Best products from r/cinematography

My favorite lighting-related resources are:

• The Visual Story. This book is just amazing. It's about how people interpret everything you could possibly put in a frame. Empowering. It's not so much directly about lighting, but lighting is a tool you will use to accomplish what the book describes.
  
  
• Set Lighting Technician's Handbook, every time I read in here I learn something new. I still haven't read it all (It's HUGE) but it's so worth the money. Gives you the techical knowledge to make the best decisions on set, as well pre-production. Needs to be paired with general cinematography-knowledge.
  
  
• Matthew Scott's blog. Great for inspiration and new knowledge.
  
  
• Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know Broad, but nicely covers a lot of the things you can do as a filmmaker to tell the story. I remember thinking everyone in my film school HAD to read this after I finished it. Even though some parts weren't very relevant to me. It's perfect for a director, but you say you are a videographer so I'm sure you will find much use of it as well.
  
  For basic lighting YouTube is your friend.

favorites on my shelf:

 

"Masters of Light" by Schaefer and Salvato

A serious wealth of knowledge. Its focused in chapters on individual Dps. really really a great resource.

 

"Film Lighting: Talks with DPs and Gaffers" by Malkiewicz

Pretty good. a bit basic BUT good concepts inside. Good info from good working cinematographers.

 

and i will second /u/peterpeterpeter on "New Cinematographers" by Alex Ballinger. Great new (well, 15 years old now) people working with interesting ideas. Great pictures.


 

I personally really want to read Almendros' book next, as /u/cikmatt suggested.

I'd go with this dimmer: https://www.amazon.com/Leviton-TBL03-10E-Tabletop-Control-300-Watt/dp/B00A80756O/ref=sr_1_4?keywords=TTCL+100H&qid=1567435080&s=gateway&sr=8-4

It's pretty much the same, but handles LED more consistently (less flicker as you attenuate the voltage going into the light. Generally you don't have to worry about flicker, but sometimes it happens when you dim all the way down to like 10%. Dimmers for LED seem to handle at least that aspect better).

For power, you will need an extension cord unless you want to plug the light directly into an outlet just inches away. Usually, you plug the Quasar power connector into the extension cord and then you connect the extension cord into the dimmer and then finally the outlet. My suggestion, is to either buy the lightest weight extension cord you can find, just something really thin, as it will drag less on the light if you have it gaff taped to say, the ceiling / walls or anywhere else.

I started by using cheap 15 to 20 ft small extension cords and then finally moved onto using zip cord / lamp wire. The advantage to using zip cord is that it is very very light weight and can be hidden easily and the best part is that you can make your own cords extremely easily, any length you want and add plugs anywhere along the cord quickly by using add-a-tap plugs (allows you to connect multiple tubes to the same cord).

https://www.amazon.com/cord-lamp-SPT-1-black-roll/dp/B000WS87VY/ref=sr_1_4?keywords=zip+cord+18%2F2&qid=1567435425&s=gateway&sr=8-4https://www.hollywoodexpendables.com/product/add-a-tap-female-wire-plug-adaptor/https://www.amazon.com/Easy-Install-Add-Tap-Brown/dp/B01C2CFY2M

Creating your own cords is very very convenient and easy to do.

So I'm currently in early Pre-Pro for my new horror short that I will be shooting in early December/late November. I was wondering about a few things to how I would do the lighting for the film.

In terms of gear I have access to I have access to this lighting kit: https://www.amazon.com/BOLING-BL-2220P-Temperature-Continuous-Lighting/dp/B01J9FSXAA And some basic DIY bounce and diffusion (Styrofoam and frosted shower curtain). I have a small amount I can spend extra on lighting if needed (Absolute maximum $300 AUD). I also have a similar budget for generator rental although ideally I would like to keep power costs under $200 AUD.

Here are the questions:

1. How can I get power? I am going to be shooting the film far away from any power source (as the film is about some friends who go camping) . My first thought was batteries and lots of them. But then I thought about the fog machine and things that can't be operated off of batteries. So naturally I researched a bitt about generators, but realised that recording dialogue will be really difficult with a noisy generator in the background. Also I have no idea about what type of generator would be appropriate for running the types of equipment I need tot run.
   
   
2. I really really like the dusk aesthetic that a lot of the shots have above, but getting such light in the sky and in the background seems almost impossible as I only have two to three nights to shoot the film. Do you have any suggestions on shooting/lighting such a scene.
   
