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Lighting for Film: Simple not Plain

Lesson 13 of 14

Changing Light: Shooting at Sunset

Bill Megalos

Lighting for Film: Simple not Plain

Bill Megalos

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Lesson Info

13. Changing Light: Shooting at Sunset


  Class Trailer
Now Playing
1 Class Introduction Duration:17:28
2 The Qualities of Light Duration:48:08
3 Hard Light vs. Soft Light Duration:22:54
4 Three Point Lighting Duration:12:17
6 Basic Light Safety & Gear Duration:11:48
7 Lighting a Subject Duration:15:36
8 Lighting a Room in Daylight Duration:12:55
10 Creating Drama with Light Duration:38:03
11 Lighting at Dusk Duration:18:23
12 Lighting in the Shade Duration:21:04
14 Lighting for Night Duration:11:30

Lesson Info

Changing Light: Shooting at Sunset

this next one, we're gonna take advantage of this gorgeous, gorgeous city. Okay, so we're gonna try to do it in such a way that we keep you away from these dangerous plants. No, no, no. Yeah. Tell him about what he saw. Tell him about it. He called you okay? All right, Well, here's what we're gonna do here. I think we gotta move this planter. Okay, let's move this planter, all right? Yeah. We'll go right to the edge. So you guys don't have anything to worry about. Let's just pull this planter out. You know, we can do. Let's pull it out here from there. It might have irrigation to No, just pull it from there. Um, well, this one would be in the way. This is the reason. Just hear all this. I don't. All right, One more out. One more out, and then we're going down towards you. Manual. We're gonna put it even with the next one. Okay? All right. Beautiful. That hurt. Okay. All right. So now we have an open shot of them. They can be here That could be out here, and we get something. So you guy...

