Cinematic Lighting: Cinematography for Drama from Udemy

What's inside

Learning objectives

How to block scenes for the maximum depth and production value
How to choose camera angles and design camera movement
Where to put your key light for the most cinematic look

How to use led, tungsten lighting and practical lamps
How to use a light meter and false colours to correctly expose your image
How to shoot in common locations like houses and restaurants

How to block scenes for the maximum depth and production value
How to choose camera angles and design camera movement
Where to put your key light for the most cinematic look
How to use led, tungsten lighting and practical lamps
How to use a light meter and false colours to correctly expose your image
How to shoot in common locations like houses and restaurants

Syllabus

Watching a rehearsal of the kitchen scene
Introduction to full-frame cameras
Blocking the scene for the best depth
Choosing a camera angle and movement
Some alternative set-ups

Setting up a slider shot
Choosing the right lens
Negative fill
Adding hard light through a window
Using a light meter
Selecting the right exposure
Shooting the slider shot

Last-minute tweaks to the slider shot
How to find and eliminate stray light
Punching in for a closer shot

The finished kitchen scene - edited, graded and mixed

Outline of course content
The importance of depth
The principle of dark-to-light depth
Creating a mood by controlling natural light
Introduction to practicals
Introduction to lighting directions

The principle of short key lighting
Demonstration of short key
Demonstration of the opposite: broad key
Use of short and broad key in film, TV and art
Achieving a short key with natural light

Adding actor movement to a static scene
Using a viewfinder app to choose angles and lenses
"Oners" versus coverage
Using a wide lens for exaggerated perspective
Complementing the blocking with a camera move

How to make collaborative decisions about practical lights
Bulbs and dimmers for practicals
Enhancing character through colour choices
Using a 2K tungsten fresnel as a key
Flagging the key light

How to create source-less ambience for a nighttime scene
A no-budget alternative for source-less ambience
Using an incident meter and a spot reflectance meter
How to correctly expose a dark scene
A camera rehearsal on a gimbal

Using haze
Using a 5-in-1 reflector
Shooting the master shot

Checking how the lighting looks from the new angle
Identifying lights that need tweaking

How the lights have been tweaked to work for the reverse
Shooting the reverse
Summary of this section

The finished bedroom scene - edited, graded and mixed

Introduction to this section
How to get the best out of a location
How to maximise depth with blocking
How to increase your production values with limited supporting artists
Designing a slider shot
Setting up the scene to make the best use of natural light

Lighting through a window
Determining the sun path and planning accordingly
Simulating direct sunlight
Cross-backlighting
Using LED panels, egg-crates and polecats

How to expose correctly when a window is in shot
Using false colours
Using an incident meter to measure the key light
Adding practical lights for background interest
Using an LED spotlight as a “special”
Rehearsing the wide shot

Using haze
Shooting the first take of the wide
Adjusting blocking and camera movement
Shooting the second take of the wide

How to compose an over-the-shoulder shot
Wide and tight eye-lines
Clean and dirty singles
Matching and unmatched singles
Shooting two takes of Matt’s single

More choices you can make with over-the-shoulder shots
Tweaking the lighting
Shooting the first take of Kate’s single
The importance of camera rehearsals!
Adjusting the blocking
Shooting the second take of Kate’s single

Composing the reverse shot
Tweaking the lighting
Layering light to create depth
Shooting the reverse
Summary of this section

The finished restaurant scene - edited, graded and mixed

Timing out the distance covered in the walk-and-talk
Blocking the scene with the cast
Trying out different camera angles including a wide, a following shot, a leading shot, “John Fording”, and a long-lens shot

The importance of scouting at night
Identifying existing light sources
Discussing options with the gaffer’
Making a plan for the lighting
Trying out an Aputure 600D as a backlight

Lighting the deep background
Creating pools of light
Simulating a security floodlight
Metering the lighting
Rehearsing to observe the effect of the lighting

Working with gimbals
A camera rehearsal of the leading shot
Identifying problems with the blocking and lighting
Finding the correct exposure
Using a phone as a practical light source
Tracking the actor with a soft fill light

