Ultimate Guide to Cinematic Lighting Pt. 2 — How to Light Subjects and Locations

Summary

Episode 13 of 'The Shot List' delves into cinematic lighting, exploring various techniques to illuminate subjects and settings. It discusses three-point lighting, emphasizing key, fill, and backlight, and their roles in shaping mood and contrast. The episode also covers lighting styles like Rembrandt, Butterfly, and Loop, and their dramatic effects. It further examines lighting for multiple subjects, location considerations for day and night exteriors, and creative approaches for interior scenes. The video concludes with a nod to the flexibility of lighting rules, suggesting that the right tools and setups can transform a shot into a memorable visual.

Takeaways

• 🎬 Films are constructed from sequences, which are composed of scenes, and scenes are made up of shots.
• 💡 Cinematic lighting is crucial for setting the mood and guiding the audience's understanding of characters and their emotions.
• 🔦 Three-point lighting is a common technique, consisting of a key light, fill light, and backlight to create depth and separation from the background.
• 🌟 The intensity and quality of the fill light can significantly affect the contrast and mood of a scene, contributing to a low-key or high-key look.
• 👤 Different lighting setups like Rembrandt, butterfly, loop, and split lighting are used to highlight specific features or create particular effects on the subject's face.
• 👥 When lighting multiple subjects, a cinematographer must consider which subject to emphasize and how to direct the audience's attention.
• 🏞️ Exterior day lighting often relies on natural sunlight, with considerations for the time of day and the use of reflective surfaces or diffusers to control harshness.
• 🌙 Night exteriors require artificial light sources to simulate moonlight and other environmental lighting, with careful control over color temperature and intensity.
• 🏠 Interior day scenes can utilize practical lights and natural light from windows, allowing for a wide range of lighting styles from naturalistic to stylized.
• 🌌 Interior night scenes heavily depend on artificial lighting to create the desired atmosphere, with the use of color temperature and practical lights playing a significant role.
• 📚 The script concludes with an invitation to download a comprehensive e-book on cinematic lighting for further learning.

Q & A

What are the three main components of a film in terms of structure?

A film is made up of sequences, sequences are made up of scenes, and scenes are made up of shots.

What was the main focus of Episode 13 of 'The Shot List'?

Episode 13 of 'The Shot List' focused on cinematic lighting, including different ways to light subjects and their surroundings.

What are the three light sources in a three-point lighting setup?

The three light sources in a three-point lighting setup are a key light, a fill light, and a backlight.

What is the purpose of a key light in a three-point lighting setup?

A key light is the primary and strongest light in a three-point setup, providing the main illumination on the subject.

How does the fill light affect the contrast ratio in a scene?

The fill light fills in the shadows created by the key light, and the difference between the fill and the key light affects the contrast ratio, which refers to the difference between light and shadow in an image.

What is the function of a backlight in a three-point lighting setup?

A backlight in a three-point setup is directed at the subject from behind, creating a rim of light around the subject's edges, separating them from the background.

What is the difference between a low-key and a high-key image in terms of lighting?

A low-key image has strong contrasts with deep shadows, often with a dim or non-existent fill light. A high-key image has soft lighting with less contrast, where the fill light is closer in strength to the key light.

What is Rembrandt lighting and how is it achieved?

Rembrandt lighting can be achieved through a three-point setup, with the key light placed slightly higher and the fill light dimmed, creating a signature triangle of light on the darker side of the subject's face.

How does butterfly lighting create its distinctive effect on a subject's face?

Butterfly lighting, also known as paramount lighting, uses a key light placed directly in front of the subject at a high angle, creating a butterfly-shaped shadow under the subject's nose.

What are some challenges cinematographers face when shooting exteriors during the day?

Cinematographers face challenges such as the harshness of sunlight at different times of the day, the need to avoid overexposure, and the unpredictability of sunlight conditions.

How can cinematographers use the natural light of the sun to their advantage when shooting exteriors?

