Filmmaking Lighting Masterclass: Xenon Light | Shane Hurlbut, ASC

[@RobWatt]

the hurlbut family is a national treasure. Appreciate yall

[@dariogardi]

I'm an old Italian cinematographer and the fantastic thing is being able to learn every day... My thoughts:
I look for shadows to give depth to things. Great Thanks

[@alexahiramitsu]

Wow... I have never used the bead board as actual diff (and I've used some unconventional diffusions). The quality of the light on her face is beautiful. You've also essentially used one unit, before the pipelight fill, to light the entire space. This could also be so interesting if the back of the beadboard were silver or even flame retardant black or other colors outside the area where the light hits. This could be cool for BG. Thank you for posting Shane and Happy Holidays!! 🩷

[@outdoorsinontario3037]

Fun to have all that stuff to mess around with! Very cool!

[@area51pictures]

HAHHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA
1:35 -- Shane: "She is a little hot [...]"
1:39 -- She grins [thinking: "I AM just a little hot."]
Also: For what its worth, as cool as demonstrating the soft quality of Xenon's are, maybe I'm nuts, but the whole time I kept wanting to see it with no bounce or diffusion whatsoever, for comparison. Ultra-hard, just exposure compensated, maybe moved. Love that classic Hollywood Brute-Arc look: one key, hot as hell, blasting talent to high heaven. Miss that look.

[@DavidEAragon]

I can see in more standard lighting situations where you can get 18% gray but how do you do that with very dark scenes?

[@karliemorris7318]

masterful work

[@gfilmdawg]

Hey Shane, why do you prefer using falsecolor rather than Zone EL?

[@psynuxx]

I am just grateful to be alive at the same time as Shane Hurlbut. Great content as always.

[@qusayquraishi1607]

Thanks

[@morucek]

what happend to the RED cameras?

[@EugeneMaynard]

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