s, I mean, this time. You should keep each other one. Okay, Help each other. Stay one. I insist. And then, you know there's a safe place here. We get you out over the city and what we're all we're gonna do is one shot. We're not gonna come around or anything like that. We're just gonna do it. And what we're gonna do is we're going to keep shooting until it gets dark. All right? We're just going to keep going for different looks here. All right, So let's get this guy out. Stents, I think, maybe see sense. And, you know, maybe maybe what we should do is, um So our camera is going to go over here, and I think maybe we put the 85 on it and see how that looks here. And, um, I think this should go from the side as if almost like it's kind of like coming up from the cities that we'll light it from low, but we'll keep a big soft source low, and we'll just keep knocking it down and knocking it down. Maybe we can start out with the l E d. Light. Thank you. And, um, Adrian, you can put it at a slight angle if you want. If it keeps the wind from getting you know what I'm saying? You know, you don't have to have it straight. Have it so that the wind So the wind blows along it. Um Nice. Oh, boy. Well, a lot. Um Okay. Yeah. Now is in terms of we're gonna go to in 85 so Well, we can change. The 85 started with Yeah, in order to make this really nice. I'm sorry. We're going to see more of her than you. It's OK. That's that's by design. Okay, good. But I wanted to be on that. Okay. So what we want here, though, is we do want you kind of over, you know? Really kind of not so much. Not that much over. But yeah, like this. Like this sort of thing. Yeah, You're comfortable. And, you know, we're basically like this. Okay. What do you guys think of the shot? Just I'm talking about the shot. I love it. Okay. Actually, the shot you come a little lower. So that is. Do we see the Coca Cola sign? We dio Yeah, that's it's out of focus now. We'll do this. So we see the city over them. What? Tops? So we see some some sunlight as the night gets dark. That this All right. We'll see. We'll see the night. Get dark over the city from the lights. Come on. So that's a shot, huh? Ok, okay. It's pretty good. I think it's good. Looks great. Okay. I don't like his back. Really more like most of the well, Why don't you direct him to do so? You know, we could do this. You could this if you wanted. We could do this where you could she could be talking to you. And you could be looking over this way, like, you know, almost not like you're ignoring her. But why don't you just Yeah, yeah, yeah. Then we see more of you. Just don't. The point is to see those lights in the city. I really I really liked that Coke light. As as the city gets dark, Coke likes going to get brighter because we're gonna change tilt down just a little bit there. That's so that people don't hit their heads on the at the and er pumped on your eyes because they're out like this and it's black and okay, Impaling. Okay, so let's come on in with this, okay? Yeah. Okay. Good. Good night. I don't know. What's the life of? Just think it's just being aware. Okay, so now we're we've got we're kind of out of light here. We can go to 30th of a second exposure, which is okay for this because they're not moving around. Um, but so we're gonna have to change the I S O as it gets darker. Let's see what you guys think over here. So, what do you think? Over here right now? Bring it. Bring it down a little bit. Do you want it? You want to close it down? Half a stop. Go it again? Maybe a little more. One more. Yeah, that's better. OK, and watch the focus. Roll the focus a little bit back so that she's a little more and focus. Okay, here we go. Okay. That's pretty nice, huh? All right, Now do we want to take try some different looks here. We can try some color looks. Okay, Let's do that. Just changing. No, we're not. We're not lighting them yet. They're not let yet They do look right. This is kind of magic hour. Let's let some What's the What's the What's the white bones? Now, my belt keep going back first. The white balances shape. So if we want a warm this up from what it is now, if we want to warm it up, we have to go into custom white balance. Okay, so it was 7000 in shade. So if we want to change this, we have to go to There we go. We have to go to higher than 7000. Let's try 10,000. Okay. See what that looks like? Is it because we're going to get light on there? No, it's because right now we thought we thought we wanted to try it warmer. Let's see what happens now. I'm sorry. Can you move, girl? I just want to see that monitor for a second. Okay, Now we've warmed it up. All right? What do you think now? We've lost a lot of light. Just in the in the 45 seconds haven't wait. It's gotten darker, hasn't it? So we opened it up a little bit. This is good. So this So what did we do here? We warmed it up. We went from 7000 to we went from 7000 to 10,000. Okay, Because the light is so it's getting colder and called. It's just this is just the, um it's just the skylight now. Okay, But still looks really good. This does look good. We're gonna wait. What's gonna happen is we're gonna lose light on them entirely at a certain point. So we're going to start. We should probably have some light standing by here and see what we want. Do you want to try? You want to try putting Mikino here? Let's we'll put the Kino here low. And then we can also put the the same era there too, So that if we want to suddenly change it, Teoh, if we want to suddenly change it. Tungsten. Okay, what else do you want to try? You want to try making it really cool? Well, while they're setting up, we're still We're sitting here waiting for the lights to come