Challenges of Blocking Night Interiors: Into The Badlands

INCLUDED IN THIS LESSON:  39 Minutes of Instructional Video, Call Sheet, Behind-The-Scenes Images    –Supplied w/English Subtitles

IN THIS LESSON YOU WILL LEARN:  Imagine virtually being on set with me, looking over my shoulder as I make every move, every lighting stroke, every blocking decision and every conversation with the director.  This is what these lesson are all about.  Being on set, seeing the problems and the solutions, seeing us make mistakes and picking ourselves up off the ground, brushing ourselves off and hitting it again.  Have you ever had the day that nothing seems to be going right?  Smash cut to: Falling behind in our day we felt we could make up time once we went interior.  Lightning, thunder storms shut our set down for over 3 hours, this mistake I made is what this lesson is about and how you can learn from it.


<<<Louis S>>> These are always great to watch! So much information, and it’s great to see how things work or sometimes don’t, so much factors I guess and racing against time and pressure. I have learn so much, and I really appreciate how you cover all the aspects of your work with such sincerity it’s hard to find. Keep up the great work!
<<<Ahmed>>>Very informative lesson!
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dislamedia 5 days ago

I can’t tell you how much I appreciate you explaining the issues you ran into. Learning from the barriers you have faced will certainly be extremely helpful to us. My question is, what did you use to light the gentleman in the wheelchair during the cabin scene. You mentioned you loved the eye light, was that a circle bounce? I think it was incredible considering the cards you were dealt, thanks for sharing again!

    • Shane Hurlbut, ASC    5 days ago

      @dislamedia Hi Dislamedia, I love the light in his eyes as well as it is illuminating his face. This was a 12 x 20 Matth Bounce outside with M40's blasting into it and funneled through the small 3' x 3' window. Then diffused inside with Rosco Half Soft Frost diffusion to further soften the bounce light

Bill Stone 20 days ago

I appreciate you doing an autopsy on a scene that isn’t your best, very helpful. Two questions – in the scene out on the porch with Sunny & the other guy – the flyswatter in frame scene – are you just using available light and flagging? And 2), regarding the white 12×20 you put in the BG, you wrote “I should have just fired a light onto the trees and maybe taken the white way back so that it was kind of broken up between the moss and the trees so that it kind of mimic what I had on Sunny’s direction…” notwithstanding the time problems and general chaos, how did you figure the white would create depth – ie: what you saw actually working when you first put it out there? And when you write “put in way back there,” would that not have just looked like a weird white square in the BG? The only reason I’m pressing on this is I find when we make mistakes, before the mistake is made we DID have a good idea somewhere in the original intention, and it helps to know what that was. Thanks

    • Shane Hurlbut, ASC    20 days ago

      @Bill Stone HI Bill, With the flyswatter yes that was all natural light and I brought Negative fill in to shape the light. In Sunny's direction you still had some ambience thru the trees, so it gave depth, where on the character in the wheel chair's direction the hot white square is what I wish I could have taken further back and glowed it with the same blue subtle tones that I had in Sunny's direction. Pushing it further back would have given me a break up and made it not so glaring in your eyes, it is hard to see the emotion on our man. My original thought was to blow out the windows, but I put it too close because we were running out of time. But having it deeper would have created more three dimensional depth because of having the layer of trees to break it up

Zahi 21 days ago

So cool of you to share insight into the kind of situations where things don’t work out in your favor. Thanks.