Lighting for moving masters

Abstract

Moving masters offer unique storytelling possibilities. For the audience, they feel immersive and curated. For us filmmakers, they help us understand the rhythm of the scene and maintain it. This technique is designed to carry the plot through the shot, moving with the characters, carefully reacting to what happens within the frame and making compositions that tell the story without words.

Moving masters require a different lighting approach than static masters since they show more of the film’s world and portray moving characters with different shot sizes, directions and angles all in a single shot. The light design should be simple, fast and efficient and create the world that the story requires. Lighting for moving masters can feel demanding, but it is very rewarding since it offers freedom to the actors, director and cinematographer.

All projects are different and not all scenes are meant to be shot using this technique. However, the basic ideas of lighting a long moving shot can also benefit other ways of working by influencing how the script, a location, light or composition are approached. For example, lighting a more static scene from the windows, with practicals, top light or available light - keeping the floor space uncluttered - prepares the space for reverse shots, multi-camera setups or a sporadic moving shot.

This thesis is a compilation of reflections from my own experiences, as well as opinions, techniques and ideas from other cinematographers, gaffers and directors that I have gathered from interviews, books, podcasts and analyses.