Cinematographers can use the sun as a backlight, diffuse sunlight with screens or reflectors, or plan their shots during the golden hour when the light is softer.

Outlines

00:00

🎬 Cinematic Lighting Techniques

This paragraph introduces the concept of cinematic lighting, emphasizing its importance in film production. It discusses the three-point lighting setup, which includes a key light, fill light, and backlight, each serving a specific purpose in illuminating a subject. The paragraph also touches on the intention behind lighting choices, such as conveying a subject's emotions or guiding audience understanding of a character. It mentions various lighting styles like low-key, high-key, and the use of negative fill to control contrast. Additionally, it highlights the role of different types of backlights, such as edge lights, hair lights, and catchlights, in creating depth and mood in a scene.

05:03

🌞 Lighting for Multiple Subjects and Exteriors

This section delves into lighting techniques for scenes with multiple subjects, where the cinematographer must direct the audience's attention strategically. It covers single-subject lighting rules that apply to multiple subjects, such as using one light source for multiple characters. The paragraph also explores cross-key lighting and its utility in DIY projects with limited lighting equipment. It then transitions to exterior lighting, discussing the challenges of natural lighting and how cinematographers adapt to different times of day, using the sun as a backlight or diffusing it with screens. The discussion includes examples from films like 'Elvis' and 'The Revenant,' where the cinematographers used pre-lighting and natural light to their advantage.

10:08

🌙 Nighttime Exterior Lighting

This paragraph focuses on the complexities of shooting exterior scenes at night, where cinematographers must balance artificial light to avoid both unnatural brightness and underexposure. It discusses establishing a base light for rural settings and using moon cubes or Musco lights to simulate moonlight. The paragraph also covers the use of color temperature to mimic the cool tones of moonlight and the strategic placement of 'specials' to highlight certain elements in the background. Examples from films like 'Prey' and 'The Witch' illustrate how different cinematographers approach nighttime exteriors, from using large light rigs to relying on natural moonlight.

15:16

🏠 Interior Day and Night Lighting

This section discusses the lighting strategies for interior scenes, both during the day and at night. It highlights the control cinematographers have over lighting indoors and the use of practical lights to create a more natural look. The paragraph contrasts scenes that rely heavily on window light with those that use minimal indoor lighting to set a mood. Examples from films like 'Her' and 'The Whale' demonstrate the range of lighting approaches for interior days. For interior nights, the paragraph describes how artificial light becomes even more critical, with cinematographers using a variety of light sources to create different atmospheres, as seen in films like 'Inglorious Bastards' and 'Eyes Wide Shut.'

20:20

💡 The Art of Cinematic Lighting

The final paragraph summarizes the importance of lighting in filmmaking, noting that while there are rules and conventions, the most creative cinematographers often break these rules to achieve unique visual effects. It emphasizes that lighting is a critical tool that can transform a good shot into an unforgettable one. The paragraph invites viewers to share their favorite lighting examples and directs them to an e-book for further exploration of cinematic lighting techniques covered in the series.

Keywords

💡Cinematic Lighting

Cinematic lighting refers to the deliberate use of light and shadow to create a specific mood, atmosphere, or to guide the viewer's attention within a film or video. It is a critical aspect of visual storytelling and is used to enhance the narrative and emotional impact. In the video, cinematic lighting is the central theme, with various techniques and setups discussed to illustrate how lighting can transform a scene and influence the audience's perception of characters and environments.

💡Three-Point Lighting

Three-point lighting is a standard method in film lighting that uses three light sources: a key light to illuminate the subject, a fill light to soften the shadows created by the key light, and a backlight to separate the subject from the background. This setup is highlighted in the video as a common way to light a subject, emphasizing its importance in creating depth and dimension in a shot.

💡Key Light

The key light is the primary light source in a three-point lighting setup and is responsible for the main illumination of the subject. It sets the overall mood and direction of the light in a scene. In the script, the key light is discussed as the most influential light in determining the look and feel of a shot, with its intensity and quality being adjustable to match the desired aesthetic.

