This is a Lighting Breakdown for a high contrast, shadowy look. I also go over a few things in Color Correction and Color Grading to achieving this look in Davinci Resolve. Personally, I don't like too much "post contrast" or "post production contrast" so getting the contrast correct on set with the lighting is a must. This is how I would accomplish this look on my own projects. Some other videos where I show how I would accomplish different looks: Beauty Lighting Breakdown a

Here's a lighting breakdown from a commercial promo I DPed with Elizabeth Maphis. I go into the lighting breakdown of this shot, how we accomplished the lighting, as well as how I would color grade it. I hope this is helpful and if it is, please like and share the video as well as my page. More great content on the way on my Youtube channel as well as Facebook, including short films and filmmaking breakdowns! As always, I do these both as a way to share/give back and as a way

Lately I've been playing around with a soft shadow/soft contrast look after stumbling upon an article Panasonic put out about DP Bobby Shore shooting the series "Anne With An E" for Netflix. In the article and the videos I stumbled across, Shore states, “I don’t like anything Rec 709 related – it’s way too contrasty and colorful,” explains Shore. “I was basically trying to come up with a lower contrast LUT that still looked good. I was at Panavision setting up the camera and

Here is another breakdown for a scene from "Two Days," the feature film I DPed in December. Let's jump right in. We're going to break down this shot: And the reverse angle: In this scene, I wanted it to be a bit darker because the conversation called for that moody feel. I didn't want to go too dark because that wouldn't fit the scene's emotion. It just couldn't be a super bright cafeteria. To accomplish this, we put an M18 outside the large windows through a 4x4 of half soft

Today we’re going to be breaking down these shot. This shot is one of my favorite in the movie as it represents the mood and style that I love in horror movies. We were at a drive-in movie theater but only bought out one screen so this posed some unique problems that we had to solve. Nothing difficult to overcome, but issues you wouldn’t normally think of when you’re just lighting a scene. To start, we did a wide shot that night and moved in for CUs. I’ll cover the wide shots

Next up, we have these shots. The top two are the same lighting setup (obviously) but I wanted to include them so you can see different positions on the bed and how the lighting setup works for each. Let's start with our actress, Ali, laying in bed. Here's the lighting diagram (read the text below, as some details are not given away in the diagram): For this scene, we had 2 M18s outside the windows, which were directly behind camera. They were spotted in and cut by the blinds

Let's start off somewhat easy. This was a few days into shooting and we already knew the location from the previous days of shooting. We knew the sun would be in the right place at the start of the day. There was some discussion as to whether we should bounce 2 Arri M18's into the 12x Ultrabounce, but we decided that the sun would just be a faster (and better) source and setup, so we opted to go for that. I think the results are pretty awesome. We knew we were going to move q

In the next few weeks, I will be posting lighting breakdowns with diagrams and images from the film. For now, enjoy these screen grabs taken from my SmallHD monitor with my own custom LUT applied through the SmallHD 502 monitor. #cinematography #lighting #filmmaking #directorofphotography #tutorial #breakdown