ADVANCED CINEMATOGRAPHY KIT

Advanced Lighting Techniques

Lighting Techniques 201 – The Power of the Book Light (https://www.hurlbutvisuals.com/blog/2015/08/advanced-cinematography-kit/16/?tm=ic)
Lighting Techniques 202 – How to Light Day Exteriors (https://www.hurlbutvisuals.com/blog/2015/08/advanced-cinematography-kit/17/?tm=ic)
Lighting Techniques 203 – Execution and Etiquette of How to Light for Three Cameras – The Theory and Thought Process Behind It
(https://www.hurlbutvisuals.com/blog/2015/08/advanced-cinematography-kit/18/?tm=ic)
Lighting Techniques 204 – Bounce Light: Understanding How to Match Practical Light with Colored Bounce Sources
(https://www.hurlbutvisuals.com/blog/2015/08/advanced-cinematography-kit/19/?tm=ic)
Lighting Techniques 205 – Bounce Light: Intensifying Your Bounce Source to Create a Hyper White Color Tone
(https://www.hurlbutvisuals.com/blog/2015/08/advanced-cinematography-kit/20/?tm=ic)
Lighting Techniques 206 – Bounce Light: How to Use Reflective Light Sources to Enhance a Mood
(https://www.hurlbutvisuals.com/blog/2015/08/advanced-cinematography-kit/21/?tm=ic)
Lighting Techniques 207 – Advanced C-Stands: The Most Powerful Tool in Your Lighting Arsenal
(https://www.hurlbutvisuals.com/blog/2015/08/advanced-cinematography-kit/22/?tm=ic)

Lighting Techniques 201 – The Power of the Book Light

How did I start out? What was my path to becoming a cinematographer? How do you recommend going about being a DP? I get asked these
questions on a daily basis. My path has been one that only a few have traveled. Most cinematographers started out as a camera assistant, then
moved to focus puller, then operator and eventually cinematographer. I came from the lighting side. I was a grip truck packer first. Day in and day
out, I loaded grip and electric packages for crews. This was my job right out of film school. I quickly learned all of the names of every grip and
electric tool, but not how to use them. That would come with more experience. I feel that this knowledge of the tools of the trade is absolutely
essential to being able to communicate to your crew effectively, plus it makes you really fast. You don’t have to say, “Give me something kind of
big over there, and a small light over here and bounce into something white.”

“Grip Truck Driver to Cinematographer”

I moved from packing trucks to driving them. I first received my commercial license to drive while growing up on our 350 acre farm in upstate
New York. Driving the big 10-ton grain trucks was part of my childhood, so now I was driving the trucks and learning set etiquette. I was running
all different types of gear into the set, learning what all of these things do, while keeping my arsenal of gear organized and repaired. I had to learn
how to fix everything — HMI’s, Xenon’s, tungsten heads, you name it. I had to learn to solder, understand electronics, interface with the lighting
and grip departments as well as production. Talk about immersive photography; this was immersive learning, boots on the ground, in it with tons
of responsibility.

My first big job was a small budget horror film called Phantasm II (http://www.imdb.com/title/tt0095863/). This summer, the ball is back!!!! I
really found my footing on this movie. For me, the light switch was thrown by a best boy electric, Brian Coyne, whom I thank God for every day.
One day, he asked me if while I was in the movie theater watching this scene that we were lighting if I would be scared. I said “Brian what are you
talking about? I’ve got to get this flag down to the Key Grip.” “Look,” he said, “every nook and cranny is lit, there are no shadows, no mystery, no
suspense.” BAM!!!! Right then and there, everything I looked at was light.

I quickly moved up the ladder – becoming a Key Grip and doing several low budget films, then getting a break working with Daniel Pearl, ASC as
his Key Grip on music videos and commercials. If you don’t know this man, you should. He is one of the most talented cinematographers I have
ever seen. My style and fearless nature was generated by Daniel, one of my mentors. He rode me hard and put me away wet. He gave me an
education into the finer art of lighting. He also helped me gain that crocodile skin that is necessary to withstand the relentless hours and intense
nature of this business that we love. The Key Grip experience gave me the skill of how to shape light, how to move the camera and how to put a
camera anywhere.

From there, I went on to become a gaffer on music vids and commercials with two of my other mentors, Joseph Yacoe and Kevin Kerslake.
Kerslake fueled my fearless nature as well as my passion for experimentation filmmaking. We spent time shooting with different stocks,
processing the negative ourselves in bathtubs, coming up with wacky treatments to do to the film at the lab and the color correction bay. Yacoe
taught me composition and beauty lighting. He was an avid user of the Book Light. I know you were wondering when the HECK I was going to get
back to the task at hand. But coming from the lighting side gave me so much confidence that I could walk into any room, stage, set and know how
to light it. This is HUGE!!!

