what separates Hollywood DPs from you
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0:00 -Intro
0:34 - The importance of light motivation
1:35 - How to establish the natural light direction
3:00 - Importance of camera placement
5:04 - Determine the type of light on your subject
6:40 - The Cinematic Eye
7:42 - Think about your color temperature
10:11 - Final thoughts - ภาพยนตร์และแอนิเมชัน
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While I agree for the most part I also agree with this too Sean Astin asking legendary Cinematographer Andrew Lesnie on the set of lord of the rings on a set with light where there was no source for it. "Where is the light coming from?". Lesnie replied, "Same place as the music."
Right! Walking through caves or night time forests as an example. No reasonable light sources should be there, but we still feel immersed as long as the lighting that does exist is not overblown. Motivated light source is one part of the pie, but not an all encompassing thing.
Still a very good & useful video either way.
We still believe it though. So they’re doing it in a subtle enough way
That’s mastery of the craft. Controlling the ambiance so well that illogical light can trick the audience. Shelobs cave and Mines of Moria come to mind.
Hell yeah. Photography should be treated as an art an all this motivation BS where the light comes from is just an excuse to no experiment and be playful.
@@Leprutz I mean I still use motivated lighting all the time 😅.
There is another important skillset that separates many of us from them: the power of networking.
I spent 15 years learning the hard skills, buying the gear, watching every film and commercial I could get my hands on, worshiping the works of Roger Deakins, Vittorio Storaro, Tonino Delli Colli, and many others... but I wasn't getting work. My reel got no attention, my work was all personal projects. Once I started getting off my computer, going out, and meeting other folks through cold emails, and at networking events, *that* is when I started to up my game as a commercial DP. Crafting the light is a huge skill. So is crafting yourself.
Very very true! We always say in AOD you should be working on the three “R’s” to progress your career:
-reel
-reputation
-relationships (networking like you’re saying!)
Can’t work on just one and expect things to progress
Just another testament that filmmakers are going to get a _ton_ out of AOD@@markbone
You really popped off after Vain. Can't even book you anymore smh.
Ha. Not bad. I have the three P's
Passion
Patience
Persistance
@@markbone
So true. To piggyback off of that, just living life is an underrated skill too. Walking around your city. Going to flashy nightclubs. Looking at your bedroom at blue hour. Looking at the trees or buildings in your neighborhood at golden hour. Inspiration is everywhere.
I feel like you are giving all the credit to the DP. The Gaffer does ALOT. There is also a reason why DP´s will work again and again with the same Gaffer because they know how good they are.
I'd argue the major factor is that they have big-name production designers on the team. They're kind of the unsung heroes of cinematography. I realize that some of the best cinematography I've seen has just been pretty par-for-the-course cinematography in incredible locations with incredible set dressing.
If you're an indie film guy who's self-financing, put as much budget into the set/locations as the lighting and camera packages and you'll be amazed how easy it is to get your best results ever.
Unfortunately, nowadays TH-camrs that have hundreds of thousands of subscribers are not real experts, but still have an opinion.
100%! Set design is 50% of a successful shot.
Production design is the answer.
Had the pleasure to work as an assistant gaffer on a movie under the lead of a professional just last month. During those 2 weeks of shoot i have realized I know nothing about lighting a scene. The experience was eye-opening. It is just unbelievable how underrated this craft is in the eye of the public. Thanks for the inspiration and informative content.
Gaffers are unsung heroes. A good gaffer is worth their weight in gold
@@markbone Yes. It sure does.
It's everything and nothing. Production Design, story, performances....and masterful writing.
Great stuff! Thanks for breaking down these lighting setups!
One good tip I got while starting out is that you don't press record until it looks the way you want. Then you need to stop and think about why it doesn't look the way you want and you need to adress it head on - instead of thinking maybe you can grade it later.
That last tip is so important 💯💯💯
This was amazing. Thank you for the informational video!
awesome! thx so much for taking the time explaining.
Great video, Mark! Thanks for keeping it real over the years, I'm military combat videographer and I love to show your videos to my Marines to help teach them good shooting techniques.
Always blessed and grateful for your work. Thank you!
This is great Mark! Thank you for this video.
