Cinematic Lighting from Udemy

What's inside

Learning objectives

How to create depth and contrast in your shots
How to light for both the master shot and the coverage
How and when to use hmi, fluorescent, led and traditional tungsten lighting
How to use natural light to your advantage, and how to mould it

How to use a light meter and false colours to correctly expose your image
How to use smoke or haze to create atmosphere
How to simulate sunlight, moonlight and firelight

How to create depth and contrast in your shots
How to light for both the master shot and the coverage
How and when to use hmi, fluorescent, led and traditional tungsten lighting
How to use natural light to your advantage, and how to mould it
How to use a light meter and false colours to correctly expose your image
How to use smoke or haze to create atmosphere
How to simulate sunlight, moonlight and firelight

Syllabus

Learn how to block your scene to make the most of the natural light, and how to modify that light with flags, bounce and diffusion, as well as how to expose your image correctly.

What to look for on a recce/scout
How to predict the sun path using apps or a compass
How to block action relative to the sun
Three-point lighting
When to shoot in cross-light vs. backlight
How to get rippling reflections off water

Observing a rehearsal with actors Kate and Ivan
What to look for in the blocking
How to get reflections off a blade
When to shoot the master shot
How to choose what order to shoot your coverage in
Using a white poly/bead-board as bounce

Why light meters are still important
Dynamic range and log recording
How to use an incident meter and a spot reflectance meter
The f-stop series
How to use false colours
How to arrive at the right exposure from all this information
How to select the appropriate ND (neutral density) filter
Shooting the wide shot

Short- and broad-key lighting
Types of reflector
Positioning a reflector
Paying attention to eye reflections
Negative fill
How to use 4x4 floppy flags
Shooting Ivan's close-up
Using a trace frame
"Health bounce"
Shooting Kate's close-up
Summary
The final edited scene

This module introduces some common lighting instruments, demonstrates how to imitate natural light entering a room, and how to create depth and contrast with black-out and smoke.

Identifying light sources in the room
Using apps or a compass to predict how sun will enter through the windows
The principle of dark-to-light depth
Using curtains to modify interior light
Introduction to some common lighting instruments: Dedolights, Kino Flos, an HMI and a Rayzr MC LED panel

Observing the blocking with actors Kate and Ivan
Direct lighting using an HMI
Controlling contrast with black-out
Diffusing the light with a trace frame
Bouncing the light off poly/bead-board
Bouncing the light off parts of the set
Use of a light meter and false colours to set the correct exposure

Use of smoke or haze to add atmosphere to the scene
Reasons to add atmosphere
The concept of aerial perspective
Shooting the master shot
Comparison of the final shot to the other versions demonstrated in 2.2 and 2.3

Use of viewfinder apps to find a frame and select a lens
Challenges of front-light
Adjusting the window light to highlight certain areas
Demonstrating a "window wrap" using a Kino Flo
Using light readings and ND filters to arrive at the correct exposure
Shooting the reverse
Summary
The final edited scene

Create a moody night-time look indoors using practical sources, toplight, and simulated moonlight and firelight.

Observing the blocking with actors Kate and Ivan
Approaches to lighting a night interior scene
Lighting from outside with an HMI "moon"
Working with bounced "moonlight" inside the room
Choosing an overhead source as the key light

Time and safety considerations of working with toplight
Rigging a toplight safely
Controlling toplight spill on the set walls
Using unbleached muslin to soften and warm up the light
The inverse square law

Working with practical candles
Reinforcing candles with a hidden LED fixture
Simulating an off-camera fireplace
Lighting the view outside the window
Bringing moonlight into the room to add colour contrast and depth
Shooting the master shot

Checking the blocking for the first single
Filling in shadows using additional unbleached muslin
Flagging the top-light to control the background
Adjusting the external light to maintain colour contrast
Shooting Kate’s single
Adjusting the fireplace effect to work for a close-up
Shooting Ivan’s single
Summary
The final edited scene

Paint with light on the blank canvas of night; set up an artificial moon; create depth, contrast and colour contrast; and use shadows to your advantage.

