READING & WRITING
Chapter Summaries: Seven (Lighting) and Nine (Doing It)
As we approach the final few chapters of The Bare Bones Camera Course for Film and Video, these two chapters about lighting and doing it, complement each other beautifully, showing that while technical skills like lighting are crucial, the ability to execute your vision through teamwork and adaptability is just as vital.
Chapter Seven: Lighting dives into the art and science of lighting in film and video production. Lighting plays a massive role in shaping how a scene looks and feels, directly influencing the audience’s perception. One of the core techniques introduced is the three-point lighting system, which uses a combination of key light, fill light, and backlight to create depth and dimension. This setup allows filmmakers to highlight their subjects while maintaining balance and minimizing harsh shadows. Another standout concept from this chapter is the importance of color temperature. By understanding the Kelvin scale and how various light sources—like daylight or tungsten—affect the color of a scene, filmmakers can ensure consistency and mood alignment.
The chapter also touches on practical tools like reflectors, diffusers, and gels, which help control light and create specific effects. Lighting isn’t just about making things visible; it’s a storytelling tool that can subtly guide emotions or enhance the visual narrative. The key takeaway here is that mastering lighting techniques takes observation and practice, but it’s essential for creating professional-quality visuals.
Chapter Nine: Doing It shifts gears to focus on the execution phase of filmmaking. This chapter emphasizes that preparation is everything. From creating detailed shot lists and storyboards to breaking down scripts for logistical planning, the pre-production phase is where most of the heavy lifting happens. One particularly striking point was the importance of capturing sufficient coverage. Shooting from multiple angles or taking alternate takes gives editors the flexibility to make better decisions in post-production. Another critical lesson was problem-solving on set. No shoot goes perfectly, and adaptability is key. Whether it’s handling unexpected weather, adjusting for technical issues, or making creative compromises, staying flexible can save the day.
This chapter also highlights the importance of collaboration. Filmmaking is a team effort, and maintaining good communication with the crew ensures everyone is working toward the same creative vision. Overall, this section drives home the idea that the real magic happens when careful preparation meets on-the-fly creativity and problem-solving.
RESEARCH TO INFORM
Roosevelt and The Grand Canyon – A Ken Burns Film
Ken Burns is the quintessential storyteller. Through research he brings the past to life and covers a plethora of topics. Human interests stories of well known figures such as Benjamin Franklin, Hemingway, and Jackie Robinson to lesser known stories of the Native American. Other topics include historical moments, including the first cross country road trip in an automobile, or the plight of the American Buffalo, or even Country Music. Additionally, Ken Burns has covered famous landmarks such as the Statue of Liberty, Brooklyn Bridge, and the National Parks. The one I chose below is from the National Park series and covered The Grand Canyon. This is done well because the story describes how President Roosevelt’s part in making the Grand Canyon a national monument and what was going on at that time in the early 1900s. In the clip below his use of archival video and images overlayed with actors portrayals of key figures in history bring the story to life. The entire clip we get to see various views of the Grand Canyon then and now, along with an interview about why this was so important to Roosevelt. Of course, I’m partial to everything Ken Burns. Check out his site for all his documentaries.
momondo – The DNA Journey
The short video, The DNA Journey by Momondo, is an absolute gem of storytelling because it connects so powerfully on an emotional level. It uses music perfectly to set the tone and draw you in, while the close-ups let you see every raw, emotional reaction from the participants as they discover surprising truths about their heritage. Add in the multi-camera cuts that keep the pacing dynamic, and you’re completely engaged from start to finish. You don’t just watch their stories—you feel them. It’s a masterclass in using visuals and sound to connect with the audience.
“Cillian Murphy: The 60 Minutes Interview”
This March 2024 interview explores Murphy’s role in Oppenheimer and his craft as an actor, with some great moments of reflection. Around the 8:00 mark, though, the visuals feel a bit flat. While Murphy is engaging, there’s no b-roll to accompany his references to iconic scenes from his films, and the lighting doesn’t do him any favors. Without a proper hair light, there’s not enough separation between him and the background, making the shot feel less polished.
Fix: First, integrate b-roll clips or even stills from the movies Murphy is discussing. This would make the storytelling more immersive and visually interesting. Second, add a subtle hair light to give him that professional “pop” on screen. These small adjustments would elevate the piece, making it as compelling visually as it is narratively.
CREATE
Cork to the Clouds: A Pilot’s Story
Setting the Scene
A buddy of mine has had one of those lives you don’t just casually chat about over coffee—it’s more of a full-on popcorn-and-soda storytelling session. He’s now a corporate pilot, jetting off to far-flung destinations, but the road to those clouds? Oh, it’s paved with some seriously good stories, a few potholes, and one tale so intriguing it’s begging to be teased (which I’ll do—stay tuned for the documentary premiere).
Naturally, I had to ask for his blessing to spill the beans. His reaction? Pure delight. I mean, we’re talking “tickled pink” levels of enthusiasm. With his “yes” secured, my mission was clear: schedule an interview, gather all the nostalgic photos, and create something that does his story justice. The only hiccup? Timing. We squeezed the interview in right before Thanksgiving—because why not add one more thing to the holiday chaos?
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The Space Debacle
When the big day arrived, I lugged my gear to his house, full of excitement and grand visions of the perfect setup. The dream? A bright, airy office with French doors and natural light pouring in like a Hallmark movie. The reality? His basement office. Cue the record scratch.
The space was 8-by-12 feet of dark walls, massive furniture, and a gallery of glass-framed photos reflecting every ounce of light I didn’t have. My immediate reaction: “Oh NO.” But being the pro I am, I reframed the situation (and the room) like a champ. With some rearranging, decluttering, and a touch of gentle persuasion (“Let’s move this here, buddy, trust me”), we transformed his cozy cave into a passable studio. Bonus: His wife was thrilled he finally tidied up.
Lights, Camera, Wait…Technical Glitches
Lighting a small, dark room is about as fun as assembling IKEA furniture without instructions. After battling the shadows for what felt like an eternity, I finally got the 3-point lighting to behave. Then came the cameras.
For the main setup, I used the iPhone 16 Pro paired with Rode Wireless Pro lavaliers running through the Blackmagic Camera app. Pretty slick, right? For a secondary angle, I set up my trusty Canon EOS Rebel T5. And that’s where things got dicey. Pro tip: The Rebel T5 has a lovely feature where it stops recording after 12 minutes. Naturally, I discovered this after filming a 50-minute interview. So, my profile shots? Let’s just say they’re limited edition.
Still, the interview itself went great! Once we got rolling, it turned into a lively back-and-forth. He’d share a story, and I’d dig deeper, veering off-script to uncover new gems. Listening while managing the tech wasn’t easy, but hey, multitasking is basically a filmmaker’s rite of passage.
Progress Report
Filming? Done. Old photos? Collected (well, most of them). Now I’m in the editing trenches. I’ve knocked out a rough cut of the opening 30 seconds, and the final project will clock in at under 10 minutes. Down the line, I’ll expand it into a full Ken Burns-style documentary, complete with slow pans, nostalgic narration, and all the feels.
What’s next? Color grading, scripting for narration, and chasing down additional photos of his childhood home in County Cork. Because no documentary about a pilot’s journey is complete without a glimpse into where it all began.
And for now? I’m keeping my eyes on the horizon—and my cameras rolling.