Amazing work brother! This is ver inspiring to keep on my filmaker journey! Thank you for the great knowledge
Amazing video! So much great info! Keep it up man
Thank you. Really helpful video, for people who do actually need advice and are willing to listen, adapt, and improve their work
This is the best light video.
Extremely helpful & insightful! Much respect!
Just thank you for this.. I am so new to all this but loosely understanding this… has already given me direction on where to go next
I should really comment more. I really just wanna let you know that I appreciate your videos way more than you know Mark. I'm an outdoors TH-camr as well on my other channel Careena Alexis, and filming my camping trips grew my love for filmmaking so much that I started immersing myself more into filmmaking and now run a videography business and I have learned SO MUCH from you. Thank you so much for the extremely well presented, well explained wisdom! Also fellow Ontarian here :)
We get so used to corporate shoots doing the same old 45 degree soft lighting setups that we do that in our narrative work as well and then things look so artificial. Until you realize, when it's a harsh desert midday scene in a "Hollywood" movie, guess what, it's going to look top lit, gritty and harsh, because, that's literally the environment. Great video like always Mark! And great way to show all the haters from the last video :)
Thanks Steve! Always appreciate you swinging by!
Can't keep away from great content!
I suppose that there are a lot of Hollywood prejudice, because I have different vision about Hollywood movies and remember the really great ones
@@Bettytinish that's the thing. They look great because the lighting is motivated. It makes sense.
Wow this video was super helpful! I've always struggled with the idea of lighting, I could never understand how cinematographers new where to place their lights, what type, etc. Lighting is an art still, and requires deep thought at times, but you just made it a little less difficult :) So this really helped me logically understand how lighting works, thanks Mark!
love this video. Perfect timing for me.
Thank you for the video ❤
Really good break down, this was great.
Great video! 👌
It reminds me of an eye opening lesson I’ve learned, after a decade of focusing on the wrong things and wasting money on things that are not necessarily that important.
It’s “have a vision before you start using the tools”.
It applies to many art forms and even to life.
If the process is kinda like this, there’s so much more depth to and focus to everything:
1. I want this to be like that
2. Hmm it’s not like that yet
3. Why is it not like that yet?
4. Aaah that’s why
5. What do I need to achieve it?
6. Now the tool comes in
It’s very easy to fall into this kind of approach as a beginner:
1. Hmmm so where should we put this Aputure 600d?
…
Stay focused and most of all, stay focused on the actually important things😊💪
GREAT breakdown. Bad lighting is my biggest pet peeve when watching short films or no-budget projects my friends are in. Every other aspect is usually great, but lighting ends up an afterthought because the writer-director-producer-camera op is doing everything themselves.
Thanks @markbone . This was a beautiful content.
I am working up the courage to make the first video for my TH-cam channel. I subscribed to your channel for inspiration; it was a good decision. The content of your channel is of a high quality, and it is easy to take advantage of your good advice.
Thumbs up to you, and thanks for sharing your experiences!
Mark Bone, Sir. You are a gentleman and a scholar. Thank you for your contribution to education on TH-cam, please keep up the stirling work old bean.
Very informative, thanks for sharing this breakdown. For the example at 3:50 I think a slight tungsten rim on the shoulder would be great, and help balance out the daylight and lamp light.
Film making is a collaborative process. A DOP is only as good as the people around them and no matter the inherent talent or any individual, it takes a combined effort to deliver the so called “Hollywood” quality. Production design, colour palette, fantastic costume and make up. As some have said here in the comments, DOPs receive a lot of credit for the look of a film, and whilst they are undoubtedly a big component, they’re not solely responsible for what ends up on screen. I personally believe that regardless of budget, good work stands out because of fantastic design choices and not due to what camera and lens package someone used. Stick by your aesthetic principles and the rest follows
Fantastic content as always! Found your channel amongst the many creators in this field and have to say that I was skeptical at first. Whether it’s a subscription service, course, or Lut pack, it seems like everyone is always trying to sell you something in their educational videos, but I’ve learned (or reinforced) so much quality information in the last week alone! You have an amazing communication style verbally and in the way that you edit your videos and the community is a better place because of it! Thank you sir!
Thanks Jake! Appreciate these kind words!
This was dope thanks 🙏
Informative. Thank you!