   
3. Would diffusing a campfire be a practical way of lighting characters who are sitting around one? Or would I have to light the characters differently for the closeups.
   
   
4. Finally If I were to shoot the film in the night completely in darkness how would I light tthe background to retain some detail. I rreally like the aesthetic of the mood-board/look-book above and would love to achieve similar monochromatic looks with deep teal tones. I'm not a huge fan of the really blue / purple sort of moonlit look nor a too silvery one, so i'm trying to go for the more subdued teal thats happening in these stills.
   
   Overall I just would love to try and replicate similar colours and lighting to these clips and any advice would be greatly appreciated, from how to diffuse it (i.e. booklight or just straight diffusion) to logistical help with power.

Take advantage of the internet, seriously, [hundreds,] (http://www.theblackandblue.com/2010/11/16/100-great-resources-for-cinematographers-camera-assistants-and-film-professionals/#jobs)
maybe even [thousands] (http://www.theblackandblue.com/2011/11/21/100-more-resources/)
of resources.

Read textbooks and TAKE NOTES I personally recommend Digital Cinematography by David Stump.

Learn the job responsibilities and the position, but just as important, the job responsibilities of the entire crew, learning their trade improves your ability to communicate with them, as well as take notice when they are doing anything right or wrong. I work as an AC and have no interest in becoming a cinematographer, but because I work hand-in-hand with them and generally find it interesting, I study everything about it.

Experiment with a camera and some lights, learn how lights and cameras interact with each-other. Cameras, lenses, and related accessories are god damn complicated and vast, but if somebody claims to be a DP I am expecting them to understand how each option effects the screen.

Forums, such as http://www.cinematography.com/ and http://www.rogerdeakins.com/ are great to browse, don't start posting on forums until you've browsed for a few days.

Seriously consider film school. The three I recommend based on people I've worked with are SCAD, Chapman, and Columbia College. I've had varying results with NYU and NYFA students.

Using the viewfinder pressed to your eye, one hand on the grip and one hand on the lens is almost all you need usually. Otherwise, might be time to add more weight. A cage or a gunstock to add a fourth point of contact pushing against your chest will help a lot too. A very cheap and effective option is the classic cowboy studio shoulder rig for 30 bucks. https://www.amazon.ca/CowboyStudio-Shoulder-Support-Camcorder-Camera/dp/B0036NMQ7S/ref=sr_1_1?ie=UTF8&qid=1522194992&sr=8-1&keywords=cowboy+studio+shoulder OR if you have some budget zacuto enforcer is great https://www.bhphotovideo.com/c/product/997525-REG/zacuto_z_der_dslr_enforcer.html and edelkrone has a great compact folding gunstock https://edelkrone.com/products/pocketrig-2

1. workflow's like shooting video on dslrs. outputs h.264 files that i convert to apple prores for editing. averaging a bitrate of 20-30 mbit/s but i've read it's capable of up to 80 mbit/s. idk how to answer your colorspace question.
   
2. having the ability to capture and make visible slomo has trumped any resolution frustrations, and i haven't worked professionally in filmmaking so have not had to consider client demands. won't mind shooting high-speed in 1080p or more though;)
   
3. dynamic range isn't bad imo. i've been able to bring out more details in post with color correction. no custom profiles yet but the edgertronic team's been good with firmware updates so maybe that's something they can add one day: http://wiki.edgertronic.com/index.php/Software_releases#Anticipated_features
   
4. light sensitivity's pretty good, i used 2-3 of these led lights for my interiors: http://www.amazon.com/dp/B004TJ6JH6
   
5. this may depend mainly on your lens. everything i've shot so far has been with the 50mm f1.8 lens that comes with the camera.

You need a grading monitor.

To get your monitors close, you can get an external color monitor calibrator tool for $120 or so. They run special software that adjusts your monitor to a more neutral look.

Both Windows and MacOS adjust the color of the monitor, and can adjust it, to whatever you want. Also, coupled with the external monitor on a desktop being able to adjust the color even more after the fact.

​

Yes, if you grade on your windows monitor, it will look different on your mac.

https://www.amazon.com/Datacolor-SpyderX-Pro-Calibration-Photographers/dp/B07M6KPJ9K/ref=sr_1_3?crid=3KP9AE92IVUU0&keywords=spyder+color+calibration&qid=1563568622&s=gateway&sprefix=spyder+color+%2Caps%2C137&sr=8-3

I have one of the above, and it works OK.