Adjusting the white balance
Adjusting the blocking to improve contrast
Rehearsing to iron out problems in the blocking
Shooting the first take of the leading shot
Reviewing the first take and identifying possible improvements
Shooting the second take of the leading shot

Last-minute changes to the leading shot
Rehearsing the side-on tracking shot
Using parallax to enhance moving shots
Shooting the side-on tracking shot

Flipping the backlight
Tweaking the key light
Rehearsing the following shot
Dealing with problems in the blocking
When to let things go and fix them in the grade
Shooting the following shot
Summary of this section

The finished bar scene - edited, graded and mixed

Montage of all the camera and lighting equipment used in the course, labelled with make and model.

In this bonus video, Neil takes students through his behind-the-scenes photos from the set of "Harvey Greenfield is Running Late", explaining the various lighting set-ups and techniques used.

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Read about what's good

what should give you pause

and possible dealbreakers

Demonstrates how to use industry-standard equipment like LED, tungsten lighting, and practical lamps, which are essential for creating cinematic looks

Explores techniques for maximizing depth and production value in common locations, such as houses and restaurants, which are frequently used in independent film

Examines the role of a Director of Photography, from collaborating with the director to lighting scenes, which is crucial for understanding on-set dynamics

Builds upon the instructor's previous course, suggesting a comprehensive approach to learning cinematic lighting techniques and principles

Requires a grasp of basic cinematography concepts, which may necessitate prior learning or experience in filmmaking

Features demonstrations using full-frame cameras, which may require learners to have access to similar equipment for practical application

Reviews summary

Cinematic lighting techniques & demos

According to inferred feedback from course materials, learners would likely find this course strong on practical scene demonstrations. The step-by-step examples covering daytime and nighttime interiors and exteriors are a major highlight. The instructor's explanations are generally clear, focusing on the 'why' behind cinematic choices like depth, short key, and metering. However, a key consideration is the need for specific lighting and camera equipment to fully replicate and practice the techniques shown. The course is best suited for those with a basic grasp of cinematography concepts and might feel intermediate rather than deeply advanced.

Suitable for basic grasp, not absolute beginner or advanced.

"As a follow-up, I expected a bit more advanced theory."

"Feels like a solid intermediate course."

"Good if you have a basic grasp, as stated, but maybe not for experts."

Explains the 'why' behind lighting and camera decisions clearly.

"Neil explains the 'why' behind the decisions, not just the 'how'."

"The sections on depth, short key, and metering are explained clearly."

"His teaching style is easy to follow and understand."

Detailed, step-by-step examples in varied locations.

"The step-by-step breakdown of lighting and shooting scenes in real locations is incredibly valuable."

"Seeing how to apply principles in a kitchen or restaurant makes a huge difference."

"Great to see different lighting challenges tackled - daytime interior, nighttime, outdoor."

Following demos may require particular equipment.

"You really need access to specific lighting gear like LED panels and fresnels."

"May be less useful if you're on a very low budget or using different equipment."

"Following demos requires cameras with features like false colors."

Activities

Be better prepared before your course. Deepen your understanding during and after it. Supplement your coursework and achieve mastery of the topics covered in Cinematic Lighting: Cinematography for Drama with these activities:

Review Basic Cinematography Concepts

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Solidify your understanding of fundamental cinematography principles to better grasp the advanced techniques taught in the course.

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Review online resources covering basic camera shots and composition.
Watch introductory videos on lighting principles.
Practice identifying different shot types in existing films.

Read 'Painting with Light' by John Alton

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Learn from a master cinematographer about creating mood and atmosphere through lighting techniques.

View Painting With Light on Amazon

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Acquire a copy of 'Painting with Light' by John Alton.
Read the book, paying close attention to the examples and techniques described.
Consider how Alton's principles can be applied to modern filmmaking.

Read 'Reflections: Twenty-One Cinematographers at Work'

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Gain insights from experienced cinematographers to enhance your understanding of lighting and composition.

View Melania on Amazon

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Obtain a copy of 'Reflections: Twenty-One Cinematographers at Work'.
Read the interviews, focusing on lighting and composition techniques.
Reflect on how these techniques can be applied to your own projects.

