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Add to cartQuick ViewArchives, Blocking, Business, CAMERA, Case Studies, Composition, Day, Exposure, Exterior, Featured, INDUSTRY, Interior, Leadership, Lens, Lifestyle, Light Environments, Light Placement, Light Quality, LIGHTING, Motion, Night, Pre-Production, Replicating Sources, Shane's Picks, Shane’s Inner Circle Bundles, Shaping Light, Small Spaces, THEORY, Times of Day, Filmmaking Education, Storytelling Theory$94.99Cinematography Starter Kit
For Communication I learned much from a book titled “Difficult Conversations: How to discuss what matters most” by D. Stone, B. Patton, and S. Heen. I think section on this page in “4 keys to Success”, the 3rd point is extremely important.
You have to be strong enough to point out the fact to the person who is being aqbusivive. Otherwise it often continues. But often when you point out the unacceptable behavior in “fact” pointing way, the person usually respects you more. It’s kind of like confronting a bully.
I think the conversation skills alone, combines with the leadership Shane talks about can have a huge impact on careers. I live in Japan and I’v seen too many people not standing up for what is right and they are stuck in the position for years. Once that happens, the passion for your work sort of dies away…
Very good page and fun clips.
I will look into that. Thank you so much for sharing. Thank you so much for your support.
I first noticed a “John Fording” shot in Spielberg’s Jaws, when the men are on the barge and they walk from a wide to a medium, and finally a close up, then back out. I love the idea of having actors walk into the framing. So cool. Question: when would you use this kind of shot versus just cutting to a close up?
I think it is a style choice by the director and editor. If you want the audience to breathe a bit, then this style of blocking the actors into close ups works really well. If you want to heighten the pace and keep the audience more on the edge of their seat, then cutting will be more effective. Making a movie is all about peaks and valleys. Take an action picture for example. If you do not have valleys in your action sequences, then all of it just becomes noise. You become numb.
i wonder how many camera’s are using in that drumline scene when they face off.
5 cameras is what we used, 4 Panavision and 1 ARRI 3 for high speed.
Shane could you expound more on the process of taking a color reading for matching day exteriors? I’m not sure what you mean by skylight, then the sunlight. I thought those were the same.
Skylight is completely different from sunlight. Sunlight is the actual sun hitting the color meter and you getting that reading. Skylight is the soft ambient light that is the sky, what is in the shadow. So I take a reading in the sun. Then I take a reading of what the color temp is in the shadow.
Working my way through the cinematography starter kit. Amazing learning and content. Thank you!
My favorite shot is to lead an empty frame and then the subject enters the frame as the camera passes them, or they exit frame by passing the leading camera. I guess this would be a reverse John Fording, in a way, but with lots of dynamic movement and action. I use it for action shots. For me it’s a great natural transition from one shot to the next. If I’m filming an athlete such as a runner or cyclist, when they exit the frame by passing the camera I think it helps demonstrate their power or speed, hopefully conveying to the viewer that the talent is not your average athlete, but an elite. A car chase scene could probably have the same effect.
Thanks so much for your support Myles and for sharing your favorite shot.
Hi Shane, Another great article thank you for this extremely useful information. I feel like based on the diagram, that I should be seeing more of the bounce from the 1200 pars with CTB in Shias eyes. You have kept his eyes clean from the bounces while at the same time creating this really nice color in the shadow areas. While maintaining a single eye light from the cheat key. Based on the sizes of these bounced sources and their position I just feel they should be catching in the eyes more. When you have a moment can you briefly fill me in on the details please. Is it that it’s just higher above camera, a lot higher? Much appreciated.
Yes, those bounces were high above camera to fill in the shadow areas behind Shia and keep the one catch light in his eye.
Hello Shane,
did you shoot the locker room scene on a 3200 kelvin film ? And the 18k bouncin’ on the muslim are 5500 k, right?
Thanks!
J.
Hi Shane,
Is it important to calibrate a light meter for a particular camera? I have a Sekonic 478, and every time I use their calibration technique with the Coloe Checker Passport, the results look worse than the in-camera meter. Generally overexposed.
Do not use that calibration tool. It does not work at all. Bad design. I stayed away from that.
Hi Shane. Great series and I’m learning a lot. I have a quick question concerning your light meters. In one video, you said that you prefer the Sekonic series and then in this series you state that you went away from Sekonic to a Spectra Cine. Seeing some other videos on your site, it appears some are newer videos than what’s on the course (just by the looks of it, I’m not sure) and you are using a Sekonic light meter. Just to clarify, which do you prefer to use now? Thank you for your time and all your courses!
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