Observing the blocking with actors Kate and Ivan
Principles of night exterior lighting
Creating believable moonlight
Features of HMI lighting
Choosing a position and height for the HMI "moon"

Use of a practical fire source
Reinforcing a practical fire with an LED fixture
Colour contrast
Using a Kino Flo as an additional soft source
Tackling a difficult shadow
Reading and adjusting lighting ratios using an incident meter
Working with smoke/atmos outdoors
Shooting the master shot

Adjusting the existing sources to work for a close-up
Shooting Ivan’s single
Diffusing the HMI
Monitoring exposure using false colours
Shooting Kate’s single

The pros and cons of flipping the backlight
Example of cheating the moonlight around
Using established sources to your advantage
Adding diffusion vs. a gobo to the HMI
Creating a “branch-a-loris”
Shooting the reverse
Summary
The final edited scene

Links, kit list and a bonus scene

Links to useful articles on my blog and my Instagram feed

A list of the camera and lighting equipment and apps used in making the course

This sequence, deleted from Module 3: Night Interior, shows the filming of an alternate version of Kate's close-up. On reflection, I feel that the original version is superior, but see what you think...

Re-appraising the work with a critical eye, and the use of grading to polish a scene

Neil re-evaluates the day exterior scene two-and-a-half years on, including:

Dealing with infra-red pollution from neutral density filters
Enhancing colour contrast in the grade
Brightening and darkening areas to lead the eye

Neil re-evaluates the day interior scene two-and-a-half years on, including:

How to avoid infra-red pollution from neutral density filters
Adjusting colours in the grade
How LED fixtures have replaced fluorescents

Neil re-evaluates the night interior scene two-and-a-half years on, including:

The potential to shoot under real candlelight with modern, high-ISO cameras
Alternative ways to light the view outside the window
Use of app-controlled LED fixtures

Neil re-evaluates the night exterior scene two-and-a-half years on, including:

The hard backlight/soft side-light recipe for night exteriors
Emphasising a plot point in post-production
How high-power LED spotlights may replace certain HMI fixtures

Understand how a scene from a drama is lit for mood

At last, the scene from "Ren: The Girl with the Mark - Season Two" on which Module 3 was based has been filmed for real. Here Neil breaks down the lighting of the scene with behind-the-scenes photos and clips from the finished show.

Good to know

Know what's good

, what to watch for

, and possible dealbreakers

Covers the lighting of day exteriors and interiors as well as night interiors and exteriors

Demonstrates how to set up and adjust lighting for film and video

Taught by an experienced lighting designer with over 30 years of experience in the film and television industry

Provides practical tips and techniques that can be used on set

Suitable for aspiring and professional filmmakers and videographers

Requires some prior knowledge of lighting concepts

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 with these activities:

Brush up on photographic principles

Show steps

Make sure you have a strong foundation in the basics of photography. This will aid with understanding how the camera captures light and how that affects the image.

Browse courses on Aperture

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Read articles or watch videos on the basics of photography
Take some practice photos to experiment with different settings

Follow a tutorial on lighting a portrait

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There are many great tutorials available online that can teach you how to light specific types of scenes. Find a tutorial on lighting a portrait and follow along.

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Find a tutorial on lighting a portrait
Follow the steps in the tutorial
Take some photos and evaluate your results

Light a simple scene

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The best way to really learn about lighting is to practice. Try setting up a simple scene and lighting it with a single light source.

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Choose a simple scene to light
Set up your camera and light
Experiment with different lighting angles and intensities
Take some photos and evaluate your results

Four other activities

Expand to see all activities and additional details

Show all seven activities

Practice lighting different types of scenes

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The more you practice, the better you will become at lighting. Try practicing lighting different types of scenes, such as portraits, landscapes, and still lifes.

Show steps

Choose a scene to light
Set up your camera and light
Experiment with different lighting angles and intensities
Take some photos and evaluate your results

Attend a photography workshop or conference

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Attending a photography workshop or conference is a great way to learn from experienced photographers and network with other people who are interested in photography.