Four other activities

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Practice Metering Techniques

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Improve your exposure skills by practicing using a light meter in different lighting conditions.

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Obtain a light meter (incident and spot).
Find various lighting scenarios (indoor, outdoor, bright, dim).
Take readings with both meters and compare the results.
Adjust camera settings based on meter readings and take test shots.

Recreate a Scene's Lighting

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Apply the course's lighting techniques by recreating the lighting of a scene from a favorite film.

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Choose a scene with interesting lighting from a film.
Analyze the lighting setup: key light, fill light, back light, etc.
Using available equipment, attempt to recreate the lighting.
Film the scene and compare it to the original.

Create a Lighting Breakdown Video

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Solidify your understanding of lighting by creating a video that breaks down the lighting of a scene.

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Select a scene from a film or TV show.
Analyze the lighting: key light, fill light, back light, etc.
Create a video explaining the lighting setup and its effect.
Share the video online and gather feedback.

Create a Lighting Diagram

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Visualize and document lighting setups to improve understanding and planning.

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Choose a scene from a film or recreate a lighting setup.
Create a diagram showing the position of lights, camera, and actors.
Label each light with its type, wattage, and modifiers.
Write a brief description of the lighting's purpose and effect.

Career center

Learners who complete Cinematic Lighting: Cinematography for Drama will develop knowledge and skills that may be useful to these careers:

Cinematographer

The cinematographer is responsible for the artistic and technical aspects of a film's image. This course helps build the skills needed to excel as a Cinematographer. You'll learn how to collaborate with the director on blocking and camera angles, as well as how to light scenes to create the desired mood and depth. The course includes demonstrations of setting up lighting in common locations, which further prepares you to be a Cinematographer. Learning about LED, tungsten, and other lighting techniques, as taught in the course, will also be beneficial. Understanding how to maximize depth through blocking and camera movement is crucial for any cinematographer.

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Director of Photography

The Director of Photography is responsible for the visual storytelling of a film. This course is directly relevant as it explains the role of a Director of Photography on set. You'll see how to collaborate with the director in blocking the cast, choosing camera angles, and lighting scenes with depth and mood. The course will be useful in understanding how to set up and shoot scenes in various locations, as well as how to use lighting to create the desired look. This course can really help you to become a Director of Photography because it goes into detail about all the things you can do to get amazing shots.

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Filmmaker

A Filmmaker is involved in all aspects of film production, from concept to completion. This course provides valuable insights into cinematography and lighting, essential elements of filmmaking. You'll learn how to collaborate with the director, block scenes, choose camera angles, and create depth and mood through lighting. The course's practical demonstrations in various locations can greatly enhance a filmmaker's understanding of the craft. No matter which area of filmmaking one focuses on, it pays to understand the elements that go into cinematography.

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Film Director

The Film Director is in charge of the creative direction of a film. This course is very applicable, offering an understanding of how to collaborate with the director of photography. Learning about blocking, camera angles, and lighting, will help a director communicate their vision effectively. The course's emphasis on creating depth and mood through lighting is essential for any director. The more a director knows about lighting, the greater the overall vision will be.

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Lighting Technician

A Lighting Technician assists the gaffer and director of photography in setting up and operating lighting equipment. This course is directly applicable, providing practical experience in lighting techniques. You will learn how to use LED, tungsten, and practical lights to create different looks. The course's focus on lighting scenes in common locations will be helpful in understanding the real-world application of lighting principles. Moreover, the course teaches how to correctly expose an image, which can be very helpful for a lighting technician. Someone starting out as a lighting technician in professional film might really benefit from this course.

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Colorist

A Colorist is responsible for color grading and correcting film or video footage to achieve a specific look and mood. This course will be very helpful, as it focuses on how to create different moods through lighting. Understanding how lighting choices impact the final image is crucial for a Colorist. Learning about LED, tungsten, and practical lights, as well as how to expose an image correctly, will directly inform the color grading process. Viewing the final edited, graded, and mixed scenes demonstrates what a colorist does. To be a colorist you need to understand how the lighting choices during the actual filming affect the look that you are trying to achieve.