It does not replace a properly calibrated $15,000 studio monitor by any means.

If you really want a good rec.709 display, get an old Plasma TV - that would be the best start.

If you want spend for branded quality that is and is rather robust (even though it will be in the office and not traveling with you for diff film sets) go with the aperature branded products

However if you want some good budget lights and can buy some bell and whistle add ons to help with your set up later, go with Neewer 660 LEDs here and their 5 in 1 reflector kit here

Personally I love Neewer as they have a solid product and if you take care of it, as you should for all of your equipment, it will last.

This book is a good start:

http://www.amazon.com/The-Visual-Story-Creating-Structure/dp/0240807790/ref=sr_1_1?ie=UTF8&qid=1395689894&sr=8-1&keywords=the+visual+story

Also these are great and easy to return to when storyboarding:

http://www.amazon.com/Master-Shots-Vol-2nd-Techniques/dp/1615930876/ref=sr_1_1?ie=UTF8&qid=1395690041&sr=8-1&keywords=master+shots

http://www.amazon.com/Master-Shots-Volume-Shooting-Dialogue/dp/1615930558/ref=sr_1_3?ie=UTF8&qid=1395690059&sr=8-3&keywords=master+shots

http://www.amazon.com/Cinematic-Storytelling-Powerful-Conventions-Filmmaker/dp/193290705X/ref=sr_1_1?ie=UTF8&qid=1395690130&sr=8-1&keywords=cinematic+storytelling

Swear I'm not an Amazon affiliate, just love me these books. They're worth reading twice.

I would recommend the following three things
1:
Cinematographer Style- The Complete Interviews, Vol. I and II by Jon Fauer ASC
(Amazon link)
https://www.amazon.com/Cinematographer-Style-Complete-Interviews-I/dp/0935578331/

it's 110 total interviews so you get a large breath of ideas and voices it focuses a lot more on the "artistic" side of things

2:
For more "gear" and technical things I love the ASC manual. (The 10th edition is the latest version)

3: the hard thing with printed books on "gear" because it's changing so fast and often.( still great options out there) So while not a book I would recommend the ASC magazine for up to date technical information. (The magazine is mainly interviews with DPs about the latest movies coming out)

All of these things come from the ASC and for me I think are very good since they showcase a wide range of views and opinions. Also ASC is big on promoting their craft and getting new talent so the books are meant to be encouraging which is a plus.

There are tons of options available but these are my favorites.




Edit: fixed the link to be shorter. (Thanks u/TravisO !)

I would recommend reading this book https://www.amazon.com/Camera-Assistants-Manual-David-Elkins/dp/0240818687

Here's how a typical set runs in my world on a digital shoot

A Cam 1st

• dpt head of camera, he/she talks with the dp to insure that they have all the tools necessary for the dp to accomplish their vision.
  
  
• works with the rental house to make sure they have all the necessary tools. Everything from clip ons for HH to Prestons packages.
  
  
• hires all camera crew besides operators. Usually a dp will hire the 1st and A & B ops, any additional operators are usually discussed with the 1st (day players, Steadicam ops, ect.)
  
  On set:
  
  
• pulls focus
  
• mounts lenses
  
• drops in filters
  
• maintains camera settings (though it is not uncommon for 2nds to make the adjustments to WB & iso)
  
• some will format media, some won't touch it. (I personally think they all should because we can all agree that the 1st would lace film when he would receive a fresh mag)
  
• Roll the camera
  
  A Cam 2nd
  
  
• slates the scene
  
• camera reports
  
• marks rehearsals
  
• maintains lenses & filters
  
• in charge of their cart
  
• hands off lenses to 1st
  
• hands off media to 1st
  
• has backups on hand (cables, batteries, media)
  
• takes all the "stupid " questions and delegates work so the 1st can worry about focus.
  
  Loader
  
  
• considered the best boy of camera department
  
• handles all paperwork (timecards, out sheets, data inventory reports, organizes camera reports, keeps all equipment lists from the rental house)
  
• arranges swaps with the rental house
  
• organizes the truck
  
• keep inventory of expendables
  
• keep inventory of media
  
• offloads media to backup drives / shuttle drives
  
• designated off set shit fixer and professional googler
  
  Digital Utility
  
  
• moves video village and dp/ dit cart
  
• maintains wireless video for 1sts and villages
  
• expert cable wrangler
  
• helps move carts and a general helping hand
  
• swaps batteries
  
• works with the loader to keep batts charged.
  
