Who’s seen it? Oppenheimer (2023) Directed by Christopher Nolan Cinematographer - Hoyte Van Hoytema, ASC, FSF, NSC Gaffer - Adam Chambers, ICLS ⚡️ @yankeepapa13 Key Grip - Kyle Carden Lighting crew - @ramshakles @noahshain @mierke @harryliteguy @jennytrinhh

Poor Man's Process Shot with a train and a bunch of ⚡@nanlux_global  Evoke 1200 lights on a crane. Each one of those is comparable to an M18 HMI. Setup by ⚡@denisx_f and ⚡@pyatindima

Men in Black (1997) Directed by Barry Sonnenfeld Cinematographer - Donald Peterman, ASC (Flashdance) Production Designer - Bo Welch (Edward Scissorhands) Chief Lighting Technician - ⚡@jeffmurrell (Avengers: Endgame) Asistant CLT - Steve Reinhardt Key Grip - Calvin Sterry (Starman) Gaffer: New York - Russell Engels Key Grip: New York - Dennis Gamiello Cinematographer Donald Peterman was nominated for an Oscar for both Flashdance (1983) and Star Trek IV: The Voyage Home (1986). BTS photo by Andrew Schwartz #filmlighting #lightingsetup #learnlighting #cinematography #gaffer #keygrip #meninblack #willsmith #bouncelight

Flying 5x @nanlux_global Dyno 1200C lights AND an Evoke 1200B in a storm… You guys are crazy @pavelkhalitov ;)

In camera or VFX? Of Woods and Seas (2023) Shot on film by @oli_millar Directed by @andrewdezen

Here’s a great lighting breakdown from our friend ⚡️ @nycgaffer at Gaffers Salon! Wait for the result at the end. If you want to see more breakdowns like this let us know below!

What’s your Tarantino Top 5? Margot Robbie in a scene from Quentin Tarantino’s Once Upon a Time in Hollywood DOP - Robert Richardson, ASC Gaffer - Ian Kincaid Key Grip - Chris Centrella Electric - ⚡️ @frankyjgomez ⚡️ @iatselocal728

Flying a Hudson Spider Redback

This is how they dealt with the reflections on... Blow Out (1981) Directed by Brian De Palma Cinematographer - Vilmos Zsigmond, ASC (!!!) Gaffer - Rick Martens (The Dear Hunter) Best Boy - John Kirk Key Grip - Dick Deats (Heaven’s Gate) Best Boy Grip - James Dyer (Carrie) Dolly Grip - Gary Parker (Christine)

Genius or Madness? 🎥 @lks_rental

How to use false color for your low-key, moody scenes by ⚡ @orensofferdp Be sure to check out Oren's work with ⚡️ @greigfraser_dp on The Creator, which hits theaters this weekend! "For me, the key to crafting low-key, moody, “underexposed” images that maintain a sense of richness and don’t just feel muddy and flat is to counterbalance a lot of darkness and shadows with pockets of mid-range exposure and a few small dashes of the higher range of exposure to draw the eye and create more contrast within the image. This also serves the purpose of forcing your eye to adjust to the brighter areas of the frame, which closes down your iris and makes the darker parts of the frame feel even richer and darker. "I rely on a rough adaptation of the Zone System in order to build out an image in this way, and I use false color in order to check my work - it’s a great tool that allows you to strip away color contrast in the image and just look at it as a map of exposure values. So when I’m setting up an image that I want to be dark and moody but still feel rich and vivid, I am looking for a few things: first, a WHOLE LOT of purple and blue which roughly correspond to Zone I and Zones II-III respectively on the Zone System. This will create the baseline of darkness that will set the overall tone of the image. "Then, for certain smaller areas of the frame, I’m looking for green and pink in the false color, green corresponds to 18% Gray which falls right around Zone V-VI on the gradient scale, as well as pushing yellow and red for the brightest of bright highlights in the frame, which cover the highest reaches of the scale. And if my key lighting is falling a little short of that exposure level, I’ll boost it up to bring the exposure of that region of the frame into that range. There are two ways to go about creating this contrast for me, either punctuating dark environments with pockets of middle exposure or silhouetting darker foregrounds against lighter backgrounds. Here you can see a few examples from my work with corresponding false color overlays to show you what I am looking at when monitoring on set."

Love the blocking on this setup! It’s really a beautifully shot film. A great lighting setup from the film The Pursuit of Happyness (2006) by CLT ⚡@ambrose728 via ⚡@iatselocal728 Directed by @gmuccino Cinematographer - ⚡️ @papa2 Chief Lighting Technician - ⚡️ @ambrose728 Key Grip - ⚡️ @raygrip