Film Production: Large Night Scenes
Forget everything you thought you knew about lighting night exteriors. In this excerpt from the Night Cinematography Masterclass, cinematographer Shane Hurlbut, ASC, throws down a challenge. Illuminate a sprawling 150-yard stretch of road with cinematic precision. Armed with Nanlux’s cutting-edge LED lighting system, Shane reveals the secrets to creating depth, dimension, and visual drama that elevates storytelling to new heights.
Prepare to be inspired as we delve into Shane Hurlbut’s expert techniques. We will dissect his lighting strategies and unlock the power of Nanlux to transform your night exteriors from ordinary to extraordinary.
Let’s break down Shane’s expert techniques.
LIGHTING SETUP AND TECHNIQUES FOR NIGHT EXTERIORS
Shane begins by emphasizing the importance of achieving a balanced, even wash of light across a vast distance. He likens the Nanlux 2400B fixtures, equipped with 30-degree reflectors, to classic Maxi Brutes, renowned for their ability to create narrow spotlights.
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“Maxi Brutes are the best way that I love to light night exteriors,” he explains. “You’re able to take a very narrow spot of light, and you’re able to tilt it up just above the set so it fires over the top of it. And all that light balances from the base of the Condor all the way 150 yards right up to your location.”
Drawing from his experience as a gaffer, Shane contrasts his preferred method of “full spotting” lights with traditional techniques that rely on nets to diffuse the light. He advocates for a precise, controlled approach, maximizing the output of the Nanlux fixtures to achieve consistent illumination across the entire scene. To further enhance the depth and dimension of the scene, he incorporates moving lights, strategically placed to highlight background elements and create subtle color contrasts.
“Imagine if, from this big crane shot that we’re going to do, this is going absolutely black in the background,” Shane explains. “I can swing a mover around, flood it out, spot it in, diffuse it, and all of a sudden bring those avocado orchards on that hillside to life. So you can build dimension, and you can play with different subtle color.
ADVANTAGES OF USING MOVING LIGHTS
Shane’s innovation of using moving lights in night exterior settings is a game-changer. By strategically positioning these fixtures, he can selectively illuminate background elements that would otherwise be lost in darkness. This not only adds depth and dimension to the scene but also allows for subtle shifts in color temperature and intensity. Hence, this filming technique creates a dynamic and visually engaging experience.
“So you can make it 200 to 300 degrees different than your main moonlight source,” Shane notes. “So you get this beautiful blend of color contrast.” The ability to precisely control the movement, color, and intensity of these lights adds another layer of artistry to the lighting design, allowing filmmakers to paint with light and shadow in a way that was previously impossible.
TECHNICAL DETAILS AND SETUP
To bring his vision to life, Shane collaborates closely with his gaffer, Tom Sigurdsson. So, let’s dive into the technical specifications of the Nanlux setup. Sigurdsson explains how the team utilizes a cage to securely mount four 2400B fixtures, maximizing their output while ensuring stability and safety.
He also highlights the power efficiency of the Nanlux system, which is powered by a Santa Fe fleet battery tow plant, eliminating the need for cumbersome generators and cables.
“This is probably the equivalent of two or three 12-light Maxi Brutes,” Sigurdsson explains, “and maybe the equivalent of an 18K Arrimax, or 18K Fresnel HMI.”
The team also incorporates two moving lights, controlled remotely via a “lunch box” with data. This permits for precise adjustments and real-time programming. This level of control and flexibility is thanks to the advancements in LED technology, which Shane enthusiastically embraces.
PRACTICAL CONSIDERATIONS AND EXECUTION
Shane emphasizes the practical advantages of LED technology. Particularly its ability to remotely adjust color temperature, intensity, and beam spread. This level of control streamlines the lighting process and allows for quick adjustments on the fly.
“This is all on a dimmer board,” he explains. “I can change different color temps, I can go into Spot and Flood. If we had for nails on here, we could actually flood and spot them remotely.”
To achieve the desired height and coverage, the Nanlux fixtures are rigged to a Condor crane. This allows the team to position the lights high above the set and create an even wash of light. Shane encourages his team to meticulously plan the rigging process. Thus, ensuring safety and efficiency.
“We rig this to the basket in a way that we can tilt and pan the basket so we don’t need anyone up in the lift,” he explains. “So it becomes this amazing a light that gets above. And as you can see, these trees are very tall around us. So, we got to get up very high to be able to do a beautiful even wash.”
THE BOTTOM LINE
This approach to lighting exemplifies Shane Hurlbut’s commitment to excellence and his passion for sharing his knowledge with aspiring filmmakers. But remember, this is only an excerpt. Uncover the full experience with the Night Cinematography Masterclass, and forever change how you look at night.
Masterclass Gear List
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Special Thanks
A huge thank-you to Craterr and sponsors Hollyland, Kondor Blue, Sony Cine, Irix Cine Lenses, Angelbird, Nanlux, and CineMoves for making this production possible.
Supported by
Inovativ, Flanders Scientific, Tiffen, Herc Entertainment, Saniset Fleet, Keslow Camera, MBS Equipment, Premier Lighting, Northern Lighting, Legacy Grip, Division Rentals, Musicbed, and B&H.
