How to Control and Diffuse Sunlight: Coors Light Pt 2

INCLUDED IN THIS LESSON:  14 Minutes of Instructional Video and lighting schematics    –Supplied w/English Subtitles

IN THIS LESSON YOU WILL LEARN:  Commercial Cinematography is very different than Narrative.  A shot can be designed for 4-10 minutes, but in a commercials you have 15 to 30 seconds to convey your story, your message, your style and your attention grabbing imagery.  This lesson is Part 2 in a 7 Part series on Commercial Cinematography on what it takes to stay on schedule, on budget, light product, cans, bottles and liquid and deliver the 2 seconds of brilliance per shot.

This lesson is all about pre-production planning and understanding the demands that are put on you as a Director of Photography.  Plotting your day to the sun, finding locations that can give you 3 to 4 different looks, these are the things that have to be going through you mind on Commercials and Music Videos. This lesson is like a master class in Pre Production planning and HOW I PREP.

  • Logistics, what you need, how you are going to get it to the location
  • What gear is required to pull this off
  • What tools will be needed to transport (THINK OUT OF THE BOX)
  • What lifts will be needed for sun manipulation
  • Plotting your day around the path of the sun


<<<Drazen S>>> Great lesson. Great content. Thank you Shane.
<<<Branden B>>> Love love this Shane. Thank you so much.
<<<Victor P>>> Awesome!
<<<Melody P>>> Loving this Lesson, thanks!!
<<<Pavel R>>> Hi Shane! Always missing this kind of content about shaping the light. Really priceless knowledge.
We are directing all comments and questions to our New Forum, please find the related course in the forum’s categories to submit.

ryanfreng 24 days ago

At 4:23 there’s what looks to be a big bounce on the camera side of the shot (in between the condors). Is this just a frontal fill for the shot? Thanks!

Daniel Steiner 29 days ago

Hey Shane, why excatly did you use gridcloth? We mainly use highlight a for blocking sunlight on our overhead frames for day exterior shoots, because the way how it diffuses light is more similar to an bright sunlit day. greets

    • Shane Hurlbut, ASC    27 days ago

      @Daniel Steiner Hi Daniel Steiner. I love HiLight and Half SOft Frost for Day Exteriors for sure, but what I did not want was skull eyes and our sun was directly over the top of us and I wanted this to feel more ambient, than having a sun direction which Hilight or half soft frost would have done and I would have gotten skull eyes on our beautiful actresses face. Not good. HA HA