on. Although the cars look fantastic now, don't You should go look at it over there. All right, so I'm gonna change this in and make this a colder look. All right? So that means I'm going to go from I'm going to go to before it was 7000. So if I want to make it colder, we're going to go below 7000. Let's try. Well, let's see what happens. Let's see what happens if we try it with tungsten, which is 3200. Is that to blue? Okay, so So we thought that so. So should you Should we try about 5000? So we try 5000 see what that looks like. You know how to change that? You got you got to turn off the record, you gotta turn off the recording, and then we go to menu, push this in and then go to K, and we gotta go. You gotta leave it when it's in that. I'm sorry. You gotta use this guy up here. That's the, uh, Yeah. No, Sorry. Oh, boy. Just okay. And then down. You gotta go. You gotta hit this guy. You got to hit the guy in the front. There's a There's a wheel in the front. All right, so we're gonna try 5000. Let's see how that looks. All right. So that's 5000. I think That looks pretty good. That looks believable. It's not too blue, is it? To Bridas it too dark. I like it. I like this. That looks good. Very sad. Right now, guys, you're breaking up. Try. Try. Can you? Docking it 1-click see what happens differently. That looks better, doesn't it? That's believable for the color that this is a little much. Yeah. You smooth camera. No, it's just a little. It's a little too colorful. They got, isn't it? Behind you, Just like you in a little. All right, so we're just waiting for it to get dark a little darker. All right? Should we start looking at some light here, See what happens? That's just Look, Yeah, that's OK. Thanks. It's hard to work in that. It's it's really weird. Okay, The key knows all the way up. That's well, let's see. Let's say wait a second. Kill them all. That's a lot of That's a lot difference. Get access. You gotta get right on here. Yeah, It looks pretty good, huh? That looks really good. I think the only thing we need to do for this, though, Laura, please look back towards him. Yeah. Thank you. Yeah, the only thing, Teoh. The only thing I would do about this maybe is, um maybe warm it up just a little bit. So we're 5000. Now. Let's go back to 6000 and just see what happens. Let's just see what happens with that. Remember how to do that. Turn it off. Stop recording menu. Pushing the set button. Now the front can go to 6000. Good enough. OK, go back. And that's a good hit. And menu? Yeah, and then just record. That's nice. Now, that was almost starting to look like they're being lit from. You know what? I'd like to drop this day. Let's just turned on you. What happens if this comes from lower? In fact, can we do this together if we work together? Okay, you got that? And I'll just turn this around. OK, go. Take it. Take it away. Yeah, I think it's better to take it off. Look better. No, I just I'm just thinking we should come from below, As if the lights are maybe some lights that are, it was put it down. So that's on the grippy part. Later on that there's lights on the deck Yeah, that's best what I'm thinking. But I think we don't need for this point cause we're losing light, right? Do we need for maybe we do see now, that's kind of looking. Kind of cool, isn't it? Yeah. I love this track. Oh, yeah, It's great way. We're only Are you rolling on the camera? I'm you rolling. Let's see what happens if we turn off a couple of these lights. That's beautiful, too, isn't it? More central made before it felt a little forced like Well, let's try also, do we have some orange, half orange weaken? Just hold some in here and see what happens if we start warming this up. Compared to that, what? So far, I'm liking this. So we're gonna just keep darkening. We're gonna keep darkening this. We're going to just keep changing this and darkening as the background get started. Well, unfortunately, Fox coming in top of the building Well, it's just that it's gonna cover the top of the building so you don't have to cut it. Yeah, okay. I was just gonna put see what happens if you do this. Can you take out around the other side? Just don't cover the whole thing, Okay? Covered a little bit. Yeah. How's that look? A lot warmer. Let's make it a little warmer. Just just trying to cover part of yeah, like that. I think we're pretty much out of the range of using warm Here are. So I think the skylight, everything is so blue. Now that we're stuck in the blue and if anything, if anything, we just use the Chinese the tiniest bit of of warm. Maybe just like Oh, yeah, like that. That might work. Let's see that. That's it. That's good. All right, let's see what happens. Now, you hold on to that. Now, what I'm gonna do is I'm gonna I'm gonna go back to here and I'm gonna I'm going to make this make the whole look cooler. So the sky goes blue, but the light is not its orange on her. Okay, Right now it's 6000. So if I want to make it bluer, I wanted I would go to a 5000. Right? Let's see what happens with 5000. And this guy's a little bluer, huh? Kind of. I just think. Well, that's good. That's the way this is similar in the foreground and so much. That's a nice separation. Well, we can come back to this to weaken. Go back to the blue. You go back to the blue. I think if we do that, we were at the point where we have to kill some of the lights so that that were boom back to blue here and lower looking back this way. This is nice. I was into it. Isn't it beautiful? They're all just different. Looks a beautiful Greece resetting forward a little. Okay, thanks. That looks fantastic. Doesn't that look great? Wow, that was strong. So All right. So how we gonna