💡Fill Light

The fill light in a lighting setup is used to soften and reduce the shadows created by the key light. It helps to create a more balanced and less contrasty image. The video explains that the intensity of the fill light in relation to the key light affects the contrast ratio, which is crucial for setting the mood of a scene.

💡Backlight

A backlight is a light source that is positioned behind the subject and is used to create a separation between the subject and the background. It also helps to define the subject's shape and form. The video mentions different types of backlights, such as edge lights and hair lights, which serve specific purposes like highlighting a subject's hair or focusing on a particular area.

💡Negative Fill

Negative fill is the technique of blocking or reducing unwanted fill light to increase contrast in a scene. This can be used to create a more dramatic or low-key look. The video describes negative fill as a way to control the contrast ratio and influence the overall mood of a scene, providing an example of how it can be used to create a specific visual style.

💡Contrast Ratio

The contrast ratio in a film or video refers to the difference between the lightest and darkest areas of an image. It is a measure of the dynamic range and can greatly affect the visual impact of a scene. The video discusses how the contrast ratio is influenced by the balance between the fill light and the key light, and how it can be manipulated to achieve different looks and moods.

💡Catchlights

Catchlights, also known as eyelights, are the small reflections of light sources visible in a subject's eyes. They add realism and depth to the eyes, making them appear more lively and engaging. The video mentions catchlights as an important detail in lighting, especially in close-up shots where the eyes are a focal point.

💡Rembrandt Lighting

Rembrandt lighting is a specific lighting setup that creates a distinctive triangle of light on the shadowed side of a subject's face. It is named after the Dutch master painter Rembrandt, who was known for using similar lighting in his portraits. The video describes how this setup can be achieved with a three-point lighting configuration, with the key light placed slightly higher and the fill light dimmed.

💡Exterior Day Lighting

Exterior day lighting refers to the techniques used to light scenes that take place outside during the day. This can be challenging due to the unpredictable nature of natural light. The video discusses how cinematographers have to work with the available sunlight, using strategies like backlighting or diffusing the light to achieve the desired look. Examples from films like 'Casino' and 'The Revenant' illustrate how different approaches to exterior day lighting can affect the final image.

💡Interior Night Lighting

Interior night lighting involves the use of artificial light sources to create the illusion of nighttime indoors. This can include using practical lights, such as lamps and fixtures that are visible in the scene, or employing various film lights to create mood and atmosphere. The video explains how interior night lighting can greatly vary, from warm and inviting to cold and eerie, depending on the creative intent. Examples from films like 'Inglorious Bastards' and 'Eyes Wide Shut' demonstrate the range of possibilities with interior night lighting.

Highlights

Films are composed of sequences, sequences of scenes, and scenes of shots, emphasizing the foundational structure of filmmaking.

Episode 13 of 'The Shot List' focuses on cinematic lighting, a critical aspect of creating visual narratives.

Cinematic lighting involves understanding types of light, their qualities, essential terminology, and equipment used in scene lighting.

Intention is key in lighting choices, as it influences how a subject's emotions and character are conveyed to the audience.

Three-point lighting is introduced as a common method, consisting of a key light, fill light, and backlight.

The fill light's role is to soften the shadows created by the key light, affecting the scene's contrast and mood.

Backlights, such as edge lights and hair lights, serve to separate subjects from the background and add depth.

Catchlights, or eyelights, are small light reflections in the eyes that add life and depth to a subject's gaze.

In 'The Grand Budapest Hotel', a large key light and distant practicals create a high-key image with soft lighting.

Rembrandt lighting is achieved with a three-point setup, creating a signature triangle of light on the subject's face.

Butterfly lighting uses two lights to create a glamorous effect, highlighting cheekbones and smoothing imperfections.

Loop lighting, with the light at a 45-degree angle, can lengthen the face and is suitable for oval-shaped faces.

Split lighting involves a key light hitting half of a subject to create a dramatic and mysterious image.

