what separates Hollywood DPs from you 

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There is another important skillset that separates many of us from them: the power of networking. I spent 15 years learning the hard skills, buying the gear, watching every film and commercial I could get my hands on, worshiping the works of Roger Deakins, Vittorio Storaro, Tonino Delli Colli, and many others... but I wasn't getting work. My reel got no attention, my work was all personal projects. Once I started getting off my computer, going out, and meeting other folks through cold emails, and at networking events, *that* is when I started to up my game as a commercial DP. Crafting the light is a huge skill. So is crafting yourself.

While I agree for the most part I also agree with this too Sean Astin asking legendary Cinematographer Andrew Lesnie on the set of lord of the rings on a set with light where there was no source for it. "Where is the light coming from?". Lesnie replied, "Same place as the music."

I feel like you are giving all the credit to the DP. The Gaffer does ALOT. There is also a reason why DP´s will work again and again with the same Gaffer because they know how good they are.

I'd argue the major factor is that they have big-name production designers on the team. They're kind of the unsung heroes of cinematography. I realize that some of the best cinematography I've seen has just been pretty par-for-the-course cinematography in incredible locations with incredible set dressing. If you're an indie film guy who's self-financing, put as much budget into the set/locations as the lighting and camera packages and you'll be amazed how easy it is to get your best results ever.

Production design is the answer.

Had the pleasure to work as an assistant gaffer on a movie under the lead of a professional just last month. During those 2 weeks of shoot i have realized I know nothing about lighting a scene. The experience was eye-opening. It is just unbelievable how underrated this craft is in the eye of the public. Thanks for the inspiration and informative content.

Great video, Mark! Thanks for keeping it real over the years, I'm military combat videographer and I love to show your videos to my Marines to help teach them good shooting techniques.

Nice job! I teach high school film and this video will be something I will be adding to help students understand the need to go a bit further with controlling or planning the lighting in their scenes.

Great stuff! Thanks for breaking down these lighting setups!

Fantastic content as always! Found your channel amongst the many creators in this field and have to say that I was skeptical at first. Whether it’s a subscription service, course, or Lut pack, it seems like everyone is always trying to sell you something in their educational videos, but I’ve learned (or reinforced) so much quality information in the last week alone! You have an amazing communication style verbally and in the way that you edit your videos and the community is a better place because of it! Thank you sir!

We get so used to corporate shoots doing the same old 45 degree soft lighting setups that we do that in our narrative work as well and then things look so artificial. Until you realize, when it's a harsh desert midday scene in a "Hollywood" movie, guess what, it's going to look top lit, gritty and harsh, because, that's literally the environment. Great video like always Mark! And great way to show all the haters from the last video :)

awesome! thx so much for taking the time explaining.

Amazing video! So much great info! Keep it up man

This was amazing. Thank you for the informational video!

Always blessed and grateful for your work. Thank you!

This is great Mark! Thank you for this video.

One good tip I got while starting out is that you don't press record until it looks the way you want. Then you need to stop and think about why it doesn't look the way you want and you need to adress it head on - instead of thinking maybe you can grade it later.

Extremely helpful & insightful! Much respect!

That last tip is so important 💯💯💯

Wow this video was super helpful! I've always struggled with the idea of lighting, I could never understand how cinematographers new where to place their lights, what type, etc. Lighting is an art still, and requires deep thought at times, but you just made it a little less difficult :) So this really helped me logically understand how lighting works, thanks Mark!

It's everything and nothing. Production Design, story, performances....and masterful writing.

@wanderingdp is a boss! Love you Mark!

I should really comment more. I really just wanna let you know that I appreciate your videos way more than you know Mark. I'm an outdoors RU-vidr as well on my other channel Careena Alexis, and filming my camping trips grew my love for filmmaking so much that I started immersing myself more into filmmaking and now run a videography business and I have learned SO MUCH from you. Thank you so much for the extremely well presented, well explained wisdom! Also fellow Ontarian here :)

Thank you for the video ❤

Amazing work brother! This is ver inspiring to keep on my filmaker journey! Thank you for the great knowledge

love this video. Perfect timing for me.

Film making is a collaborative process. A DOP is only as good as the people around them and no matter the inherent talent or any individual, it takes a combined effort to deliver the so called “Hollywood” quality. Production design, colour palette, fantastic costume and make up. As some have said here in the comments, DOPs receive a lot of credit for the look of a film, and whilst they are undoubtedly a big component, they’re not solely responsible for what ends up on screen. I personally believe that regardless of budget, good work stands out because of fantastic design choices and not due to what camera and lens package someone used. Stick by your aesthetic principles and the rest follows

Just thank you for this.. I am so new to all this but loosely understanding this… has already given me direction on where to go next

Mark Bone, Sir. You are a gentleman and a scholar. Thank you for your contribution to education on RU-vid, please keep up the stirling work old bean.

