How To Rehearse Block Light and Shoot A Scene: Illumination Experience

INCLUDED IN THIS LESSON:  2:08 Hours of Instructional Video, In-Depth Written Breakdown, Equipment Breakdown List and Top Down Lighting Schematics

IN THIS LESSON YOU WILL LEARN:  This lesson pulls the curtain back to reveal Shane Hurlbut ASC’s creative process on how he BLOCKS, LIGHTS, LENSES and COMPOSES when motivated by the thought process behind character emotion, and then using those specific camera and lighting techniques to assist. Lighting uniformly using different formats is one of Shane’s specialties, and in this module, he shows you how to light with three different sensors to deliver one consistent look.

  • Understanding the importance of breaking down the blocking and action for coverage.
  • Utilizing simple principles of white balancing to get the most out of your image.
  • Understanding what you are facing when baking in your image and making the right decisions as an artist.
  • Knowing when to choose the proper resolution for the job.
  • Understanding that false color will be your ally on set when judging exposure.
  • Utilizing false color to orchestrate your lighting team on what needs to change.
  • Testing your coverage in rehearsals to make sure you’ve got the shots.
  • Understanding how to shoot around actors and to give them the freedom they need.
  • Utilizing subtle techniques to allow your actors to deliver their performance.
  • Understanding the right tools to maximize your time on set.
  • Picking the right focal lengths to properly expression the emotion of the scene.
  • Knowing when to utilizing the right lighting setup for your scene.
  • Breaking down the right lights to get the most out of your image.
  • Knowing when manipulate light instead of adding more fixtures.
  • Understanding light placement to create alluring images.
  • Being away of your composition and how it will effect the audience.
  • Understand the importance of eye-line and how they impact the audience.
  • Understanding how to use cinema production camera and DSLR to tell your stories. Knowing how to work with different sensors.
  • Knowing when to add add or take away depth with ND filters.
  • Understanding the proper set etiquette when working in the camera department.

rafael 17 days ago

Shane muchas gracias por esta oportunidad de aprender algo nuevo y que nos brindes tus conocimientos

Rohit Sharma 11 days ago

hi Shane, i am Rohit from India, thanks for this amazing workshop and also make it available online for free.

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    • Rohit Sharma    11 days ago

      @Rohit Sharma sorry, my question is that when you went for the OTS there you cut the light falling on the boy's shoulder for which the reason you gave that you dont want the audience to look anywhere else then the girl's face, but as a technical person if i look at that from wide to close it gives me jerk, so how do we balance between both? the reality and the liberty we go for?

    • Shane Hurlbut, ASC    10 days ago

      @Rohit Sharma Hi Rohit, Nice to meet you my friend. You have to do it to eye, obviously I do not want it to feel too different but I do want to drive the eye to the emotion. It is a delicate balance and what takes lighting to the other level.

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Júlio Sales 25 days ago

Hey Shane, I have a question. What did you mean, when you said: “I,ve never had 2 six hour days, 4 ten hours days and 3 eight hour days. My minimum was 13.5 hours”. Is 13 hours the amount of time that you shot in only one day? But on the other days you shot for less time? I didn’t understand the phrase propperly. Thanks so much for the content, its been really great to learn from you!

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    • Shane Hurlbut, ASC    23 days ago

      @Júlio Sales HI Julio, Most production days of shooting are around 13.5 hours. This is what they had budgeted on Fathers and Daughters so when we did 2 six hour days we saved $100,000.00 on overtime. 3 eight hour days saved $80,000.00 and the 4 ten hour days saved $60,000.00. This is what I was demonstrating to work with production to do it in less time so that we could afford all the pre lights and pre rigging crews to give our director more time to get the best performances.

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Júlio Sales 25 days ago

Hey Shane, I have a question.

dislamedia 23 days ago

As someone who just started my own company in the last year, thank you for showing how things are done at the highest level, and thank you to your wife for creating your brand and motivating these types of lessons!

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    • Shane Hurlbut, ASC    22 days ago

      @dislamedia Hi Dislamedia, You are so welcome. The teachings are there to continue to inspire you to get to my level and surpass me. If I educated you on how to use gaffer tape and popsicle sticks and being a one man band, then what do you all have to motivate yourselfs. I will tell Lydia what you said, she will love this. Her vision is a perfect example of the power of sharing knowledge and how we can change lives.

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