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Lighting for Film: Simple not Plain

Lesson 14 of 14

Lighting for Night

Bill Megalos

Lighting for Film: Simple not Plain

Bill Megalos

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Lesson Info

14. Lighting for Night

Lesson Info

Lighting for Night

Why don't we make it look like night now? Okay well turnout we're turning our exposure down so that we make it look like night and then we'll light then we'll see what happens here all right, so I'm going to turn this down tell me when the sky looks like night somebody kicked something okay it looks like night it's just very blue it's still blue what do you want black well, we want just a little bit in their early evening yeah, that looks that looks well you see when you see when when you're up here you guys are looking from two hi I'm telling you look look what happens when you come down and look straight in you see how different it looks its these air led screens and they're not they have very bad off axis color such so if you come down here you see what we're really seeing so so I think you guys there I think we need to lighten this up a little bit yeah how's that look does that look like night? Yeah, it looks like night that looks like night it's beautiful. All right, so now it doe...

s look kind of awesome doesn't the only thing I'm seeing is she's looking a little bit warm just a little war little orange so let's just let's just what we'll do is we're gonna shift the white balance one more time okay if it's right now it's fifty six hundred so if I want her to be less warm I'm gonna take it down to five thousand let's say fifty two hundred and see what that looks like don't look so thank yu wei need to make it a little can you look back over a little bit larger laura yeah she's been read there she's a bit right looks better though I think that did it does look better I think we need to go a little bit further okay we're going to go we were at fifty two let's go to forty nine okay turn it off but pushing that pushed set and then one in the front way okay see what happens you okay there way service how does that look good that's good yeah all right let's see now let's just take a look at this and let's look at this one more excuse me all right so what's happening now is what's happening now is we're starting to get these crushed blacks in here so let's just let's move this thing a little bit all right? We're gonna move this just a little bit towards towards moving towards the lands okay and now pull that back please pull back all the way and we're gonna pull yours out too so pull pull the light back full straight back all right and turn yours out like so it's more like this, okay okay so now well now we'll see what and let's let's raise this a little issue with how does that look is it too dark but I think that's pretty good let's turn on this one just for the heck of it let's turn on the way think now way looks pretty good huh are you down are you can you turn this switch are you the dimmer all the way down no theme all the way down on one switch okay so that's the least light we can bring out of him it's pretty good huh yeah that's no life right turning back coz u turn turn it turn it off again okay you know what shot let me let me let you let me sit with you do you see what we're up to because it's not fair you sitting here go ahead I got it I got it I'm good you go back there making magic on do your thing york new york new york it's how it looks when they're all not all off but not all of it okay, now I'm doing one other thing that we didn't do before I'm I'm bringing the light down from below on him so it's more like streetlight look back over to me rish way had enough fun I want to just try one more thing because we're here all right because we're here and we're so good at what we d'oh let's get them let's get the lenses and let's change the lens on that what we're going to do now the lens that we have up on here now the widest it goes is a four okay, that's that's the most open it is we're going to switch to a lens was much faster and just I want to see if we can start seeing those because we're not really seeing the city lights back there that much let's see what we can do with that? Yeah, well, you hold what? You hold the lens. Well, I changes take that off. Happy new year everybody way. Okay, so now way gotta much faster lens cap that's the cap that you hold onto it. All right, let's. See what happens if they turn off the kino again? Turn it. Is there just one ball? Yeah, turn it down. Toe off entirely. All right, the key nose off. Okay, now, right now it seems to me that let's take a look once you go look over there and see what you say, I'm gonna move this camera just a little bit because there's a there's, a flare from a streetlight that's in here or something some things were going well with the focus more yeah, there it looks good, but there's just a flare on her no see what happens when we you know now we've lost so all that we well that we're working on now is just book it so it's just everything is just flared lights were not seeing the city any more well it's still moving cool effect that's a cool fact if that's what you're looking for we should record it they're in a light let's record a little bit of it he's looking out at the galaxy right who's in focus hammer her neither neither huh now he is now now okay oh you could switch back and forth between him say something that she says something okay let's turn on one of these lights please. Kino yeah one kino and I'm gonna do one more thing here I'm going to stop this I'm gonna well dio we'll change the eye so two three twenty does that look like can you guys tell me when she's in focus though I think it's because we're you know that's the trouble when you when you watch this wide you can't you just can't you know when your foot wide open you know tell me when she's in focus how's that look nice yes yes ok im gonna start closing it down and see what happens as we close it down that's the one for okay so as you close it down they both getting focus well not quite we're not going to get that far wait, you don't want to go any more than that because it's getting really dark but this city lights look really cool I don't want to go any more than that. For what reason? It's getting really dark it's getting dark okay he's getting really dark way done it yes have we don't have we had enough fun for one day I wished you should see this it's too bad you can't see how can we show it to you? We'll have to play it back for you. Okay? Okay let's let's do it let's say good night that's a wrap. All right, well, how do we do? Yeah, it was cool. Yeah, it's a lot of fun it's really a lot of you know, it would be a lot of stress if we were actually trying to shoot a scene, you know, and getting them, but just doing it like this is a lot of fun because you know the guys they're not we're not really stressing the actors out but it's nice. Just this is about as big a piece of equipment as you can use on a really small crew, but if you're safe with it, it does. You can see what it does it makes this beautiful, soft white and by knocking the light down and knocking the light down as the as as the city kept changing behind, we just kept getting different looks. That were just kind of cooler and cooler, cooler. So, yeah, thanks. Had a lot of fun today.

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."


Dana Sue Childs

Bill is extremely knowledgeable and does an excellent job demonstrating lighting a scene and various ways to achieve a different mood or effect. This is not a class on specific equipment brands (i.e. what to buy), he does discuss and demonstrate different types of equipment, how to use c-stand effectively (c-stand), gobo arm/head, lighting safety: amps, volts, circuits, etc. Basically he goes into the necessary background information you need to understand and prepare for lighting setup at any location. Then he goes through various lighting scenarios, shots and scenes to demonstrate how you can get that effect at various times of day or locations. Then he tweaks it again to show a different example or angle. This was a great class! I didn't feel like Bill was talk at the student but actually engaged them and even though I was not there, I felt engaged. I'm now going to watch his other class offered. I only hope that he considers doing more classes since I like his style!

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!