Overhead lighting obscures the eyes, while underlighting creates unnatural shadows, often used in horror films.

When lighting multiple subjects, a cinematographer must consider where to direct the audience's attention.

Cross-key lighting is a technique where lights positioned behind actors serve dual purposes for different characters.

Exterior day lighting can be challenging due to the sun's unpredictability, with strategies like using the sun as a backlight.

Nighttime exteriors require creating natural-looking light without overexposure, using techniques like moon cubes for moonlight.

Interior day scenes often rely on window light or practical lights, allowing for more nuanced lighting control.

Interior night scenes rely heavily on artificial light, with variations from warm to cool color palettes depending on the desired effect.

Cinematographers demonstrate that rules are meant to be broken, showcasing creativity and flexibility in lighting.

Transcripts

Films are made up of sequences.

Sequences are made up of scenes.

And scenes are made up of shots.

In previous episodes, we covered editing transitions,

composition,

and lighting fundamentals.

Today, we'll focus on cinematic lighting

and different ways to light subjects and their surroundings.

"- Lights up."

This is Episode 13 of "The Shot List".

Cinematic lighting - Part 2.

Hit subscribe and enable notifications

to get all future episodes of the shot list.

At the end of the video, we'll explain how to

download our free ebook on cinematic lighting.

In part one, we laid out the fundamentals of cinematic lighting

including the types of light, the qualities of light,

essential terminology,

and the most commonly used equipment when lighting a scene.

In part 2, we'll provide a step-by-step guide to lighting a scene

starting with the various styles and lighting setups for a subject.

There are many ways to light a subject.

It all comes down to intention.

How is the subject feeling?

What do we want the audience to understand about this character

at this moment?

This intention will guide your lighting choices

and while there are countless ways to light a subject

let's discuss the most popular methods.

Arguably, the most common way to light a subject is with three-point lighting

which has three light sources directed at the subject.

A key light, fill light, and backlight.

A key light is the primary and strongest light.

The fill light fills in the shadows created by the key light.

The final light in the three-point setup is the backlight.

This light is directed at the subject from behind

and creates a rim of light around the subject's edges

separating them from the background.

The fill light is usually less strong and more diffused.

To create a low-key image, the fill light will be very dim

or even non-existent.

For a high-key or low-contrast image, the fill

will be closer in strength to the key light.

Negative fill is the process of blocking any

unwanted fill light to increase the contrast.

The difference between the fill and the key will affect the contrast ratio

which refers to the difference between light and shadow in an image.

This allows for a fill to influence the mood of a scene.

Types of backlights include edge lights or kickers

that focus on a particular area of the subject.

And hair lights are usually angled down onto the subject's head

to create highlights in the hair.

Catchlights sometimes called eyelights

are the tiny reflections of a light source in the eyes

which help give them some life and depth.

In this scene, from "The Grand Budapest Hotel"

Wes Anderson and cinematographer Robert Yeoman

employ a large key light hanging over the two subjects

and some backlight provided by distant practicals.

Using a diffused key light along with multiple dim backlights

creates a high key image with soft lighting.

"- Well, it begins as it must with our mutual friend's predecessor."

- But the lighting on Mr. Mustafa changes

signaling a shift in the story.

"- The beloved original concerns of the Grand Budapest

it begins of course with...

The key light dims down and now the fill light becomes the key.

Behind Mr. Mustafa, a hair light brightens

perhaps motivated by the practicals on the wall.

The various combinations and arrangements of these lights

create commonly used subject lighting setups.

Rembrandt lighting can be achieved through a three-point setup

placing the key light slightly higher and dimming the fill light.

creating a signature triangle of light on the darker side of the subject's face.

Named after the light Rembrandt used on his subjects.

Butterfly lighting also known as paramount lighting uses only two lights.

Featuring a key light that is placed directly in front of the subject at a high angle.

It creates a butterfly-shaped shadow under a subject's nose

and is often used for glamorous shots

highlighting cheekbones and smoothing out imperfections.

