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On Set Series: Into the Badlands – Night Interior Firelight & Lamplight Effects
Fire has been a mesmerizing source for thousands of years and its use in film has been endless. Depending if you are doing a scene around a campfire or...
How to Light Night Interiors
Night Interiors: The Build I’m going to take you through how I light night interiors, and those night interiors will transition from our practical light into moonlight and urban...
Night Interiors: The Shoot
As we’ve gone over previously, lighting night interiors takes time and patience to get it right. There’s a specific mood that you don’t want to feel as forced or...
Night Interiors: The Finesse
Anytime you’re dealing with the sheers, if you notice I’ve put grey sheers in here, if you’re doing night interiors, night exteriors – grey sheers are the secret. Because...
Night Interiors: The Build
I’m going to take you through how I light night interiors, and those night interiors will transition from our practical light into moonlight and urban sources that we replicate....
On Set: Commercial Cinematography Series – Acura
Welcome to our commercial cinematography series. The commercial that I’m talking about was for Acura. Here’s the spot. (The Acura Spot) I met with the director and immediately, we...
On Set: Into the Badlands – Large Night Club Environments
We’re going to break down one of my favorite scenes I’ve ever lit—The Widow’s fight in the Versailles club. The Widow really had to make a memorable entrance. I...
On Set: Into the Badlands – Challenges of Blocking Night Interiors
In this episode of On Set with Shane Day 10 Into the Badlands I go over creating a warmer tonality for Quinn, dealing with challenging New Orleans weather shutting...
Creating Fire Effects: The Shoot
Now we’re going to use the power of the trash can light to illuminate your scene.
On Set: Into the Badlands – Creating Contrast with Color
Day 8 was kind of a split day. We took a later call so that we could do some night shooting. We also had that hellacious rainstorm that caused...
Headlight Gag: The Shoot
Today I swing-in the method I used on We Are Marshall to create a Headlight gag effect.
Headlight Gag: The Build (DIY)
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Moonlight Grey: Part 2
Tungsten across the board looks like the best and most realistic moonlight source because it looks silver, and has a soft gray like the moon. Since our sources are...
Moonlight Grey: Part 1
Now we are going to create a gray moonlight. For gray, I like to use tungsten lights because they have a beautiful silver quality. We are going to use...
On Set: Into the Badlands – Matching Artificial Light with Day Exteriors
On today’s episode of On Set, I go into lighting to create a powerful mood, shooting day exteriors, using one light to light your scene, and how to shoot...
Moonlight Blue: The Shoot
Our scene tonight is moody and mysterious. We have two girls running down a hillside through this smoke amongst all this shadowy tree dapple with simulated moonlight backlighting them....
On Set: Into the Badlands – Character Development Through Camera Movement
On Day 4 of Into the Badlands, I cover shooting establishing shots of the plantation, emulating skylight with Kino Flo Celeb 400 lights, how we used the MōVI...
Moonlight Blue: The Setup (DIY)
The sun is setting, and we are going to start lighting before we run out of daylight. The first thing you want to set when you’re doing night exteriors...
Moonlight Blue: The Scout
Many of you have asked how I light at night, so in this How to Light Night Exteriors series, I want to show you my style of night lighting.
SIC Podcast: Ep 14 – Mixing the Art and Science of Cinematography
This month, the Inner Circle podcast covers your questions on: How to light for complete darkness, Blending camera formats seamlessly, Deconstructing a script for camera emotion, How to...
SIC Podcast: Ep 2 – Mastering Lighting Challenges
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On Set: Fathers & Daughters – Practical Lighting in Small Interiors
This was a very interesting day. It was our first day with Aaron Paul. He plays Cameron, who falls in love with Amanda Seyfried's character Katie.
