23m

As we commence the course Shane introduces the equipment that will be used throughout, including lighting, cameras, lenses and more. He then covers some important film-era camera rituals that have been lost and explains when and why to use them.

09m

In his module Shane introduces Key lighting and gives creative inspiration for key light sources using examples from his resume of hit films.

1h 11m

In this module Shane shares a lighting study that he uses on every film to discover the best approach to lighting the cast. He explains lighting from different angles for mood and creativity, and explains varying diffusion methods. 

42m

Moving on from he 'How' to light, Shane delves into the 'Why', using his 2000 film "Crazy/Beautiful" as a case study. He shares his creative process for deconstructing a script and creating a visual tone for lighting and cinematography, and sets up the scene for the following workshop. 

57m

In this first workshop module, Shane takes us through how he lights this indoor daylight scene. We then cover actor blocking and camera movement with the primary dolly setup before experimenting with a gimbal and DIY approach.

33m

In this chapter we continue coverage on the indoor day scene from "Crazy/Beautiful", using the Blackmagic Cinema Camera.

36m

As we complete coverage on the indoor day scene Shane directs the scene and shows how to use varied lighting and camera techniques to draw different emotions.

25m

Shane explains back lighting using his work on "The Rat Pack" as an example, and takes us through another light study to understand the finer points of this lighting technique. 

46m

Shane talks through his inspiration for lighting on “The Rat Pack", deconstructing a key scene from the film. We then get to see him recreate the same scene, and finally Shane shows how to achieve a similar look on a budget. 

51m

In this final module of the workshop Shane deconstructs a high-action night car chase scene from his work on "Need for Speed". He shows how he was able to light the entire sequence using primarily practical lighting and the versatility of digital cinema cameras. We then conclude the workshop by covering fill light, using Shane's work on the film "The Greatest Game Ever Played" to illustrate.