Nice job! I teach high school film and this video will be something I will be adding to help students understand the need to go a bit further with controlling or planning the lighting in their scenes.
Love it!
Love the break downs!
🤍
super useful! thanks for the video!
So it's all about the lights!
Great vibes
Love the James Blunt Cameo
@wanderingdp is a boss! Love you Mark!
music and pace to me brings out the emotion in any video. But to make your film go next level lighting brings out the emotion in the film alot more.
Then comes a ton of other aspects.
Insane breakdown!!!✨
Thanks mate!
This is what I needed. 🏆
"Professional Cinematographers make things look natural, believable and not 'lit' " ... Robert Richardson has entered the chat.
Augmenting and also, removing light
I think it’s important remember general audience aren’t thinking “Where is this light coming from”. They aren’t even wondering what is lighting the actor. If the shot looks nice and realistic enough you dont need to worry too much about justifying your lights and the audience will be immersed all the same. This is with in reason of course, if you show a huge window and then cut the light off your actors face or fill it with some pink light out of nowhere that will draw in questions. However, for example, if you’re filming a dialogue between 2 people and the light, if it was realistic, would only really look nice on 1 character and not the other, something like one character it’s nicely lit by the sun and then the other would be getting full face with the sun, dont be afraid to mould that light so it also looks good for the other character as well. Cut the light to one side or place some diffusion on top to soften it. The audience wont notice and it’ll look much nicer.
For an example of that in this video, the section where Mark talks about the sky light justifying the side lighting on all the people, thats not skylight, light hitting them. It should be landing right on the top their heads, which would make them look quite ghastly, but in the film its much closer to a Rembrandt. The skylight justifies the existence of light in general but it doesn’t have to dictate it’s direction.
Well said
If I walk through a door, down the hall, to my office it is just a walk nearly without decision.
To film someone walk into a building, entering a room from the hallways......requires a thousand decisions.
Your videos help navigate those choices.
🎥 glad it helps :)
Perfect...
Simple answer - because they have a huge tream of experts all helping make and shape. Personal skill and motivation only go so far right
Set design, production value. Elaborate lighting set ups. Millions of dollars
Exactly.
I agree but also I remember that shot in Paris, TX where they literally just had some kinda red light laying on the ground pointed at Harry Dean Stanton, soooo.
But this is a good point
having worked on a lot of big things, crew is for sure like 80-90% you can craft that light all you want, but if you dont have 2 guys running cable one guy rigging the light and a grip team shaping it at your command alot of the magic is already gone.
Kudos for including the FlyLo video
Love that video
So helpful!
🙏🏻
@markbone thanks for all the content you share with us. I'd like to know how you go about calculating the amount of light you need in given scene.
Thank you for this video! Also, love the black jacket :) where is that from?
Nice
This is a very technical video that caters to people who focus a lot on stuff that I think a lot of the best DPs are thinking about, but not as the most important thing in their work. The cinematography should serve the story and the feelings and information you want to convey. Just because a shot is lit with what seems like «fake» light, does not mean it does not serve the purpose the filmmaker want to convey. Art, and film, go through trends, and while practical and motivated lighting is the trend now, I would not say that it is what makes something look or feel «cinematic». I think it is easier for low budget filmmakers now to make their films look cinematic now. You can get shallow depth of field from a very affordable camera. Lighting is easier to get your hands on and grading tools as well.
Yet, awww Andersons films go very much against motivated lighting, and usually have very deep depth of field in a lot of the shots. What makes that style look and feel cinematic and artsy is thw very intentional style and very particual set design and costumes.
My message in short form: there are many roads to Rome.
Joining is must
Well, everything... great! But if you happen to see my question I would like to know what camera and lens you used. So beautiful photgraphy!
All good stuff and good advice. I would simply add that what separates Hollywood quality from everything else is world class Colorists. They work, shape and modify light almost as much as DP's do.
Perhaps. It certainly helps
I think what makes the difference is the art direction budget.
Mark, could you do a video talking about making a quiet/silent scene and/or short film interesting without dialogue?
I struggle with dialogue and absolutely love the quiet clips on TH-cam where people create beautiful, minimalist, "cinematic" videos but am at a loss myself how to make videos like that from my perspective.