  Camera operator
  
  
• wiggle the stick
  
  Ultimately, it's a camera team and you should all work together to help make everything run smoothly.
  Despite pushing carts through mud and it raining for 6 hours and your cat just died and your girlfriend hasn't texted you back and your DP is strung out and North Korea is launching another nuke. Just remember to smile and that you could be working a desk job somewhere.
  
  TL;DR
  Ops op
  1st pulls
  2nd slates
  Loader loads
  Utility runs village

The lighting limits the ability to create depth in this short. Shadows help to create what you're referring too. If you haven't read it, read this:

http://www.amazon.com/Painting-With-Light-John-Alton/dp/0520275845

It will teach you far more than I could ever hope to. The Kindle edition is a great deal too, or you could probably find a used copy on half.com for far cheaper.

This article also should come in handy: http://filmmakermagazine.com/50411-alex-buono-on-cinematography/#.UxVmWuKmVRA

Lighting an area helps to draw the eye to it, it's a natural response. So, for example, lighting a subject/actor, making them "pop" from the background, will help the viewer's eye focus on that piece of visual space.

In opposition, using shallow depth of field to blur the background will make those details inconsequential.

Empty spaces can also help other regions of the frame became more pronounced. If your shot is mostly dark, for example, except for one area lit by low-key lighting (.e., in a noir film), then the eye will be drawn to that lit area versus the dark one.

There are several YouTube videos where DOPs will walk through how and why they lit a scene, which can be informative.

Composition rules such as rule of thirds are effective because it lends itself to what the human eye naturally finds to be pleasing in a shot. A lot of it has to do with how the shot is balanced, as a decision in aesthetics. Just remember that the visual space is where you can compose semiotics -- signs and meaning making.

I think a book in composition, such as http://www.amazon.co.uk/Understanding-Composition-Expanded-Guides-Taylor/dp/178145051X/ref=sr_1_2?ie=UTF8&qid=1419099021&sr=8-2&keywords=understanding+composition, that shows how visual elements can work together, would be informative for you.

There are so many great books on the subject. I love the very dated, but simply amazing first book on Cinematography Painting With Light written by John Alton back in the 40's.

I know how to make my links pretty :-).

From what I can tell this WAS shot on 35mm. This aspect ratio was added later so it probably wasn't shot 2-perf, which would give it a native 2.39 aspect ratio. (A smaller section of the film is exposed which increases grain and lowers resolution, but saves film as it only uses 2 perforations per frame).

I believe this was shot on 3-perf 35mm, I could be wrong because digital can look so similar to film if its exposed and graded properly! But I'm 85% sure this was 35mm with a matte added.

Also the compression online really makes it hard to tell.

Anyway, if you want to learn about emulating a 35mm look on digital check out Steve Yedlin's write up about it. He's a brilliant color scientist and DP. (Shot Brick, Looper and a bunch of other great films). http://www.yedlin.net/OnColorScience/

A big part of the "look" is also mixing color temperatures in the scene, as well as properly shooting some of the darker skin tones. If you want to dive deep check out Digital Cinematography by David Stump. Another genius!

https://www.amazon.com/Digital-Cinematography-Fundamentals-Techniques-Workflows/dp/0240817915

This brand is great for the budget conscious. I have this version and it is excellent for the price. The fan would be noisy for video in a quiet setting where you need silence, but for most video and for stills, it's great.

Not exactly what you mentioned but "Film Lighting" by Malkiewicz is pretty much all interviews with DPs, gaffers and even some key grips. They talk a lot about the big films they've made in the 60s, 70s and 80s. Fantastic read!


https://www.amazon.com/dp/1439169063/ref=cm_sw_r_cp_awdb_t1_hND1DbNSA97S6

Thanks for being so elaborate reply! Really appreciate the effort of putting the links up to everything.

Yeah the GH4 has been the camera that I had been leaning towards although I still haven't made up my mind totally, you seem to be pretty happy with it? Any draws backs you have found?
I was also looking at Sony a7s have you had any experience with this camera? I hear there are limited lens options for it, but I guess you can always get a converter?

I'd actually been looking at that tripod for a while but was worrying that even though it looks it, it might not be heavy duty enough, cheers for the assurance!

Do you have any advice regarding sliders and LED kits?