This is the best light video.

Thank you. Really helpful video, for people who do actually need advice and are willing to listen, adapt, and improve their work

Great video! 👌 It reminds me of an eye opening lesson I’ve learned, after a decade of focusing on the wrong things and wasting money on things that are not necessarily that important. It’s “have a vision before you start using the tools”. It applies to many art forms and even to life. If the process is kinda like this, there’s so much more depth to and focus to everything: 1. I want this to be like that 2. Hmm it’s not like that yet 3. Why is it not like that yet? 4. Aaah that’s why 5. What do I need to achieve it? 6. Now the tool comes in It’s very easy to fall into this kind of approach as a beginner: 1. Hmmm so where should we put this Aputure 600d? … Stay focused and most of all, stay focused on the actually important things😊💪

Really good break down, this was great.

Informative. Thank you!

Very informative, thanks for sharing this breakdown. For the example at 3:50 I think a slight tungsten rim on the shoulder would be great, and help balance out the daylight and lamp light.

I am working up the courage to make the first video for my RU-vid channel. I subscribed to your channel for inspiration; it was a good decision. The content of your channel is of a high quality, and it is easy to take advantage of your good advice. Thumbs up to you, and thanks for sharing your experiences!

Love the break downs!

super useful! thanks for the video!

Thanks @markbone . This was a beautiful content.

@markbone, you are the real deal brother!!! OG status!🔥🔥🔥🔥 Much love all the way from South Africa, JHB.

This was dope thanks 🙏

Set design, production value. Elaborate lighting set ups. Millions of dollars

Great vibes

I think it’s important remember general audience aren’t thinking “Where is this light coming from”. They aren’t even wondering what is lighting the actor. If the shot looks nice and realistic enough you dont need to worry too much about justifying your lights and the audience will be immersed all the same. This is with in reason of course, if you show a huge window and then cut the light off your actors face or fill it with some pink light out of nowhere that will draw in questions. However, for example, if you’re filming a dialogue between 2 people and the light, if it was realistic, would only really look nice on 1 character and not the other, something like one character it’s nicely lit by the sun and then the other would be getting full face with the sun, dont be afraid to mould that light so it also looks good for the other character as well. Cut the light to one side or place some diffusion on top to soften it. The audience wont notice and it’ll look much nicer. For an example of that in this video, the section where Mark talks about the sky light justifying the side lighting on all the people, thats not skylight, light hitting them. It should be landing right on the top their heads, which would make them look quite ghastly, but in the film its much closer to a Rembrandt. The skylight justifies the existence of light in general but it doesn’t have to dictate it’s direction.

GREAT breakdown. Bad lighting is my biggest pet peeve when watching short films or no-budget projects my friends are in. Every other aspect is usually great, but lighting ends up an afterthought because the writer-director-producer-camera op is doing everything themselves.

Insane breakdown!!!✨

This is what I needed. 🏆

If I walk through a door, down the hall, to my office it is just a walk nearly without decision. To film someone walk into a building, entering a room from the hallways......requires a thousand decisions. Your videos help navigate those choices.

Love the James Blunt Cameo

Perfect...

"Professional Cinematographers make things look natural, believable and not 'lit' " ... Robert Richardson has entered the chat.

So helpful!

having worked on a lot of big things, crew is for sure like 80-90% you can craft that light all you want, but if you dont have 2 guys running cable one guy rigging the light and a grip team shaping it at your command alot of the magic is already gone.

Kudos for including the FlyLo video

So it's all about the lights!

Simple answer - because they have a huge tream of experts all helping make and shape. Personal skill and motivation only go so far right

- [0:00] 💡 Professional cinematographers excel at crafting light motivation, seamlessly integrating film lights with natural light sources. - [1:35] 📷 Camera placement plays a crucial role in determining the natural direction of light and avoiding artificial lighting. - [5:04] 🔍 Understanding the quality of light, whether it's soft or hard, is essential for creating realistic and believable scenes. - [7:42] 🎨 Consider the color temperature of light sources to ensure consistency and believability in your scenes. - [10:11] 🎬 Imperfection in lighting can often enhance realism and immersion in filmmaking, creating a more authentic viewing experience.

@markbone thanks for all the content you share with us. I'd like to know how you go about calculating the amount of light you need in given scene.

music and pace to me brings out the emotion in any video. But to make your film go next level lighting brings out the emotion in the film alot more. Then comes a ton of other aspects.