fix that? We have. We have that little led light that we could Yeah. Yeah. Just like way really have to put it out here. Wouldn't way. The other thing we could do is we could try to move this light. I love the way this light looks from the side. Here it looks. Doesn't look like she's being lit by a light, So yeah, we could use a little something on him. What would we use? Where's Where's Where's Where's Emanuel? You can have your flashlight. Let me just see. Well, I was thinking of this. You're in the shot. But back here, I could get him without being in the shot, I think. No. How's that changed? Not much changed and put it on. You don't see the difference. Oh, yeah. All right. All right. So let's get the let's get the led light over here, okay? And that will be the last light that we add. We'll just keep taking lights away. From now on, we just keep lowering and darkening and hiring and will change that, too. Yeah, let's bring arm it out. We also need to get one more piece of extension cord so that we're even removed. That move that thing over to here? Can that come closer to here? Yeah, you go. Well, do we arm it out or do I hold it? Let's see. Let me try holding it, Actually. All right. Like light coming on. Well, hold on a second. Why don't you guys tell me what you think about it? Do we like it? Yes. Is it too much? Take a little much. It's a little much. Has that that's a little more. A little more. No, I feel like that's too. It looks very fake. I don't hear anything. All right, Go lower a little bit less. I think that's better. Yeah, like that. This is off. No, no. Yeah. That's, like 20% on you guys got to talk a little louder. 20% on more than this or less than this. Little or no, Too much. That's too down less. Wait. I think that's okay. That's good. Okay. How does how does Laura look? Pleasant. That was Laura. Look, does anyone want to see the beautiful view for over here? Okay. You want to see the beautiful view from over here, So come on. Oh, wait a minute. I see what's happening here. The wrong one of the doors was closed, Both of the doors were closed. No, that's terrible. We have to turn this down. Okay? So, look, just so you know, I've got to on so, and it's almost all the way off. At a certain point, you'll have to turn 11 would just be down to one. There's four circuits on here. You say so right now there's too, and it's almost all the way off. So when it gets darker, at a certain point you're gonna have to turn one on. Okay. If you put your leg right in here, you don't get too much bite from there. But it's a beautiful view when you look down the street. Wow. Look at how much has changed in a couple of minutes. You got to get over, man. You're in the shot. Okay. All right. So what are we doing now? What? What are we doing now? Let's see what we're gonna do now. We gotta It's really getting dark. We're really getting some nice night stuff. How's it looking? That looks pretty good. But let's talk about the whole general. Do we want to make this bluer on her where we were going to make a darker on her. Okay, so let's turn this darker. Okay? Wow, that looks nice now. Okay, so we just have to get Look at that. Did that just get brighter or just stay the same? Stay kind of the same. Okay. All right. I'm gonna change the I s. So now, and at a certain point, we're going to switch to the 85. Let's change the eso to, um 6 40 I'm sorry. The atmosphere too bold. Okay, we're changing the eyes. So let's get I'm gonna I'm gonna make I'm gonna make make it warm just a little bit warmer because we're starting to get into the blue sky and everything. And how does this look? It's really good. That looks really good. Right? So what I've done is I've made it. So I've taken a little bit more of the blue out because we got so much blue in the night sky that we don't need. Okay, this is his skin. Well, you know, this light is not as beautiful. This led like are you down to one switch shot? Goto one switch. Would you Okay, and turn it up just the tiniest bit. Yeah, Okay. It's good. When I was off, or I think no, he turned it down to one and had it turned down to the minimum setting

Class Description

Young filmmakers are often taught to de-prioritize lighting. They are told that lighting takes too much time, money, and expertise to have any profound effect on their work. Lighting for Film: Simple not Plain with Bill Megalos changes that.

In Lighting for Film, Bill will show you how to light technically, instinctually, and cinematically. You will learn how to light for both interior and exterior work and how the simplest lighting techniques can produce the most dramatic effects. 

You’ll learn how to:

  • Produce story-altering lighting effects with minimal equipment
  • Light for both of interior and exterior content
  • Choose instruments that suit your budget and filming goals

Bill will teach professional lighting techniques you can use on your own or with a crew that defy the everyday budget and common-wisdom of filmmakers having to tell a story "in the dark."


a Creativelive Student

This is a wonderful class with a very knowledgeable and experienced instructor. It starts with the principles you need to understand and then walks you through the process of actually doing the work on set. You can see what it takes to accomplish the work. I will be watching this over and over to let it all soak in. Thank you Bill for putting this together.

Joe Stevens

Great class, learned a lot. Would highly recommend!

Abel Riojas

great class! i've struggled with proper lighting and he broke it down in a matter of minutes. very simple and easy to understand. i would recommend this to someone that is still trying to find their "voice"