Learning to light continues to be one of the most fun parts of my work. This tutorial doesn’t do anything beyond basic three-point lighting for a three-camera interview, but it’s weirdly compelling:
I like it partly because it illustrates why making films can be slow. That’s a lot of work, people and gear to make an interviewee and their interviewer look good.
If you’re looking at films you’ve made or commissioned and thinking “we used great cameras, why does it still look rubbish compared to broadcast?” — this is why. Prep, gear and crew all cost money: sometimes they’re worth it.