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SIC PODCAST: EP 20 – CAMERA PLACEMENT, DOCUMENTARY CINEMATOGRAPHY, AND LIGHTING ESSENTIALS

  • January 14, 2019
  • Shane Hurlbut, ASC
SIC PODCAST: EP 20 – CAMERA PLACEMENT, DOCUMENTARY CINEMATOGRAPHY, AND LIGHTING ESSENTIALS

In this month’s Inner Circle podcast, I cover your questions on:

  • Techniques for best camera placement
  • Best documentary cameras and lighting
  • Best ways to operate the camera handheld
  • The power of the Leko Light
  • Painting with “strokes” of light
  • Differences in quality of light from the Kino Flo vs. the Book Light

Play it here:

Listen to it on iTunes HERE!

Podcast Questions:

00:27

Hi, Shane, I love the Inner Circle and what you do. It’s so unique and powerful. I have a B.S. in film, but, I’ve easily doubled my knowledge as a shooter over what I’ve learned in film school. I’m very self-critical. And my question surrounds what I feel is my weakest skill as a shooter, my angles. Not so much lens selection, but camera placement in relation to my subject. It was first brought to my attention by a director under whom I’ve worked on a short film, who micromanaged me so badly that he often got out tape measures and quibbled over mere inches and distance to the subject and up or down angles on them. He even went so far as to tell me I used “porno” angles, whatever that means. But, to an extent, though he handled it poorly, I know he’s right, even when I get the lens selection right and the light is amazing. Sometimes I see I’ve missed the mark in the viewfinder and cringe, but decide to fiddle with it anyway because I can’t spend an hour just fiddling with camera placement. I’ve even heard several filmmakers say something to the tune of there’s only one correct spot for the camera to be. Could you speak a bit about the topic of the correct placement and help me find it even if it’s a few basic tips. Thank you so much, Ben.

27:06

Hey, Shane, I wonder if you could talk about documentary film making and a good and portable camera and lighting setup for a doc. Thanks, J.J. Geller

38:15

Hi, Shane, can you give me some advance tips on operating the camera hand held? I like the hand held style, but, sometimes DP’s use it in a way that makes an audience sick. Your thoughts? Thanks

46:37

Shane, what do you think about the older, boxy, rectangle, Leko lights with removable blades or is the newer Source 4 (Leko Light) a must to purchase? Thanks, David St. George

48:22

Hi, Shane, I’ve heard you talk about the different strokes of lighting and I’m intrigued to know if you follow a set pattern to lighting your scenes in every circumstance? Do you always follow the same steps in the same order or do you mix it up based on what the scene demands? What instruments are handy or how much of a time crunch are you under? I am interested to know how I might be more efficient on set and how I might be able to iron out a technique for getting more done with less of everything.

55:22

Dear Shane, can you compare between the quality of light you get from Kino Flos and the Book Light? -Amed

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