When you are thinking about your career path, please remember that you cannot just jump from film school to being a cinematographer. The
tools at your disposal give you a huge edge that I never had. With the old system, this could have taken up to 20 years. I did it in five years, which
is ridiculously fast. You can shrink this time a little. I got out of film school in 1986. I shot my first music vid for a major label as a DP in the
summer of 1991. I was still gaffing and assisting Herb Ritts until I finally made the jump to full time cinematographer in 1995. Experience is what
you have to gain however you find your creative path, but know that there is no substitute for lighting, camera and life experience. NONE!!!!

“Beauty Behind a Book”

Joseph Yacoe is such a cool artist. He really helped shape me. A couple of weeks ago, I went into how to light a specific camera blocking, a master
shot to a close up. I promised I would give you my Book Light tutorial on how to build it and why it is so useful.

A book light is simply a bounce source that is diffused with another layer of diffusion. It creates an image of an open book. Your light is positioned
45 degrees off of your bounce; then your diffusion layer can be joined at the end of your bounce where your space is limited. You can make a
thick book, which will make your light softer because there is more distance between the source and your diffusion layer. Your bounce has now
become your source, not your light. So the further you move your diffusion away, the softer the light will get. I like to use many different
diffusions as well as bounce sources to create different types of light quality.

(http://www.hurlbutvisuals.com/blog/wp-content/uploads/2012/11/Hand-Shadow.png)

Book Light Example with Hand and Shadow by Shane Hurlbut, ASC
 (http://www.hurlbutvisuals.com/blog/wp-content/uploads/2012/11/Book-Light-Thin.png)

(http://www.hurlbutvisuals.com/blog/wp-content/uploads/2012/11/Book-Light-Thick.png)

“Choosing your Bounce Source Quality for the Back of the Book”
I use all types of bounces as well as color temperature to create different light quality.

Here are the different types of bounces that I use:

1. Bead Board
Board– a great soft bounce, no sheen.
2. Foam Core (http://www.bhphotovideo.com/c/buy/Foam_Core/Ntt/Foam+Core/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-
t12)
t12)– this is a harder bounce source. I use this when I want it to be a more punchier source.
3. Bleached Muslin
(http://www.bhphotovideo.com/c/buy/Bleached_Muslin/Ntt/Bleached+Muslin/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-
t12)
t12)– the ultimate soft bounce source.
4. Unbleached Muslin
(http://www.bhphotovideo.com/c/buy/Unbleached_Muslin/Ntt/Unbleached+Muslin/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-
v1-t12)
v1-t12)– same super soft quality as bleached muslin but changes the color temp of your light 200 to 400 degrees Kelvin.
5. Silver Rosco SS Flex
(http://www.bhphotovideo.com/c/buy/Silver_Rosco_SS_Flex/Ntt/Silver+Rosco+SS+Flex/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-
v1-t12)
v1-t12)– this is used for a very directional bounce, one that you can throw long distances. It is much punchier than foam core and cools your
color temp at least 200 degrees Kelvin.
6. Rosco Scrim (http://www.bhphotovideo.com/c/buy/Rosco_Scrim/Ntt/Rosco+Scrim/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-
v1-t12)
v1-t12)– this is a much softer, less powerful bounce than the Flex. Originally used to scrim windows, this has been my go to bounce source to fit
in a quality difference between foam core and Flex.
Board– this is something I stumbled onto on Act of Valor (http://www.imdb.com/title/tt1591479/) in the catacombs of the
7. Silver Insulation Board
milk factory in El Centro, CA. Used this reflective source to bounce back the M4 muzzle flashes from the SEALS back onto their faces.
8. White ShowCard
ShowCard– soft bounce that you can easily cut and place in all different configs. In light quality, it would fall in between foam core and
bead board.
9. Brushed Silver and Gold Card Card– this is again a bounce that will not warm up your source, hold color temp and semi directional.
10. Shiny Silver and Gold Card Card– this is the hardest of bounce sources. It is like a reflector board, which is almost a mirror. You can see yourself
in it. This is a very controlled bounce.

DIY Bounce Section

11. White Insulation Board
Board– a Home Depot run gives you the same feel as Bead Board. Just has a little sheen that makes it a little harder.
Comes in different thickness depending on what you can spend. Breaks easily and is flimsy.
12. 1/16” or 1/8” Luan
Luan– Home Depot run again. This is a very flexible piece of wood that you can cut easily with a box cutter knife. Gives you a
very warm soft bounce. Usually warms your light up about 400-600 degrees.
13. White Bed Sheets
Sheets– gives you the feel of a super soft Bleached Muslin and you have the ability to rip it off your bed.
14. T-Shirt
T-Shirt– nice hyper white one gives you the same feel as Bleached Muslin and you can wear it after you wrap!
15. Towel
Towel– white and a natural color can give you the same color temp as an Unbleached Muslin.