And also have you used a cowboy before? I was running on a shoot the other day and the op had one and he really rated it. http://www.amazon.co.uk/CowboyStudio-Shoulder-Support-Camcorder-Camera/dp/B0036NMQ7S

Off the top of my head, a few books/resources that I found helpful/inspiring:

• Cinematography (Screencraft Series)
  
  
• FilmCraft: Cinematography
  
  
• A Man With a Camera (already recommended it to a different person on this subreddit)
  
  
• The Visual Story: Creating the Visual Structure of Film, TV and Digital Media (not strictly about cinematography, but great resource for learning visual "rules", in order to know how to break them later)
  
  
• David Mamet: On Directing Film (yes it's about directing, but Mamet also focuses on what's important about the story and how to tell it.)
  
  
• American Cinematographer subscription
  
  
  Also, watch (a lot of) films multiple times, pay attention how stories are told visually, analyze them and figure out what works and what doesn't work (for you).

check your library... it's pretty rare unfortunately... reflections is pretty good too: shows insight into how some ASC members design their light while in workshops at USC: http://www.amazon.com/Reflections-Twenty-One-Cinematographers-At-Work/dp/0935578161/ref=pd_sim_sbs_b_5?ie=UTF8&refRID=10D6HZHJ27PJ16A1PHY6 -- rent it from chegg

> 12k's/6k's/4k's/2k's? I'm assuming it's not temperature but brightness?

Correct, or more accurately referring to the wattage of the lamp in the unit (k=1000, so 12000W lamp etc); which results in differing brightness levels depending on the lamp type and optics of the light source - HMIs are generally brighter per watt than tungsten/incandescent bulbs, but reflectors and lenses in the lamp housing can change that.

>1/2 white/full white (boards?)?
> Full/Half grids?

These are diffusion filters, I think (we use the term grid here, but not 1/2 white or full white, we just say 216 which is the Lee filter number) - basically a piece of (usually) heat-treated plastic that serves to spread out the light source so that it's bigger relative to the subject. Diffusion, thanks to physics, will lower the intensity of the light, so you need to compensate for that when you use it.

Books:

http://www.amazon.com/dp/0671766341

http://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759/

Studio grade LED lights aren't improving so much that you need to buy a 2017 model, in fact the best "bang for the buck" lights are these:
https://www.amazon.com/dp/B00T3W0KDS/

They even sync up, so you can take multiple ones, sync them, change one and they all follow. The other interesting light on the market, something tiny that is smaller than a pack of cards and has 1.5hrs of internal battery, I own this and mount it to the top of my camera for video sometimes:

https://www.amazon.com/dp/B01ITRLJIW/

Man with a Camera by Nestor Almendros

http://www.amazon.com/gp/aw/d/0374201722?pc_redir=1396379709&robot_redir=1

First filmmaking book I ever read, and one of the better ones. Journalistic approach to his whole process with great anecdotes about some of the most classic films.

This book has been discontinued so it’s hella expensive, but it’s the best cinematography book I’ve ever come across: https://www.amazon.com/Reflections-Twenty-One-Cinematographers-At-Work/dp/0935578161

I think A Man With A Camera by Nestor Almendros is one of the best books on cinematography ever written, and sounds exactly like what you'd be looking for.

I second this. The ASC is a wonderful resource, also subscribe to their newsletter they usually have links to relevant articles that didn't make the magazine along with info about upcoming events/expos.

I also found these helpful:

"Lighting for Cinematography: A Practical Guide to the Art and Craft of Lighting for the Moving Image" https://www.amazon.com/dp/1628926929/ref=cm_sw_r_cp_apap_J5uen5Oey5Orz

"Master Shots Volumes 1,2,&3" https://www.amazon.com/dp/1615931546/ref=cm_sw_r_cp_apa_Ez-4ybHE81VH1

And "Set Lighting Technician's Handbook: Film Lighting Equipment, Practice, and Electrical Distribution" https://www.amazon.com/dp/0240810759/ref=cm_sw_r_cp_apa_tA-4yb18WDJFC

This one is a great little read, very informative without being patronising. Goes into some of the more advanced information as opposed to beginner knowledge. http://www.amazon.co.uk/Understanding-Composition-Expanded-Guides-Taylor/dp/178145051X/ref=sr_1_2?ie=UTF8&qid=1419099021&sr=8-2&keywords=understanding+composition

Reflections

It's a bit outdated, as in digital cinema hadn't taken off yet, but the same principles apply.

Also American Cinematographer is an excellent magazine.

