How to Block and Light Small Locations: Fathers and Daughters Pt 2

INCLUDED IN THIS LESSON: 3 Minutes of Video, In-Depth Written Breakdown, Behind-the-Scene Stills, Location Stills, Script Breakdowns, Topdown Blocking Diagrams

IN THIS LESSON YOU WILL LEARN:  “Fathers & Daughters” is one of the first productions ever to utilize Freefly’s MoVI System and pushing the envelope in a fast-paced environment. In Part 2 of this lesson, Shane Hurlbut, ASC talks about the process of blocking in small environments and how new technology opened the door creative ways of shooting. This is a firsthand look into feature film production and being malleable on the day.

  • In-depth looking into shooting “Fathers & Daughters.”
  • How to scout and prep for small locations.
  • The lighting logistics that you’ll face when working in these environments.
  • How to communicate with your crew and to work in unison.
  • The tips and tricks to blocking and getting the most out of your talent.
  • How to keep production moving at an even pace.
We are directing all comments and questions to our New Forum, please find the related course in the forum’s categories to submit.

fwilkerson 17 days ago

Hi Shane, I am not able to visualize in my minds eye where you placed the LED strip and soft frost in the first scene. Were they hidden on the outside of the shade or were they placed on the inside of the lamp shade? Thanks 🙂

Bill Stone 4 days ago

1) Living room: One of the things that would have concerned me is getting enough fill on Katie’s face in the CU – during the wide shot you obviously can’t put anything close to her for fill. Were you able to get in there to bounce something on the close or is that just how it turned out “au naturel” because the director wanted use of the wide shot for the full duration? 2) Bedroom on phone before dressing: is the gentle fill falling on her simply natural bounce from the hard window light landing back on her? 3) Katie in bed can’t sleep’: The Todd Hido photos are fantastic. In shooting against a strong back light, I am constantly wondering about the gooey white clipped digital look. (I don’t know if it is their color work or Vimeo compression – would be great to see a grab of the original file.) In those circumstances do you consider filtering to create some halation / flaring (like we see on the Hido photo) to soften the appearance of the clippy edges? Is it out of the question to keep your white levels under clipping in these kind of shots, or do you know you must go over and have decided to simply run with it? Thank you

    • Shane Hurlbut, ASC    3 days ago

      @Bill Stone Hi Bill, Not a problem for fill on her face because we had all that sheer curtain ambience to light her. This was 3 cameras and all at the same time. Yes, after working with digital sensor for awhile I have done just that, I fly with Tiffen Digi FX diffusion all the time as my base so that it softens the clip. I have found that this is the perfect recipe. I let white levels clip if it looks cool, if it looks clippy and digital then I try to hold them as much as I can, but the diffusion has made it so much better. Having diffusion on all the time is very time consuming and slows production down, with double reflections, and weird flares and the sort but I deal with it because the positives outweigh the negatives

hrvoje_bazina 9 days ago

How come the 18K didn’t blow out the windows on this scene?

    • hrvoje_bazina    9 days ago

      @hrvoje_bazina (Referring to the scene with Katie and Cameron on the couch)

    • Shane Hurlbut, ASC    8 days ago

      @hrvoje_bazina HI Hrvoje, I scrimmed it down and actually added some diffusion to it. It was too powerful in the beginning but I wanted to keep that nice cool light pushing into the room. It was an overcast day and we were on a very narrow street with 5 story buildings.