and the contrast is something that is actually hitting the ceiling. You may have shaped your bounce but you may have forgotten to shape the light behind the bounce that’s hitting the ceiling and ruining the mood in the room. It’s all about control.

Toppers and Bottomers

So now Dave has flown the 12×12 up as a topper and has completely eliminated all of that silver reflective light. Now, all that’s lighting me is this beautiful 6×12 swaft that’s between the 12x6s. 

Nothing is wrapping under my chin now, nothing is coming from above. This was all done just by putting two 12×6 bottomers and toppers on our large source. 

Now, the one thing you wouldn’t want to do is try to fly behind the diffusion and set individual flags for each light source. That’s actually not going to do anything because it’s the light that’s bouncing off the 12×12 Matthbounce that’s then hitting the ceiling that is ruining your mood and contrast. 

Gear Used in Video💡

• Matthews Hollywood C-Stand Grip Arm Kit: https://bhpho.to/3RsKzhN
• Matthews Black Flag – 24×36”: https://bhpho.to/3B7O9aF
• Matthews Black Floppy Top Hinge – 40×40”: https://bhpho.to/3QzeNip
• Matthews Floppy Cutter – 24×72”: https://bhpho.to/3QGIm1w
• Matthews Cordura Sandbag – 25 lbs: https://bhpho.to/3d6mjnd
• Matthews Shotbag – 15 lbs: https://bhpho.to/3LatPtT
• TRP Worldwide 50 Degree Fabric Egg Crate – 4×4’: https://bhpho.to/3qxZIDa

Shaping Light & Shadow

Learn how to shape & control like a Pro Grip

• 10 Lessons
• 1.5 hours of instructional videos

Shaping Light & Shadows is all about the art of shaping and controlling light. Shane Hurlbut ASC and his Key Grip Dave Knudsen go in-depth on what tools and specific gear are needed to create cinematic imagery. This is a must for anyone looking to pursue a career as a Grip. From controlling large sources, double diffusing, hard cuts to soft cuts, and many more.

• Detailed written breakdowns
• Top-down Blocking & Lighting schematics
• Paths and power distribution maps
• Side-by-side comparisons
• English Subtitles

ABOUT FILMMAKERS ACADEMY MENTOR SHANE HURLBUT, ASC

Director of photography Shane Hurlbut, ASC works at the forefront of cinema as a storyteller, innovator, and discerning collaborator, who brings more than three decades of experience to his art. He is a member of the American Society of Cinematographers, the International Cinematographers Guild/Local 600, and The Academy of Motion Picture Arts and Sciences.

Hurlbut frequently joins forces with great directors: McG’s Netflix Rim of the World and The Babysitter, plus Warner Bros. We Are Marshall and Terminator: Salvation; Scott Waugh’s Need for Speed and Act of Valor; and Gabriele Muccino’s There Is No Place Like Home and Fathers and Daughters. His additional film credits include Semi-Pro; The Greatest Game Ever Played; Into the Blue; Mr 3000; Drumline; 11:14, which earned Hurlbut a DVDX nomination; and The Skulls. Notably, his television credits include the first season of AMC’s Into the Badlands.

Earlier in his career, Hurlbut lensed iconic music videos including Guns N’ Roses’ November Rain. He collaborated with artists Smashing Pumpkins, Stone Temple Pilots, The Rolling Stones, and Nirvana. His debut feature film, The Rat Pack, received critical acclaim and earned him a nomination from the American Society of Cinematographers, making him the youngest nominee to date.

SIMILAR FILMMAKERS ACADEMY COURSES

• How To Bounce Light
• How To Soften Light
• DIY Lighting Tips and Tricks