How To Compose & Light The Close-Up: Deadfall

INCLUDED IN THIS LESSON:  14 Minutes of Instructional Video, lighting, camera schematics and a glossary of terms for better learningSUPPLIED W/ENGLISH SUBTITLES

IN THIS LESSON YOU WILL LEARN:  This lesson is Part 11 of a 22 part series that takes you on a journey from Script to Screen.  Every nuances is discussed in detail from the first scout with the director, the tech scout, the pre-rig, the blocking, rehearsals to the final angle composed, lit and shot.

Once you have lit your master, now it is time to move in for the close up.  What do you alter?  What quality of light do you change?  Then their is the lens choice, which focal lengths, where to position the camera, at what height?  These questions and many more will be answered in this lesson.

  • What I use to modify the light for the close up
  • How I position the lights
  • What quality of light I use and WHY
  • Where I place the light to create the correct lighting emotion
  • What lens to use
  • What height to set your camera at

ahmed.salem555 28 days ago

Hi Shane , Very wonderful article , why you did not use the kinoflo celeb instead of the cineo , could you put a ring light on the lens as cheap catch light

paulk 29 days ago

You parked the 4×4 right in front of him and slightly to the side. Does this position effect the actor delivering his line to other actor? Or did Bana just say it by himself?

FlatArt 2 days ago

Hi Shane, with the 1/4 ctb what is the colpur temperature of the coneo

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    • FlatArt    1 days ago

      @FlatArt Sorry, cineo... and why did you pick that temperature for the fill?

    • Shane Hurlbut, ASC    Today

      @FlatArt HI FlatArt, I love infusing cyan tones into the blacks, so by using the cineo and 1/4 CTB on a light that is 5600K and with adding the 1/4 CTB I am taking the light up to around 6500K. I love this area 6500K to 8000K with some green added in is perfect for my shadows. I love using the sky panels for this as well.

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