“Choosing your Diffusion for the Cover of the Book”

There are a million different diffusions out there. I will go into my greatest hits:
16. Hampshire Frost (http://adorama.evyy.net/c/73565/51926/1036?
u=http%3A%2F%2Fwww.adorama.com%2Fsearchsite%2Fdefault.aspx%3Fsearchinfo%3DHampshire%2BFrost)
u=http%3A%2F%2Fwww.adorama.com%2Fsearchsite%2Fdefault.aspx%3Fsearchinfo%3DHampshire%2BFrost)– great to take the edge
off of the sun, or any light.
17. Brushed Silk
(http://www.bhphotovideo.com/c/buy/Brushed_Silk/Ntt/Brushed+Silk/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)
(http://www.bhphotovideo.com/c/buy/Brushed_Silk/Ntt/Brushed+Silk/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)– used to
change the pattern of your light like a par lens. You can make your source project horizontally or vertically by rotating the diffusion.
18. Opal Tough Frost
(http://www.bhphotovideo.com/c/buy/Opal_Tough_Frost/Ntt/Opal+Tough+Frost/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-
t12)
t12)– slightly softer than Hampshire. Takes that harshness away.
19. Half Soft Frost
(http://www.bhphotovideo.com/c/buy/Half_Soft_Frost/Ntt/Half+Soft+Frost/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)
(http://www.bhphotovideo.com/c/buy/Half_Soft_Frost/Ntt/Half+Soft+Frost/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)–
unique quality outside when used to diffuse the sun.
20. Lee 251 (1/4 White Diff)
(http://www.bhphotovideo.com/c/buy/Lee_251/Ntt/Lee+251/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)
(http://www.bhphotovideo.com/c/buy/Lee_251/Ntt/Lee+251/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)– I use this in 4 x 4
frames as well as book lights. Great to use for close ups when you have already diffused your light with a big 12 x and you move that in really
close.
21. Lee 250 (1/2 White Diff)
(http://www.bhphotovideo.com/c/buy/Lee_250/Ntt/Lee+250/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)
(http://www.bhphotovideo.com/c/buy/Lee_250/Ntt/Lee+250/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)-I use this in 4 x 4
frames as well as book lights. Great to use for close ups when you have already diffused your light with a big 12 x and you move that in really
close.
22. Lee 216 (Full Whit Diff)
(http://www.bhphotovideo.com/c/buy/Lee_216/Ntt/Lee+216/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)
(http://www.bhphotovideo.com/c/buy/Lee_216/Ntt/Lee+216/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)-I use this in 4 x 4
frames as well as book lights. Great to use for close ups when you have already diffused your light with a big 12 x and you move that in really
close.
23. Lee 129 (Heavy Frost) (http://adorama.evyy.net/c/73565/51926/1036?
u=http%3A%2F%2Fwww.adorama.com%2Fsearchsite%2Fdefault.aspx%3Fsearchinfo%3DLee%2Bheavy%2Bfrost)
u=http%3A%2F%2Fwww.adorama.com%2Fsearchsite%2Fdefault.aspx%3Fsearchinfo%3DLee%2Bheavy%2Bfrost)– a very thick
diffusion that doesn’t yellow your source too much.
24. 1/4 Silent GridCloth
(http://www.bhphotovideo.com/c/buy/1_4_Silent_GridCloth/Ntt/1+4+Silent+GridCloth/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-
v1-t12)
v1-t12)– yellows your source slightly and gives warmth.
25. 1/2 Silent GridCloth (http://www.bhphotovideo.com/c/search/atclk/Ntt/1 2 Silent GridCloth/N/0/InitialSearch/yes/sts/ma/Top
Nav-Search/BI/8721/KBID/9934/DFF/d10-v1-t14)
Nav-Search/BI/8721/KBID/9934/DFF/d10-v1-t14)– yellows your source slightly and gives warmth. A different strength option.
26. Full Silent GridCloth
(http://www.bhphotovideo.com/c/buy/Full_Silent_GridCloth/Ntt/Full+Silent+GridCloth/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-
v1-t12)
v1-t12)– yellows your source slightly and gives warmth. Thickest strength.

DIY Diffusion Section

27. Shower Curtain (Semi Transparent)
Transparent)– this will give you the same look and feel as Half Soft Frost and doesn’t cost an arm and a leg. Bed
Bath and Beyond, here I come.
28. Shower Curtain (Opaque)
(Opaque)– this will give you close to the diffusion quality of Lee 129 but with a little yellow feel. I love the warmth. Some
people feel it is a little yellow.
29. Clear Visqueen
Visqueen– a Home Depot run gives you the feel of somewhere in the middle between Hampshire Frost and Half Soft Frost.
30. White Bed Sheets (300 Thread Count)
Count)– gives you the light quality of a Full GridCloth and it is silent as well.