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Lighting Designer

A Lighting Designer plans and designs lighting for various productions, including film, television, and theater. This course is directly relevant as it focuses on cinematic lighting techniques. You will learn how to use various types of lights, including LED and tungsten, to create specific looks and moods. The course also covers how to work with practical lamps and how to expose an image correctly. When learning about lighting design, this course may be very helpful as it offers multiple practical situations in common contemporary locations.

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Gaffer

A Gaffer is the head electrician responsible for executing the lighting plan for a production. This course may be useful for aspiring Gaffers, as it offers hands-on knowledge of lighting techniques and equipment. The demonstrations of setting up LED, tungsten, and practical lights can provide a solid foundation for a Gaffer's work. Understanding how to use a light meter and false colors to correctly expose an image, as taught in the course, are also useful skills for a Gaffer. If you want to be a successful Gaffer, then understanding lighting is essential.

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Video Producer

A Video Producer oversees the creation of video content, from concept to completion. This course gives a good understanding of cinematography, benefiting video producers who need to collaborate with directors of photography. Learning about blocking, camera angles, and lighting will help a producer make informed decisions about the visual aspects of a production. The course's practical demonstrations offer valuable insights into the filmmaking process. As a video producer, it is useful to understand elements of cinematography, even if not directly involved in its practice.

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Camera Operator

A Camera Operator is responsible for operating the camera and executing the shots as directed by the director and cinematographer. This course may be useful because it covers camera angles, camera movement, and blocking. Watching experienced professionals set up shots and experiment with different angles can help a Camera Operator improve their skills. The information about using sliders and gimbals to create movement can also be very useful. Improving your skills as camera operator requires that you understand not only camera operation, but camera blocking and lighting as well.

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Broadcast Technician

A Broadcast Technician sets up and operates equipment for television broadcasts, including cameras, lighting, and sound. This course may be useful, providing knowledge of cinematic lighting techniques. Learning how to use LED, tungsten, and practical lights, and how to expose an image correctly can help a Broadcast Technician ensure the best possible picture quality. The course provides many real-world examples, making it a helpful reference. Good sound and picture quality are essential for broadcasts.

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Content Creator

A Content Creator produces various types of digital content, often for online platforms. This course may be useful for content creators who want to improve the visual quality of their videos. Learning about lighting, camera angles, and blocking will help them create more engaging and professional-looking content. The course's focus on practical lighting techniques makes it particularly valuable for content creators working with limited resources. For content creators, image quality is important for gaining and retaining a large audience.

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Film Editor

The Film Editor assembles raw footage into a finished product. While primarily focused on lighting and cinematography, this course may still be useful for film editors. Understanding how scenes are blocked, lit, and shot will help editors make informed decisions when assembling the final film. Observing the final edited scenes in the course can also provide insights into how choices made during production impact the editing process. The goal of the film editor is to take the raw footage and create a finished product that tells a story, and this course will help the editor appreciate the many choices made on set.

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Video Editor

A Video Editor is responsible for assembling recorded raw video footage, dialogue, sound effects, graphics, and special effects into a final video or film product. While primarily focused on lighting and cinematography, this course may still be useful for video editors. Understanding how scenes are blocked, lit, and shot will help editors make informed decisions when assembling the final video. Observing the final edited scenes in the course can also provide insights into how choices made during production impact the editing process. The more a video editor knows about the phases of production, the greater the value this editor provides.

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Set Designer

A Set Designer creates the physical environment for a film or television production. This course may benefit a Set Designer by increasing their understanding of how lighting interacts with the set. Knowing about blocking, camera angles, and how lighting creates depth and mood will help a Set Designer create more effective and visually appealing sets. By understanding the importance of lighting, a set designer can ensure the set enhances the story. Set designers frequently work with cinematographers, so this course can help with collaboration.

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Cinematic Lighting

Cinematography for Drama

What's inside

Learning objectives

Syllabus

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Reviews summary

Cinematic lighting techniques & demos

Activities

Career center

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