This course offers a comprehensive and detailed overview of various lighting instruments commonly used in the film industry. It not only introduces these instruments but also demonstrates effective techniques for simulating natural light in indoor settings. Moreover, the course delves into the art of achieving depth and contrast through the strategic use of black-out and smoke effects.
As the second installment of a four-part series, this course specifically focuses on the critical aspect of lighting design in the role of a Director of Photography. However, what sets this course apart is its unique approach of showcasing techniques in real-life locations rather than a controlled studio environment. By doing so, it aims to provide a realistic understanding of the challenges and complexities involved in creating captivating lighting for independent film production.
Throughout the course, viewers are taken on a journey through the entire process of blocking, lighting, and shooting a short scripted scene. This scene, inspired by the fantasy web series Ren: The Girl with the Mark, features two actors in full costume. Under the guidance of experienced Director of Photography Neil Oseman, viewers get to witness the meticulous setup of lighting fixtures, as well as the skillful manipulation of light using flags and rags. Additionally, Neil shares valuable insights into his decision-making process, providing alternative approaches that viewers can consider for their own cinematography projects.
The course also takes into account various factors that can impact the lighting design, such as time constraints, unpredictable weather conditions, equipment limitations, and script requirements. By addressing these practical considerations, the course ensures that viewers gain a comprehensive understanding of the realities and complexities of lighting design in the context of independent film production.
To provide a complete learning experience, the course culminates with the presentation of the final edited scene. This allows viewers to witness the end result of the lighting design process and appreciate the impact it has on the overall visual storytelling.
In conclusion, this course offers a comprehensive and immersive learning experience in the art of lighting design for film production. Through its real-life location-based approach, practical insights, and hands-on demonstrations, it equips viewers with the knowledge and skills needed to create captivating lighting that enhances the visual narrative of their own film projects.
You can also check out the Other Courses in this comprehensive series:
Who this course is for
- Cinematography students
- Camera operators looking to move up to Director of Photography
- Corporate/industrial filmmakers looking to move into drama
- Indie filmmakers looking to increase their production values
- So glad to be your student Neil. This is what I was looking for. I have no words. This was the perfect course for me. I am very grateful, I am confident to be a pro DP now. Highly recommended ~ T Tsephel
- I was confused how to use lighting techniques on set but because of this course I learned a lot from it, how to light with single source and make your composition more better with these lighting techniques that he has taught in this course ~ F Ahmed
- This is an excellent course and I'd happily take another one from this instructor. The format was perfect for teaching lighting, not just the how but also the why. HIGHLY recommend this to others! ~ J Kelsey
- This course is great in detail and explanation ~ J Thanyapanich
- Thank you to Neil and his team for a fantastic course that gives a real insight into the thought process of a cinematographer. If you were expecting this to have the secrets of good cinematography the you need to look elsewhere as Neil gives you the tips and tricks of his approach for your to go out and try on your own set ~ D Baker
- great education, loads of fun and loads of create and real solutions to real problems, thank you :-) ~ D Lewis
- Please take this class if you wish to learn the THOUGHT PROCESSES CINEMATOGRAPHERS MUST GO THROUGH JUSTIFYING EVERY LIGHT/SHADOW/ATMOSPHERE THEY MUST CREATE IN SECONDS! As a complete novice to both camera & lighting, I watched every module straight through and allowed myself to simply watch & listen as I had no references to any of the camera/light equipment he would be using, therefore I had everything going over my head while at the same time reinforcing my belief that cinematography and lighting are of the utmost importance in conveying the story to an audience. Cinematographers and Directors with a command of lighting & shadows are magicians. We as audience members do not want to know the truths and so we are fooled willingly that the scene we watch actually is living in real sun/moon/light/shadow/fire/candles/fog etc....making us accessible and LIVE INSIDE THE STORY: BELIEVING the STORY ~ S Bitner
- This guy knows his stuff and gets straight to the point. A natural teacher! ~ V Gonzalez
- This course is excellent! It is very informative and engaging! The concepts are explained clearly and demonstrated well. I would definitely recommend it ~ E Yelen
- It's amazing how many self-proclaimed cinematographers are out there all selling their courses but real cinematographers teaching are few and far between. That's why Neil's course is one of a kind, he's an actual professional and he is actually justified in calling himself a real cinematographer, as opposed to almost everyone else who sell their cinematography courses... no offense ~ G Kozma
- Excellent!! Very well organized with interesting examples & set-ups. I also appreciated the realistic range of gear and scale of production - a very useful reference for independent filmmaking ~ P Riddihough
- I highly recommend this course to all those who want to improve their photo skills in a theory and practical way. I'd never been in a set before, but this course felt so lively as same if you were in there by seen all the choices taken by a professional DP, and how those decisions improved the final result ~ E Magallanes
- Excellent course! IMHO, it provides as much "hands on" experience as you can get from an online course. As you are on set with Neil and he is applying the lighting and changes as he is describing them, you can immediately see what effect the various techniques have on your picture. He is also casually touching other topics like image composition and techniques as he goes on discussing his shots. I also got myself a light meter after this course ;-) (my favourite part is still that the automated subtitles turned "Sekonic light meter" into the "psychotic light meter"...). I definitely recommend this course to anyone who would like to hone their skills in cinematic lighting and I definitely hope that Neil will do additional courses! Also check out Neils blog, which contains additional details ~ P Rüegg
What you'll learn
2.1 Scouting & Equipment
- Identifying light sources in the room
- Using apps or a compass to predict how sun will enter through the windows
- The principle of dark-to-light depth
- Using curtains to modify interior light
- Introduction to some common lighting instruments: Dedolights, Kino Flos, an HMI and a Rayzr MC LED panel
2.2 Lighting through a Window
- Observing the blocking with actors Kate and Ivan
- Direct lighting using an HMI
- Controlling contrast with black-out
- Diffusing the light with a trace frame
- Bouncing the light off poly/bead-board
- Bouncing the light off parts of the set
- Use of a light meter and false colours to set the correct exposure
- Use of smoke or haze to add atmosphere to the scene
- Reasons to add atmosphere
- The concept of aerial perspective
- Shooting the master shot
- Comparison of the final shot to the other versions demonstrated in 2.2 and 2.3
2.4 Lighting the Reverse
- Use of viewfinder apps to find a frame and select a lens
- Challenges of front-light
- Adjusting the window light to highlight certain areas
- Demonstrating a “window wrap" using a Kino Flo
- Using light readings and ND filters to arrive at the correct exposure
- Shooting the reverse
- The final edited scene
- Students should have a grasp of basic cinematography concepts like white balance and depth of field.
- A familiarity with the principle of three-point lighting will be useful, but not essential.