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Find a photography workshop or conference that interests you
Register for the workshop or conference
Attend the workshop or conference and participate in the activities
Network with other photographers and learn from the speakers

Write a blog post about lighting techniques

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Teaching a subject is a great way to solidify your understanding. Try writing a blog post about some of the lighting techniques you've learned.

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Choose a topic for your blog post
Do some research on the topic
Write your blog post
Publish your blog post and share it with others

Volunteer as a lighting assistant on a film or video shoot

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Volunteering as a lighting assistant on a film or video shoot is a great way to get hands-on experience with lighting. You will learn from experienced lighting professionals and get to see how lighting is used in a real-world setting.

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Find a film or video shoot that needs volunteers
Contact the production company and offer your services
Show up on set and be prepared to work hard
Learn from the lighting professionals and get hands-on experience

Career center

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

Director of Photography

In many ways, the Director of Photography (DP) is the most important person to determining the look of a film. This course will help you gain the skills to work as a DP on film sets. You will learn how to design lighting to help tell a story. You will also learn how to select equipment and techniques appropriate to different situations, so you can communicate your vision to a crew and create the scenes that you need for your projects.

See salaries and explore the career path for Director of Photography

Lighting Designer

Lighting Designers are involved in the planning, design, and execution of lighting systems for a variety of purposes and venues. These are typically indoor spaces, and they include television and film production sets. This course can help Lighting Designers build a foundation in cinematography and use that foundation to approach their work with another level of technical expertise and artistic insight.

See salaries and explore the career path for Lighting Designer

Cinematographer

Cinematographers work closely with Directors of Photography to determine the creative vision for a production and translate that into technical terms that the rest of the crew can understand. This course can provide Cinematographers with the essential knowledge to create lighting schemes that meet the requirements of a given scene.

See salaries and explore the career path for Cinematographer

Filmmaker

Filmmakers need to have a deep understanding of the role lighting plays in the creative process. Taking this course will provide hands-on experience with the techniques and technologies that Filmmakers use every day on set.

See salaries and explore the career path for Filmmaker

Broadcast Camera Operator

Many Broadcast Camera Operators go on to become Directors of Photography or Lighting Designers. This course can help Broadcast Camera Operators on this path by teaching them lighting fundamentals and advanced techniques for manipulating light.

See salaries and explore the career path for Broadcast Camera Operator

Gaffer

Gaffers are responsible for the electrical distribution and operation of lighting equipment on a film or television production. This course can provide Gaffers with the knowledge and skills they need to make informed decisions about lighting and contribute to the creative process more broadly.

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Video Editor

Though Video Editors are typically more concerned with the post-production process, some also work on set, and a basic knowledge of lighting (like that which this course offers) can help them improve their results and efficiency.

See salaries and explore the career path for Video Editor

Camera Operator

Camera Operators are responsible for operating a camera on a film or television production. A foundational knowledge of lighting can help Camera Operators better understand the process of shooting a scene and improve their collaboration with the Director of Photography.

See salaries and explore the career path for Camera Operator

Lighting Technician

Lighting Technicians install, maintain, and operate lighting equipment on film and television sets. This course will provide Lighting Technicians with a solid foundation in the principles of cinematography and help them make the most of the equipment they use.

See salaries and explore the career path for Lighting Technician

Projectionist

Projectionists are responsible for the operation and maintenance of projection equipment in movie theaters and other venues. This course may be useful for Projectionists who want to learn more about the role that lighting plays in the cinematic experience.

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Television Producer

This course may be useful for Television Producers who want to develop a better understanding of the role lighting plays in the production of high-quality television content.

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Architect

Architects must consider the impact of lighting on the spaces they design. While this course is not a comprehensive guide to architectural lighting, it does provide a solid foundation in the principles of cinematography that can inform the work of Architects.

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Art Director

This course may be useful for Art Directors who want to develop a deeper understanding of how lighting can be used to create a mood or atmosphere in a scene.

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Video Producer

This course may be useful for Video Producers who want to develop a better understanding of lighting techniques and their effects on the overall quality of a video.

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Industrial Designer

This course may be useful for Industrial Designers who want to develop a better understanding of how lighting can be used to enhance the aesthetic appeal and functionality of a product.

See salaries and explore the career path for Industrial Designer