“Choosing your Light Source for the Middle of the Book”

I use all types of lights to blast into my bounce. Here are my favorites:
31. Mini 9 Lite with FCX globesglobes– This gives you a lot of punch under 50 amps. You can easily control your levels by switching separate globes
on and off.
32. 2K Open Face
(http://www.bhphotovideo.com/c/buy/2K_Open_Face/Ntt/2K+Open+Face/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)
(http://www.bhphotovideo.com/c/buy/2K_Open_Face/Ntt/2K+Open+Face/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)–
good for low amperage. Easily control levels by spotting or flooding light.
33. Any Fresnel (http://www.bhphotovideo.com/c/buy/Fresnel/Ntt/Fresnel/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)
(http://www.bhphotovideo.com/c/buy/Fresnel/Ntt/Fresnel/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)–
these are easy to scrim and control with barn doors and can also use spot and flood function to intensify light source.
34. 12 Lite Maxi Brutes
Brutes– Use these for 12 x 12 book lights to get a punch that will go far and fill a large room. Again, you can use the switches
on the individual lights to control levels.
35. Any HMI Fresnel
(http://www.bhphotovideo.com/c/buy/HMI_Fresnel/Ntt/HMI+Fresnel/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)
(http://www.bhphotovideo.com/c/buy/HMI_Fresnel/Ntt/HMI+Fresnel/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)– these
are easy to scrim and control with barn doors and can also use spot and flood function to intensify light source. Daylight source.
36. HMI Par Lights
(http://www.bhphotovideo.com/c/buy/HMI_Par_Light/Ntt/HMI+Par+Light/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)
(http://www.bhphotovideo.com/c/buy/HMI_Par_Light/Ntt/HMI+Par+Light/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-v1-t12)–
these are a daylight source that can give you a lot of bang for your amperage and budget buck. Lots of punch and level control can be scrimmed
or use different lens to spread your light.
37. 1K Par Cans (http://www.bhphotovideo.com/c/buy/1K_Par_Can/Ntt/1K+Par+Can/N/0/kw/search/BI/8721/KBID/9934/DFF/d10-
v1-t12)
v1-t12)– these are a tungsten source light that can give you a lot of bang for your amperage and budget buck. Lots of punch and level control can
be scrimmed or use different lens to spread your light.

DIY Lighting Section

38. 150-400 Watt Sodium Vapor- night exterior source that delivers a warm orange color that will project well into your bounce. Beautiful for
ambient feel when you are doing night exterior scenes.
39. 150-400 Watt Metal Halide
Halide– night exterior source light that delivers a cool blue green color that will project well into your bounce.
Beautiful for ambient feel when you are doing night exterior scenes
40. 150 Watt Halogen Clamp LightLight– great light that you can use to bounce. Line several up to give you enough light.

“The Book Light”

! "

(http://www.hurlbutvisuals.com/blog/wp-content/uploads/2012/11/Building-Book-Light-Set_Up2.png)
 (http://www.hurlbutvisuals.com/blog/wp-content/uploads/2012/11/Eli_2K2.jpg)

(http://www.hurlbutvisuals.com/blog/wp-content/uploads/2012/11/Book-Light-Used-for-2K-Example.png)

Book Light on a Model by Shane Hurlbut, ASC

DIY Example:

(http://www.hurlbutvisuals.com/blog/wp-
content/uploads/2012/11/White-Sheet1.jpg)
White Cotton Sheet as our Bounce Source

(http://www.hurlbutvisuals.com/blog/wp-
content/uploads/2012/11/Shower-Liner1.jpg)
Semi-Transparent Shower Liner as our Diffusion
 (http://www.hurlbutvisuals.com/blog/wp-content/uploads/2012/11/DIY_Overhead1.jpg)

(http://www.hurlbutvisuals.com/blog/wp-content/uploads/2012/11/Backview_DIY_Lights_off1.jpg)

(http://www.hurlbutvisuals.com/blog/wp-content/uploads/2012/11/Eli1.jpg)

DIY Book Light on a Model by Shane Hurlbut, ASC

Model Eli Jane is represented by CESD. (http://www.cesdtalent.com/)

I would love to hear back on your Book Light creations as well as how you DIY bounces, diffusions and light sources.
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(https://www.hurlbutvisuals.com/blog/2015/08/power-of-bounce-light-color-of-bounce-light-gold/)
1 COMMENT
(https://www.hurlbutvisuals.com/blog/2015/08/cinematography-starter-kit-3/)

August
12 months ago

Thank you Shane for putting the Cinematography kits together and all the great advice! I just finished both the Cinematographer
Starter Kit as well as the Advanced Cinematography Kits. I learned so much during this journey with you through the podcasts,
videos, photos and writings.

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