Loop lighting is a similar approach

but the light is set at a 45-degree angle

from the subject's face and placed just above their eye line.

Loop lighting can appear to lengthen the face of a subject

so it's often used on actors with oval-shaped faces.

There's also split lighting which refers to a key light hitting half of a subject

with no fill light

creating a dramatic image often building a feeling of ominous mystery.

There is also overhead and underlighting.

Overhead or top lighting positions the light over the head of the actor

which can be used to obscure the eyes.

"- Now behold how swiftly your brother swings his sword."

- And underlighting places the light under the subject.

Underlighting can be seen in classic horror films

because of the unnatural-looking shadows on the face.

Both approaches create distinguished shadows

and can emphasize the bone structure of a subject's face.

"- But you have actually excellent bone structure there

I'm kind of having a hard time not looking at you now. Is that weird?"

- But of course, some of your shots might contain multiple subjects.

When shooting more than one character a cinematographer

needs to consider where our attention needs to be directed.

Are all the subjects equally important?

Or our one or two meant to stand out.

"- Welcome, James.

It's been a long time."

- Many of the general rules of single-subject

lighting pertain to lighting multiple subjects.

Often, each subject in the frame will have a key light on their face

light acting as a fill.

And a backlight separating them from the background.

But this doesn't mean each subject needs their own set of three lights.

With smart blocking and light positioning, one light

can act as a key light for two or more characters.

Or a key light for one character and a fill light for another.

A similar technique is cross-key lighting also called back cross lighting

where lights position behind the actors

act as a key for one character and a backlight for the other.

This is especially useful for DIY projects with multiple cameras

and a limited number of lights.

"- I didn't realize we were making a "Ben-Hur".

- On "Elvis", cinematographer Mandy Walker took things a step further

by pre-lighting her sets for 360 Degrees

since she needed to work with lots of movement and

carefully considered blocking for several subjects at once.

But to ensure the lighting wasn't flat and overly generalized

she had a best boy hold a portable LED highlight attached to a boom pole

so that the main character would always have a

glint in his eye no matter where he's facing.

"- Imma show you what the real Elvis is like tonight."

- Lighting subjects can be just half your battle.

Lighting a location can involve more complex setups

that require dozens of different light sources.

But they all add up to this.

What mood are you trying to establish?

Cinematographers usually aim for their lighting to be motivated by a location.

Sometimes they'll take liberties creating more stylized lighting.

Other times they stick more closely to reality with naturalistic lighting.

Let's look at some approaches for different locations

starting with exterior day.

Lighting exteriors during the day can be deceptively difficult

usually a cinematographer is at the whim of the sun.

And not all sunlight is created equal.

Light during the golden hour is much less harsh than lighting at noon.

And so pre-production for an outdoor shoot needs to be keenly aware of the time of day.

For most cinematographers, shooting with the sun

directly on a subject's face is generally avoided.

So, often subjects will be placed with their backs to the sun

so that the light can be bounced on their faces more softly

and the sun can act as a backlight.

Alternatively, on larger sets, a giant screen may be used to diffuse

or block out the sun entirely to avoid overexposure

which refers to too much light hitting the camera's sensor.

For more on exposure, check out our videos on subject linked below.

Of course, the sun may not always cooperate as cinematographer Gavin Finney explains.

"- I think the hardest thing is lack of predictability.

I think if it's consistent I just want consistency.

If it's sunny I wanted to stay sunny.

If it's cloudy I want it to stay cloudy.

Let's look at a scene that takes place in full sunlight.

"- Meaning in the middle of the desert always made me nervous.

It's a scary place."

- On "Casino",

cinematographer Robert Richardson had to contend with the desert sun.

At first, Richardson wanted to use the sun conventionally as a backlight

but Martin Scorsese wanted to shoot the scene using two cameras at once

to catch improvisation so Richardson's plan went out the window.

Instead, only Nikki has a backlight while Sam is directly in the sun.

"- You said, I'm bringing heat on you?

I gotta listen to people because of your f*cking sh*t.