Thank you for the suggestion! BTW, what do you mean by manipulation? Is that like the complexity? Like number of lights, unusual lenses (e.g. tilt shifts), filters etc.? Or is it a specific terminology.

I've just been making my way through the content from Aputure, Cooke Optics, Rocket Jump, Every Frame a Painting, on YouTube. In terms of books I've been reading this, this, this and this, and look forward to reading this and this.

Do you think there are any key books I am missing? I saw this book which might be more applicable to where I will likely find myself after I finish my course.

Looks like these:

http://www.amazon.com/NEEWER%C2%AE-Dimmable-Digital-Camcorder-Panasonic/dp/B004TJ6JH6/ref=sr_1_1?ie=UTF8&qid=1458333618&sr=8-1&keywords=neewer+led

I bought one a good while ago. Relatively cheap and has come in handy more than once.

Great book on lighting.

Film Lighting: Talks with... https://www.amazon.com/dp/1439169063?ref=ppx_pop_mob_ap_share

The documentary is great, but the books go a lot further in-depth. Worth a read.

I did'nt really like it, It is a really complete guide on cinematography but it was really old fashioned and felt out of date when I read it.

I really like the Master Shots series
http://www.amazon.com/Master-Shots-Vol-2nd-Techniques/dp/1615930876

And also 'Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know' http://www.amazon.com/Cinematic-Storytelling-Powerful-Conventions-Filmmaker/dp/193290705X/ref=pd_sim_14_3?ie=UTF8&dpID=51yVCZcPwTL&dpSrc=sims&preST=_AC_UL160_SR160%2C160_&refRID=1SRNZK0W2EE9C97GFVC6

Also just try YouTube and Google. Try the cinematography database to learn about lighting http://www.cinematographydb.com/

Filmmakers IQ for in debth stuff https://www.youtube.com/channel/UCSFAYalJ2Q7Tm_WmLgetmeg

On Set Filmmaking Tutorials: https://www.youtube.com/user/aspiringfilm/videos

DSLR video Shooter:
https://www.youtube.com/channel/UCMmA0XxraDP7ZVbv4eY3Omg

Now You See It, the Nerdwriter and Every Frame A Painting for some film analysis:
https://www.youtube.com/channel/UCWTFGPpNQ0Ms6afXhaWDiRw
https://www.youtube.com/channel/UCjFqcJQXGZ6T6sxyFB-5i6A
https://www.youtube.com/channel/UCJkMlOu7faDgqh4PfzbpLdg

And finally just go out and shoot shot shoot!

Congrats on working on your first feature. If you haven't already I would suggest buying this It's packed full of brillant advice and information. There's a chapter on knots too!

http://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759

That's a link to the Set Lighting Technician's handbook. It's fantastic.

Painting with light: http://www.amazon.com/Painting-With-Light-John-Alton/dp/0520275845 first published in 1949. He DPd a lot of noir stuff. His writing style is very nice.

https://www.amazon.com/YN300-III-Adjustable-Temperature-3200K-5500K/dp/B00T3W0KDS/ref=mp_s_a_1_3?keywords=video+lights+yongnuo&qid=1568077055&s=gateway&sr=8-3

Check out the budget lighting video from DSLR Shooter for an idea of how bright they are plus other cheap options.

Simple on camera lighting, most likely a small LED bank attached to the cameras hotshoe. Something like this

Edited to add: The softness can come from a piece of diffusion taped over the light, or they make softboxes for the light I linked.

Set Lighting Technician's Handbook is a popular one.

These don't look too bad for LEDs. https://www.amazon.com/Neewer-Pieces-Bi-color-Video-Light/dp/B06XW3B81V/ref=sr_1_9?keywords=neewer+led+lights&qid=1574087935&sr=8-9

Or this, https://www.amazon.com/Neewer-Reflector-Continuous-Recording-Photography/dp/B07PBG17PG/ref=sr_1_13?keywords=neewer+led+lights&qid=1574088078&sr=8-13 (But you will probably need a scrim to defuse light with that)

"Set Lighting Technician's Handbook." This is the one.

