- So, now that we know the basics of light, let's put this knowledge to use, and make beautiful images. In this tutorial we're going to take a look at what makes images cinematic. And also some things to be aware of when lighting a scene. One of the things that makes lighting feel cinematic is contrast. Shadows in movies tend to be darker than they are in real life. This underscores the serious nature of the drama. You know, for hundreds of years, when great artists make beautiful visual art, they often stagger dark shadows with brighter tones.
This is because our eyes are drawn to contrast. In paintings by the old masters, for example, we often see this motif of light areas next to dark areas. Next to light, next to dark, and so on. As we light subjects with a key light, that illuminates the background, and has a backlight, we can often create the same staggering of light and dark tones that our eyes find so appealing. It's also one of the reasons that a backlight is so gorgeous. It takes an edge that is otherwise nondescript, and creates separation, by adding a faint line of contrast.
It's important to note that if you're the DP, you should be aware of the story. I've been on sets with cinematographers that were just so talented, they were masters of lighting and camerawork, but they didn't read the script, or know the story. So the choices that they made in their cinematography were just beautiful, but they weren't right for that particular story at all. Lighting sets a mood, and creates a tone. So you need to be aware of the atmosphere that your shots are creating.
If you're shooting a lighthearted family comedy, strong contrast would probably feel out of place. Same thing with a romantic comedy. The subject matter just doesn't get that dark. So neither should your shadows. (laughs) Before making The Assurance, you know, I really didn't have any experience shooting anything so serious and heavy. So the contrasts and shadows weren't as strong as they probably should have been, given the story. Now, lighting can also create a sense of intimacy. In this shot of our model Lucy, there's just one light.
That single light source creates a sensation that there's nothing else, and no-one else. So we feel connected to the subject, and it almost feels like we're having a private moment with them. Like there's no-one else here, just us. So if we don't want the subject to feel connected to the world around them, or if we want the audience to feel like we're sharing a private moment with our subject, then this type of lighting might be an option. Now, on the other hand, using lighting that feels wrong can be used to create interesting results as well.
Let's see, like a mother that just gives birth. We've all seen on Facebook photos of the birth room, what that looks like. It's typically a beautiful moment, tons of light. You really want to fill that with other people, and all that kind of stuff. But what if we subverted the expectations of the audience, and did the exact opposite of that. What if we lit that scene like this. Now that would create a completely different mood. Depending on the story, and what's going on in the story, it might feel very intimate and beautiful, or it might feel very scary, and ominous.
Remember, if you're a cinematographer, or a gaffer, you are also a storyteller. So in order to be a good cinematographer, you've got to be familiar with the story that you're telling. You know, lighting a shot is not just about getting a good exposure. Even just about getting a beautiful shot. It's about telling that story. So, work with the director, and use your lights to help the director tell their story.
Author
Released
9/12/2017- Understanding exposure
- Getting coverage
- Diffusing, blocking, and shaping light
- Shooting at night
- Using wide and long lenses
- Telling stories with camera movement
- Framing the shot
- Using mobile cinematography apps
- Mastering cinematic lighting
- Using common grip equipment
- Lighting people in a flattering way
- Achieving a shallow depth of field
- Creating more cinematic shots
- Working as a Director of Photography
Skill Level Intermediate
Duration
Views
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Introduction
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The assurance7m 43s
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1. Cinematography Basics
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Understanding exposure1m 31s
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Adjusting the shutter speed2m 45s
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Adjusting ISO1m 50s
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Exposing for the subject3m 46s
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Using a light meter1m 16s
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Evaluating a histogram1m 37s
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Choosing a frame rate1m 34s
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Shooting slow motion footage2m 40s
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2. Setting Up the Shot
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The cinematography workflow5m 54s
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Understanding shot sizes5m 59s
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Using POV shots2m 10s
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Understanding the line2m 22s
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Creating dimension2m 44s
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Selecting the aspect ratio3m 33s
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Leading the eye4m 11s
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Cheating lights and talent1m 35s
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3. Framing the Shot
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The importance of framing3m 34s
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Utilizing thirds1m 54s
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Centering the subject1m 32s
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Using high and low angles2m 10s
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4. Lighting in Theory
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Hard light vs. Soft light4m 27s
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Avoiding "sourcey" light2m 18s
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Realism vs. Beauty3m 13s
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5. Lighting in Practice
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Mastering cinematic lighting3m 47s
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Diffusing light4m 51s
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Blocking and bouncing light4m 51s
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Using scrims2m 3s
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Working with natural light4m 20s
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Shooting night scenes5m 20s
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Making magic with fog2m 56s
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Coloring light with gels4m 13s
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Creating lens flares2m 19s
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Preventing lens flares1m 40s
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6. Lighting People
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Lighting from above1m 52s
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Lighting from below1m 49s
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Minimizing blemishes1m 49s
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Making light flattering1m 18s
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Using eye lights3m 10s
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Making a silhouette1m 38s
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Creating the film noir look2m 34s
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Lighting dialog scenes2m 3s
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7. Camera Basics
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Which camera should you use?3m 48s
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Building the camera2m 41s
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Supporting the camera1m 8s
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Achieving critical focus3m 48s
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White balancing the camera1m 50s
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Setting up video village2m 55s
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8. Telling the Story with Lenses
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Using lenses to tell a story3m 13s
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Working with wide lenses3m 20s
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Working with long lenses4m 28s
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Using premium optics1m 51s
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Racking focus1m 45s
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9. Moving the Camera
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Moving the camera6m 24s
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Using a slider1m 39s
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10. Creating Cinematic Shots
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Critiquing the shot2m 18s
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Changing the background1m 2s
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Rethinking the lighting1m 39s
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Changing the tone with gels1m 53s
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11. Fixing Mistakes
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Recreating the faceoff shot1m 26s
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12. Working as DP
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Responsibilities of the DP2m 29s
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Knowing the script1m 30s
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Scouting locations2m 26s
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Getting coverage4m 6s
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Gear: Renting vs. Buying2m 20s
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Working with the crew3m 47s
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Stealing shots2m 33s
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Shooting visual effects4m 48s
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Conclusion
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Improving your DP skills3m 10s
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Previewing the next course1m 49s
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Final thoughts56s
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Video: Mastering cinematic lighting