Some of the most successful DPs are using tungsten on some of the biggest productions, and for reasons that might surprise you.
Shooting in natural light, outdoors, can often be a limiting experience. Introducing the space light — a great alternative to outdoor lighting.
In this article, we’ll discuss the innovative “cove lighting” style of award-winning Cinematographer Roger Deakins and how he uses it.
You’ll find HMIs doing the heavy lifting on almost every big Hollywood film set — lighting daytime exteriors, diffused windows, and turning night into day.
Uplighting is a great tool in any DP or gaffer’s tool kit. Let’s look at the main ways uplighting gets used (and misused) in cinematography.
In the wake of the multiple announcements at this year’s IBC, let’s look at some of the newest and craziest lights about to hit the market.
So how can you position your lights exactly where you want them — without the shooting environment constraining your setup?
Lighting a moving subject and staying out of frame is always difficult. The solution to this problem is easy: follow fill.
You can create dramatic compositions by bouncing hard light off something to make it soft, and create sharp edges and punchy, bold images.