Skål.
Edit: For example, how maybe activities can help make it more interesting or background props, etc. But I digress. I'm not the expert here. 😅👍
Mark Bone = Roger Deakins = Same expressions on where's the light source and how to shape it....
Hey Mark thanks for your videos ! As a French viewer it's very helpful.
I would like to ask you, how do you find your films stockshots and is it really legal ?I would like to talk about movies scenes as well but I don't really know how to find it in good quality.
Thanks !
Great video! Your setup could use more fill light though 😜
yes
Your missing balance/contrast ratios as one of the key factors. Key to Fill, Key to BG etc etc
'what separates Hollywood DPs from you'? A huge budget, a decent camera and lighting crew, a good set designer, a director with a vision, an eye, a bit of psychology, some scientific know how, and years and years of training coupled with trial and error...
- [0:00] 💡 Professional cinematographers excel at crafting light motivation, seamlessly integrating film lights with natural light sources.
- [1:35] 📷 Camera placement plays a crucial role in determining the natural direction of light and avoiding artificial lighting.
- [5:04] 🔍 Understanding the quality of light, whether it's soft or hard, is essential for creating realistic and believable scenes.
- [7:42] 🎨 Consider the color temperature of light sources to ensure consistency and believability in your scenes.
- [10:11] 🎬 Imperfection in lighting can often enhance realism and immersion in filmmaking, creating a more authentic viewing experience.
@5:01 is that from the 2013 movie titled Her?
great video! was the TIFF panel you moderated recorded?
It was not
Where can I find the prices for the courses??
Boils down to lighting.
It does
Your shot looked better with the light off 😂
A good thing to mention would be that this is a fairly recent development. If you look at films from the 80s and 90s and even the early 2000s a lot of them look super lit and sourcy compared to modern films. Even some of the best films from that era can now be used as examples of how _not_ to light a modern film.
agreed!
Shane Hurlbut will help you with this.
All Hollywood DPs who are epic cinematographers should teach like Shane.
Like the old Hollywood Lighting Series...
For those of us who do not have high quality lighting equipment, what's a good way to practice intentionally using light in our videos?
"Limitations are your gifts". I'd suggest use cheap yet effective flashlights, bed lamps plenty of then experimenting and practicing is the key too
Location, set design, time of day, millions of dollars... it all matters. 💸
A bazillion dollars
Also a very good colorist. I’ve seen some mainstream films ungraded with a simple rec709 convert and it looks cheap vs the final grade that just looks like the million dollars it is.
What would you say about Robert Richardson's style? Lots of 'unnatural' sources, like his frequent use of a strong hard top light over tables.
You can justify a light direction by adding a prop light too.
It"s too bad, there a not french subtitles for your academy :( (im french)
The jacket you’re wearing is so cool, do you remember what it’s called?
Custom. Spencer Badu
❤❤❤
One of most expensive requests a director can ask the DP is to make the lighting looking natural
Maybe not for a documentary shooter ;)
Isnt it a lot up to the gaffer/lighting department too? I mean they usually know what to do when the dp has described his vision.
Yes. Gaffers are crucial. But in this context I’m talking about the vision of a DP
0:38 this looks like Flying Lotus music video for "Coronus, The Terminator". Was it just built out of footage of Dayveon? What's happening there?
Noticed something at 3:10
your facecam looks better without the added light
is building the light a DP role tough?
4:43 😂😂😂😂😂😂
Don't forget the using of negative fills, and as can be seen in your examples, the color itself, the blueish color when the woman lays in the bed, sad, depressed, fearful, the guy with the yellow light could be moody, but more like crazy, chaotic. This is what they do best, together with the colorists, the art of cinema. ;)
I have a question. I started shooting cooking videos in a clair obscur style, so very subtle lighting, lot of shadows, dark mood. Light position is good for me but I just hate the white light so called "daylight", it feels fake, too artificial. How is it possible to make the light a bit warmer? I use 2 softboxes. Do I need a big gel outside the box or do I need gel on the cob?
gel the cob
@@sol1t thank you, I'll see how I can do that.
🎉❤
but making motivativational light on the street for example costs money and gear, so.... i would assume all of us wanted to replace or switch off one of the street light - but cant afford it