Here are a few:
http://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759

http://www.amazon.com/Cinematography-Theory-Practice-Cinematographers-Directors/dp/0240812093

http://www.amazon.com/Digital-Cinematography-Fundamentals-Techniques-Workflows/dp/0240817915/ref=sr_1_1?s=books&ie=UTF8&qid=1410971724&sr=1-1&keywords=david+stump+ASC

http://www.amazon.com/Visual-Story-Creating-Structure-Digital/dp/0240807790/ref=sr_1_1?s=books&ie=UTF8&qid=1410971760&sr=1-1&keywords=the+visual+story

https://www.amazon.com/Filmmakers-Eye-Learning-Cinematic-Composition/dp/0240812174/ref=sr_1_1?ie=UTF8&qid=1502971148&sr=8-1&keywords=filmmaker%27s+eye

https://www.amazon.com/Visual-Story-Creating-Structure-Digital/dp/0240807790/ref=pd_sim_14_10?_encoding=UTF8&pd_rd_i=0240807790&pd_rd_r=C197QEE8EMEY1KGN3N2E&pd_rd_w=PKzWC&pd_rd_wg=vF29K&psc=1&refRID=C197QEE8EMEY1KGN3N2E

https://www.amazon.com/Cinematography-Directors-Guide-Creative-Collaboration/dp/1932907556/ref=sr_1_10?s=books&ie=UTF8&qid=1502971260&sr=1-10&keywords=cinematography

I learned from Reflections and
The Grip Book.

The Visual Story: Creating the Visual Structure of Film, TV and Digital Media by Bruce Block

http://www.amazon.com/The-Visual-Story-Creating-Structure/dp/0240807790

lights are almost always measured by wattage, so 12k= 12 kilowatts or 12,000 Watts.

1/2 and full white are referring to different thickness of diffusions, 1/2 white(250)= 1/2 a stop of light loss, full white(216)=full stop. most DP's Grips and Gaffers will refer to diff by its catalog number(410, 250, 216, 129, 1099)

Grids are a cloth diffusion with a grid pattern of white thread, referred to the same way as half stop and full stop.

pick up the Set Lighting Technicians Handbook its well worth it and will answer almost any question you may need answered, or talk to your best boy electric, hes probably got a copy of it in the set cart next to the fluke meter.

Usually if you tap in the lower left corner of the video on the YouTube logo, it’ll open YouTube. But here’s a link to the light: NEEWER 160 LED https://www.amazon.com/dp/B004TJ6JH6/ref=cm_sw_r_cp_api_L12KAbE6MT3ZZ

Multitool
crescent wrench,
phase tape (colored electrical tape),
copy of this http://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759/ref=sr_1_1?ie=UTF8&qid=1376759311&sr=8-1&keywords=set+lighting+technician%27s+handbook,
a few 1" spring clips,
utility knife,
sash cord,
trick line,
alcohol wipes,
BURN CREAM,
6 cube taps,
sharpies,
pens,
notebook,
hammer,
screw gun

I like where your heart's at, but honestly books just aren't going to help you much for what you're after. Everything you said you wanted to learn is stuff you learn by just doing it and seeing other people do it. Time to get your butt out on set! And if there's no set, it's time for you to buy some cheap lights and fuck around with them endlessly!

If you really want a book for the technical stuff in lighting, buy the Set Lighting Technician's Handbook. That's the industry standard reference manual for lighting.

https://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759

Know what the lights are called, and where the power is. If you're running a generator you kind of need to know what your doing, so hopefully you're not using any lights bigger than a 2k and just running off house power. Know where the fuse box is. I can't quite remember if it's each wall has its own circuit or if it's different rooms have their own circuits but don't plug in more than 2000 ways total on one circuit if the circuits are 20amp. If their 15amp don't plug in more than 1500 watts on one circuit.

Have a set crate with zip stingers, cube taps, black wrap, clothes pins and some pre cut gels near set. If you don't have any pre cut, label them as you make them and keep em for later in the show. Have some 50' & 25' Edison cables in a crate near set, have some c stands and baby stands near set, see what fixtures the gaffer thinks he will need and have them staged near set.

Keep everything as organized as you can and clean up. If you lose the gear that's on you kind of. If you haven't yet, hire a killer 3rd electrician and he can deal with set and the gaffer, you just deal with the equipment, keep it organized and ready to go. Get the plan from the gaffer and prepare as best you can to implement it when needed.

Most importantly don't do anything you're not 100% sure about when it comes to electricity. It can be dangerous, burn down houses and electrocute people dangerous, so just use your best judgement and if anyone asks you to do a tie in, tell them to fuck off and do it themselves.

Also it seems important for BBE to be grumpy and kind of get pissed if anyone asks for something to charge their phone with. So do that too.