Cinematographer’s Tip: Cinematic Moonlight Placement
We’ve all seen night exteriors that feel flat, overlit, or just plain wrong. Of all the lighting scenarios a cinematographer faces, “how to light the night” is one of the biggest challenges. It’s an art form that requires balancing technical skill with a strong creative vision. Where you place your moonlight is arguably the most important decision you will make, as it defines the mood, shape, and emotional impact of your entire scene.
In this lesson excerpt from our Night Cinematography Masterclass, renowned cinematographer Shane Hurlbut, ASC, takes you into the “Moonlight Lab” to demonstrate his personal philosophy on moonlight placement. This isn’t just theory; it’s a practical, on-set breakdown of how moving a light just a few feet can completely transform a shot from flat and uninspired to chiseled and cinematic.
(This article is a detailed breakdown of an excerpt from our Night Cinematography Masterclass. Discover how you can access the full lesson and course at the end!)
The Problem: Where Do You Place the Moon?
After establishing the color and softness of your moonlight (which we cover in other lessons), the next critical question is placement. Shane kicks off the demonstration by explaining his preference. “I’m more of a three-quarter back kind of person, a cinematographer,” he explains. This means the primary moonlight source is positioned behind the subjects and off to one side, creating a strong edge and sense of dimension.
To illustrate this, he begins with the light in a good position but decides to push it even further to find the “sweet spot.” He instructs his gaffer, Tom Sigurdsson, to move the light further to the “lamp right” position and pan it back left.
Finding the “Hero” Position: The Three-Quarter Backlight
As the light moves, the effect is immediate. “Now I’m just bringing that light just a little more around on them,” Shane observes, “and I’m seeing how it’s chiseling out his jaw, where we didn’t have that before.” This is the magic of the three-quarter backlight. By positioning the key source behind the actors, it rakes across the side of their faces, creating a “hero” light that defines the jawline, creates a beautiful sheen on the side of the face, and catches the hair, separating them from the dark background.
To prove the point, Shane tests two less effective positions…
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The Dead Backlight | First, they move the light to a “dead back” position, directly behind the actors. While this creates separation, Shane notes it’s just not as pleasing. “It’s just not as nice as the other side,” he says. |
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The Cross-Beam | Next, they move the light to the opposite side, “crossing the beams.” This creates a flatter, less dimensional look by lighting the front of the actors instead of sculpting them from behind. “This I hate,” Shane says bluntly, “but I want to show you so you can hate along with me… it just still feels flat.” |
The team quickly returns to the three-quarter back position on the hillside, which Shane calls the “hero” position. It provides the best shape, dimension, and cinematic quality.
Shane’s Philosophy: “Key on Key” Lighting
This preference for a three-quarter backlight is part of a larger lighting philosophy Shane calls “key on key” lighting. This is a crucial concept for creating naturalistic and dimensional images. “Everything comes from 180 degrees,” he explains.
This means if your main source (the moonlight) is coming from the three-quarter back-right position, then all your other motivating sources—like your fill light or any bounces—should also come from that same 180-degree arc (the right side of the camera). This approach avoids “sandwich” lighting, where you light from both sides, which can cancel out shadows and make your subject look flat. By keeping all your sources on one side, you create a natural “wrap” of light, with one side of the face being brighter and gradually falling off into a defined shadow, which adds shape and dimension.
The Bottom Line: A Tip for All Budgets
In the full masterclass, Shane demonstrates how to apply this philosophy to both massive “Hollywood style” setups (with 120-foot Condors and powerful 2400W lights) and more accessible “indie style” setups lit entirely from the ground. But as he emphasizes, the principles remain the same.
The key takeaway is this… Where you place your moonlight is everything. A simple, flat front light or a basic backlight will rarely give you the cinematic and emotional impact you want. By starting with a three-quarter backlight, you create immediate shape, dimension, and a “chiseled” quality that defines your subjects’ features. From there, you can build the rest of your scene using the “key on key” philosophy. This ensures all your light sources work in harmony. They create a single, dimensional, and powerful image that serves your story.
Unlock the Full Night Cinematography Masterclass!
This has been a detailed breakdown of just one concept from our comprehensive Night Cinematography Masterclass. The full course is a 9-hour journey that takes you on set with Shane Hurlbut, ASC, as he breaks down every aspect of lighting the night, from large-scale Hollywood setups to efficient indie solutions.