You're ordering me out? You better get your own f*cking army, pal.

- I didn't do anything..."

- According to Richardson, 'The result was a far more saturated visual look,

pulling and using the blues of the desert sky

in strong contrast to the almost white, dry-lake feel of the landscape.

On "The Revenant", director of photography Emmanuel Lubezki

used the low sun of a Canadian winter to his advantage

shooting with as much natural light as possible.

To do this he shot on digital cameras the ARRI Alexa M and XT.

This allowed more flexibility with the ever-changing light

since it could shoot at a high ISO with almost no detectable grain.

For Lubezki, his lighting strategy entirely relied on the time of day.

At 1 pm in bright sunshine there would not be

anything of any interest in terms of atmosphere

but at 4 30 PM when the sun disappeared behind a mountain

the same location would then look mysterious.

Lubezki's digital imaging technician or DIT

needed to constantly be updating the camera's Iris settings

to keep brightness continuity from shot to shot.

Having little control over light on set

also meant that the coloring process was more involved.

Lubezki worked with Steve Scott

to darken backgrounds and lighten faces in posts.

"The Revenant" cinematography shows that you don't need massive expensive lights

to combat the sun when shooting outside.

If you use location and time to your advantage,

the sun can do the work for you.

But this isn't the case when shooting exteriors at night.

When shooting outside cinematographers are tasked with

creating light that doesn't feel unnaturally bright

but also avoids underexposure from too little light reaching the camera's sensor

making the image indiscernible.

Of course, night exteriors can take a variety of forms

from a dark forest to a bustling city.

In a rural setting, a cinematographer will often establish a base light.

A non-directional light that makes sure nothing is completely lost in black shadows.

This allows colorists to have more control over shadows in post-production.

To achieve moonlight DPs will often use moon cubes

a large box filled with heavy diffusers.

Or for an even larger area, a Musco light may be employed.

Simulating moonlight also means giving your lights a cooler color temperature.

"- I want to go back there."

- Moonlight tends to be around 4100 Kelvin.

If a cinematographer wants certain elements in the background to be more visible

they can also use specials

smaller lights that are hidden in frame.

Usually, a soft light will also be applied on the subjects

but occasionally more directional equipment may be used for a more stylized look.

"Prey" relies heavily on nighttime exteriors.

To achieve a soft moonlight look

director of photography Jeff Cutter

used softboxes with 18 Skypanel 360s.

The crew then hoisted the lights on 80-foot lifts to achieve a high angle.

For key lights, Cutter would often use balloons

which were smaller and more mobile but still very diffused.

To get a cyan color that mimic the moon,

the color temperature on the lights was set to between 6,000 and 8,000 Kelvin.

This resulted in a deep blue which was corrected

in post-production to look slightly greener.

Many shots utilized firelight.

Cutter augmented the natural warm glow of the fire

with tungsten incandescent lights

which have a warm color temperature to match the flames.

But Cutter ensured the blue moonlight didn't disappear in these shots

adding blue to smoke and shadows.

But you don't have to rely on massive light rigs to pull off your nighttime shots.

In "The Witch", Robert Eggers and DP Jaron Blaschke

opted to shoot on a digital camera ARRI Alexa Plus 4x3.

In order to shoot in much darker contexts and use the natural moonlight.

According to Blashke shooting with natural light was '...a responsibility.

The actors are all in these really period-accurate costumes

and we have sets made with traditional techniques...

...to then put out Kino Flo would just be a betrayal.'

Any shadows that resulted from the technique only add to the horror.

But you aren't always going to be shooting outside

which leads us to interior day.

Shooting inside usually means having more control over the light.

Artificial lights can always be turned off.

This means that lighting can often be more nuanced

and because the audience expects artificial lighting

a cinematographer can use practicals

lights that appear in a frame.

Because of this, the quality and source of light

in interior day scenes can vary drastically.

From scenes that rely on window light like this one from "Her".

To scenes where exterior light is barely present at all.

