Lighting Closeups for Day Interiors with Natural & Artificial Light

In this brief excerpt from the course, How To Light Day Interiors: Vol. III, cinematographer Shane Hurlbut, ASC demonstrates first-hand how to control and shape natural light for cinematic results. He provides essential insights into expertly manicuring close-ups, all while referencing shots from the feature film ‘We Are Marshall’ as a case study.
HOW TO LIGHT DAY INTERIORS: VOL. III
Master lighting day interiors with natural + artificial lights!
• 6 Lessons
• 1 hour of instructional videos
How do you shape natural light to deliver that brilliantly lit, cinematic look and texture? In How to Light Day Interiors Vol. III, Shane Hurlbut, ASC clues you in on his methodology for handling negative fill, black tablecloth, mirrors, and mirror board without relying on expensive lights. Then, Shane deconstructs the pros and cons of natural light before flipping it all on its head to reveal how to achieve the same look with artificial light! This course is a must-have for all cinematographers.
• Detailed written breakdowns
• Top-down Blocking & Lighting schematics
• Lighting lists templates
• Camera lists templates
• Side-by-side comparisons
• English subtitles included
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#filmschool #cinematography #filmeducation #filmmaker #filmmaking #learnfilmmaking #cinematographer #filmmakingtips #filmmakersacademy #onset #onsetlife #closeup #lighting #lightingsetup #lightingdesign

[@aahritya_tv]

Damnnn! thins channel is a legit film school! making videos in between of a real set is god level dedication, thank you for the content

[@rootedmediastudios]

One of the coolest things I’ve seen is using a CStand as a curtain hanger. Great idea

[@ChadtheFilipino]

man gotta love the mirror boards! would have loved to see the hassle of flagging the interior of that kitchen just for proof of principle. i think its always good to know the difference between working smarter vs harder, especially for people who don't know the other tools that are out there!

[@ManpritShergill]

Damn chris looking good in the shot.. Lovely lighting.. Good job.

[@bhornrn]

As always..get the little things tuned crisply and the big things fall right where you want them and the final product is sharp, clean and allows the audience to be emotionally inside the story.

[@ehmehhuh]

I love how Shane makes it a fluid, evolving experience.. moving things here and there to get the best result. That's passion.

[@MitchDrescher]

This stuff is all just invaluable

[@MitchDrescher]

Thank you!

[@filmmakers_academy]

@@MitchDrescher No, thank YOU!

[@DineshBhadwal]

Essentially what we are doing here is how to merge/combine available day light with artificial sources to create neat close ups. These closeups are then edited together with wide shots of actual location in day light with the sky in the frame.

[@tribhuvanraj1180]

Learned a lot

[@OuterEastLLC]

Great BTS. Thanks for sharing.

[@jackandyaron6186]

ShaftMan in work💯🔥

[@hwcentertainment]

Quality content. Beautiful illustration.

[@harveyelvistupamahu]

what a beauty!

[@siddharthbajpai9737]

Thank you for that tutorial 😊

[@TheFilmmakersWorkshop]

Great tips as always. Thanks Shane and Team

[@RodrigoObregonubidia]

Nice work :) Thanks for this

[@ivanguenkov]

Very cool

[@davidschwan]

Amazing

[@theOfficialOludare]

Magic! ❤

[@midwestdocumentarycenterin1680]

Always an education. Thank you.

[@IronGlass_Support]

thanks for your job!

[@theodorbrinch]

these videos need to be split screen. one with the camera view, one with the bts

[@shamaruku]

Why 23.976 and not 24fps? Just curious

[@MarcosElMalo2]

AD: Is that good for camera? Camera: There’s a C-Stand in the shot. Grip: Set Grip flying in! Scripty: It was in the master.

[@PlaylistProductions]

Are you allowed to touch the gaffer's stuff as the dop or will the union complain? :)

[@MarcosElMalo2]

It’s gotta be consensual or it’s a sexual harassment complaint for sure.

[@LucianaContartese]

00:47 A "Topper" would be like a flag that is up?

[@MarcosElMalo2]

It’s a flag positioned to cut light from the top of the light beam. It’s much more useful than a barn door because you can move it closer or further back to get a harder or softer shadow, you can angle it, and other stuff. With a barn door, you’re just weakening the light slightly by blocking it so close to the source. Real quick, imagine you’re facing the light. Go ahead and imagine you’re squinting. You’re going to set four flags: a topper, a bottomed, and two siders (one on each side) to frame the light. Then the DP will tell you how to move them, as you saw in the video. You might not need or use all four, depending on the situation, but be ready.

[@LucianaContartese]

@@MarcosElMalo2 Thank you for the detailed explanation.

[@_o__o_]

enough free resources on lighting on the internet. no need to pay for subscription

[@filmmakers_academy]

We offer more than just lighting tutorials 😉

[@MarcosElMalo2]

@@filmmakers_academy I don’t need the full course (I’m already retired from the business 😉), but from what I’ve seen of these quick tutorials, it’s worth the price of admission. Back in the day, we had to learn on the job. And once you learned, you had to train the new guys. It would have been great to have your courses to supplement that (both the learning and the training). Have you guys considered doing Spanish captions or dubbing?

[@filmmakers_academy]

@@MarcosElMalo2 Thanks for these words! Yes we have one course with spanish subtitles but are looking into getting more languages on all materials!

[@randallburgess6393]

Well done sir❣️

[@randallburgess6393]

Wish I could work with ya brother