Lighting car interiors at night. How I light, what choices I make with specific units, and why one lighting tool is selected over another.
How to read a color temp meter and why it is important. I have always loved understanding the color of different lights — street lights, fluorescents in a store, neon, moonlight, etc.
The light meter is essential for matching and to get your head around light ratios as a young cinematographer.
A few weeks ago, I shot a run and gun style web series and the generous team over at Hive Lighting gave me one of their units to demo. Plasma light technology is pretty incredible.
When you have a small team to tell your story, you need to find lights that do many things and provide many color temps. You need some that can focus and ones that are a broad source.
This week’s post will focus on the subject of DSLR cinema and a fantastic resource known by the same name – DSLR Cinema: Crafting the Film Look with Large Sensor Video Cameras.
Many of you requested information on the go to lighting package. Having a package that can do many types of lighting is the secret. Lights that can multi-task are my recipe for success.
Lighting day exteriors is as much about choosing the right time as it is about your manipulation of the daylight.
Many say that the light meter is dead with digital. I disagree. It is the only tool that you have in your box that can measure what you love.
I joined the NeedCreative Podcast again this week. We talked about the art and science of cinematography and then did a mini-workshop. I go into story scenarios and how I would light and lens them.
Lighting so that you can tell your stories with realism and accurate color temp.
The trailer for the documentary that Hurlbut Visuals produced about this forward thinking company called SmallHD, founded by Wes Phillips and Dale Backus.
My Book Light tutorial on how to build it and why it is so useful. Plus, how I got started in this business.
What I think about when I am blocking a scene and my preferences on how to work from the master to the close-up.
From 1991-1996, I had the unique opportunity to work with one of the most talented still photographers of the 20th Century. Not only was Herb Ritts a great artist, he was also an amazing human being.
Working with less is how I like to light. On We Are Marshall, I challenged myself and my team to think about how we could light a major night exterior in the rain with just two lights.
How to create DIY fire light to shape and manicure available light and make the ordinary look extraordinary.
I am always in pursuit of new lighting technology, and this Rosco LitePad kit knocked me out with its size, versatility, color and punch.
On The Ticket, the lighting was a challenge because we used natural, available light and shaped it. I turned lights off, then added accent lights to bring out the depth of a location.