"- Mark. - He's wired in.

- Sorry. - He's wired in.

- Is he? - Yes."

- For "The Whale", DP Matthew Liberty decided on the latter.

Lighting the interior sparsely to match the dire mood of the film and its protagonist.

Liberty shot on a Sony Venice which could shoot at low light with an ISO of 2500.

This allowed him to light primarily using practical lights like lamps

which don't emit as much illumination as film lights.

Using practicals also meant that Liberty was lighting from the floor

leaving much of the house in pockets of shadows.

"- No. No. Without this thing...

Stand up

and walk over here.

- I can't really. - Shut up.

- Come over here."

Roger Deakins meanwhile has shot daytime interior that have almost no indoor lights.

In this scene from "Sicario", Deakins lit the interior solely through the windows.

He used T12 fresnels to create the feeling of harsh sunlight

while 2K blondes also provided a flat fill light to the scene.

"- FBI! Don't move!"

- Smoke and dust meanwhile act as natural diffuses

and allow Deakins to employ volumetric lighting.

A technique that gives light shape like the beams in the hallway.

By lighting an interior almost completely from the outside,

Deakins emphasizes that the building is abandoned and only has one use.

Lighting strategies change when shooting interiors at night.

Interior night lighting relies even more on artificial light

since there's no sun coming in from the windows.

Interior light can take many forms

from the warmth and light in "Barry Linden"

to the pale fluorescence in "Chungking Express".

In this basement scene from "Inglorious Bastards",

there is very little outside light.

Cinematographer Robert Richardson

created a baseline by hanging tungsten bulbs from the ceiling

which were diffused with two layers of muslin.

As the tension in the scene escalates

the lighting grows more dramatic.

Richardson added park and top lights

and backlights which are more harsh and directional.

The harsh top light increased the contrast of the shot.

And the backlight further removed the principal actors from their backgrounds.

"- Well, appear there's only one thing left you can do.

- And what would that be?

- Stigsel. - Say 'auf wiedersehen' to your nazi balls."

- The lighting then changes once more when the shootout begins

becoming even more directional through the smoke.

Through a gradual change in lighting,

Richardson was able to enhance the dramatic beats of the scene.

On "Eyes Wide Shut",

Stanley Kubrick and cinematographer Larry Smith

opted to use window light to create a stylized look

exaggerating the difference between interior light and moonlight

by increasing their difference in color temperature.

Most of the interior nighttime apartment scenes were lit with practical lights

which naturally have a warm color temperature.

This orange light was contrasted with a deep blue coming in from the window.

As Larry Smith explains, 'The blue we used was very saturated,

much bluer than natural moonlight would be,

but we didn't care about that-

we just went for a hue that was interesting.'

"- Ellis. It's okay. It's okay."

- The blue color was obtained with open-faced clear glass arcs.

These lights were also quite directional

and created strong beams that were picked up by shooting on a t 1.3 stop

and using a Tiffen LC1 filter.

Both camera elements gave the interior lighting a soft glow.

Smith heightened the color contrast in his close-ups.

Depending on the desired color, he would use blue Chinese lanterns

or he would dim the practicals which made them even warmer.

As Smith notes, 'Most of the movie is at either extreme.

Either very rich and warm,

or very blue and cold.'

Kubrick and Larry Smith's work on "Eyes Wide Shut"

shows us that nighttime interiors can have very different color palettes

and it all depends on the nature of the room and the desired effect.

"- Bill, I have seen one or two things in my life.

But never,

never anything like this.

Of course, there are exceptions to every norm we've laid out in this video.

Cinematographers prove again and again that rules are meant to be broken.

Abiding by rules or not

lighting is one of the most important elements of any film.

With the right lighting tools and setup

from subject to subject, to set to set

a shot can go from good

to unforgettable.

Tell us some of your favorite lighting examples in the comments below.

In the description, you'll find a link to download an e-book on cinematic lighting

covering everything from this two-part series.

That's all for now.

Until next time remember the sunlights never go out.