Nice

Thank you for this video! Also, love the black jacket :) where is that from?

Augmenting and also, removing light

I agree but also I remember that shot in Paris, TX where they literally just had some kinda red light laying on the ground pointed at Harry Dean Stanton, soooo. But this is a good point

Mark Bone = Roger Deakins = Same expressions on where's the light source and how to shape it....

All good stuff and good advice. I would simply add that what separates Hollywood quality from everything else is world class Colorists. They work, shape and modify light almost as much as DP's do.

Hey Mark thanks for your videos ! As a French viewer it's very helpful. I would like to ask you, how do you find your films stockshots and is it really legal ?I would like to talk about movies scenes as well but I don't really know how to find it in good quality. Thanks !

great video! was the TIFF panel you moderated recorded?

Great video! Your setup could use more fill light though 😜

I think what makes the difference is the art direction budget.

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'what separates Hollywood DPs from you'? A huge budget, a decent camera and lighting crew, a good set designer, a director with a vision, an eye, a bit of psychology, some scientific know how, and years and years of training coupled with trial and error...

Joining is must

Mark, could you do a video talking about making a quiet/silent scene and/or short film interesting without dialogue? I struggle with dialogue and absolutely love the quiet clips on RU-vid where people create beautiful, minimalist, "cinematic" videos but am at a loss myself how to make videos like that from my perspective. Skål. Edit: For example, how maybe activities can help make it more interesting or background props, etc. But I digress. I'm not the expert here. 😅👍

Well, everything... great! But if you happen to see my question I would like to know what camera and lens you used. So beautiful photgraphy!

Location, set design, time of day, millions of dollars... it all matters. 💸

This is a very technical video that caters to people who focus a lot on stuff that I think a lot of the best DPs are thinking about, but not as the most important thing in their work. The cinematography should serve the story and the feelings and information you want to convey. Just because a shot is lit with what seems like «fake» light, does not mean it does not serve the purpose the filmmaker want to convey. Art, and film, go through trends, and while practical and motivated lighting is the trend now, I would not say that it is what makes something look or feel «cinematic». I think it is easier for low budget filmmakers now to make their films look cinematic now. You can get shallow depth of field from a very affordable camera. Lighting is easier to get your hands on and grading tools as well. Yet, awww Andersons films go very much against motivated lighting, and usually have very deep depth of field in a lot of the shots. What makes that style look and feel cinematic and artsy is thw very intentional style and very particual set design and costumes. My message in short form: there are many roads to Rome.

Shane Hurlbut will help you with this. All Hollywood DPs who are epic cinematographers should teach like Shane. Like the old Hollywood Lighting Series...

Also a very good colorist. I’ve seen some mainstream films ungraded with a simple rec709 convert and it looks cheap vs the final grade that just looks like the million dollars it is.

Your shot looked better with the light off 😂

The jacket you’re wearing is so cool, do you remember what it’s called?

Boils down to lighting.

I have a question. I started shooting cooking videos in a clair obscur style, so very subtle lighting, lot of shadows, dark mood. Light position is good for me but I just hate the white light so called "daylight", it feels fake, too artificial. How is it possible to make the light a bit warmer? I use 2 softboxes. Do I need a big gel outside the box or do I need gel on the cob?

🎉❤

Where can I find the prices for the courses??

For those of us who do not have high quality lighting equipment, what's a good way to practice intentionally using light in our videos?

Your missing balance/contrast ratios as one of the key factors. Key to Fill, Key to BG etc etc

Isnt it a lot up to the gaffer/lighting department too? I mean they usually know what to do when the dp has described his vision.

You can justify a light direction by adding a prop light too.

Don't forget the using of negative fills, and as can be seen in your examples, the color itself, the blueish color when the woman lays in the bed, sad, depressed, fearful, the guy with the yellow light could be moody, but more like crazy, chaotic. This is what they do best, together with the colorists, the art of cinema. ;)

What would you say about Robert Richardson's style? Lots of 'unnatural' sources, like his frequent use of a strong hard top light over tables.

It"s too bad, there a not french subtitles for your academy :( (im french)

at what color temperature would you set your camera in a mixed light scenario like the hotel room shot?

@5:01 is that from the 2013 movie titled Her?

A good thing to mention would be that this is a fairly recent development. If you look at films from the 80s and 90s and even the early 2000s a lot of them look super lit and sourcy compared to modern films. Even some of the best films from that era can now be used as examples of how _not_ to light a modern film.

One of most expensive requests a director can ask the DP is to make the lighting looking natural

is building the light a DP role tough?

your facecam looks better without the added light

Noticed something at 3:10

4:43 😂😂😂😂😂😂