Startup Cinematographer: “Light Isn’t Just Equipment — It’s Emotion”

Most viewers don’t stop to consider why a scene feels tense, warm, or unsettling — but directors and cinematographers know: it’s not just the script or acting. It’s the lighting.
Lighting sets the tone, builds atmosphere, and directs emotional perception. According to Filmustage, lighting accounts for up to 30% of a film’s technical budget, making it the second-largest cost item.

In recent years, lighting has evolved beyond a purely technical category in film and television — it has become a key storytelling tool.
So how does it work in practice? Cinematographer Serhii Koshelenko — known for his work on the documentary Emmy-nominated reality show Startup, aired on PBS and Amazon Prime Video — breaks it down. The show has become a benchmark for reality TV reaching cinematic quality.

Serhii’s portfolio also includes top-rated Ukrainian reality productions, where he developed the visual language of storytelling. He is also a researcher whose article on the evolution of lighting in television was published in the World Journal of Advanced Research and Reviews.

In an interview with Fiction Horizon, Serhii shares both practical techniques and insights from his academic work — explaining how lighting becomes an invisible yet essential character in storytelling.

— In your research, you refer to a “three-level approach” to lighting. What does that mean in practice, and why is it important in reality TV?

This approach came together gradually as I analyzed how lighting affects the emotional perception of a scene. In reality TV, you can’t rehearse or reshoot — it all happens live. That’s why I break lighting down into three levels.

The first level is “base lighting” — it ensures technical image quality. It has to be even, versatile, and cover all the zones where action might unfold.

The second is “adaptive lighting” — this adjusts the mood subtly in real time. If tension is rising between characters, for example, we can slightly increase contrast or add sharper shadows. The viewer senses the shift emotionally, even without realizing the light is doing the work.

The third level is “motivated lighting.” This keeps the light feeling natural — from a lamp, a window, a floor light. When lighting feels real, the scene feels real. But we can still use motivated sources creatively — warm, diffuse light adds intimacy; cold, directional light creates distance or discomfort.

— In Startup, your lighting is subtle yet expressive. Could we say light becomes an invisible character — guiding the viewer without ever appearing in the frame?

Absolutely. Lighting shapes the mood and deepens the viewer’s emotional connection to a scene. In film, you can perfect every frame — rehearse, re-light, tweak. In reality TV, lighting has to work continuously, guiding the viewer without being noticed.

What I call “emotional lighting” sets the tone: it singles out a character, creates warm or cool environments, builds tension or supports trust. In reality, you can’t control what people say or do — but you can control the light. And with that, you can shape how the audience feels the story.

— You’ve worked on large-scale Ukrainian reality shows, where storylines are unpredictable. How do you plan lighting when there’s no script, and events unfold spontaneously?

That’s the challenge — you can’t control the story, only prepare for what might happen.

I design a base lighting setup that ensures consistent exposure for all cameras and potential action zones. Then I layer in motivated sources like practical lamps or beams of light that add volume and dimension.

Emotional peaks often come unexpectedly — and in those moments, you can’t stop the action. So the lighting setup has to be flexible and dynamic. That means using mobile lights or remote-controlled fixtures that can adapt in real time.

— In Startup, you work with a smaller crew and fewer resources. How did that change your lighting approach compared to larger productions?

Startup was definitely a shift. Smaller team, limited gear — it forced me to rethink my approach.

Before, I could use large lighting rigs and complex setups. On this project, I had to focus on efficiency and smart placement.

With fewer lights, I made them more versatile and adaptive, relying more on natural light sources. The result was a more minimal and intentional aesthetic. In a way, the constraints shaped a new visual language for the project — and “less” became “more.”

— You mention the concept of a “lighting bible” in your research. What is that, and why is it important in reality TV?

The lighting bible is the core document that defines how the project should look in terms of lighting.

It sets out everything: overall brightness levels, color temperatures, how different zones (like kitchens, bedrooms, or exteriors) are lit. It can also include diagrams, photo references, and notes for various situations.

In reality TV — where shoots span weeks or months, multiple crews rotate, and conditions constantly change — this document ensures visual consistency. It helps maintain a cohesive look across episodes, no matter who’s behind the camera.

— You shoot Startup for PBS and Amazon — an Emmy-nominated show. Is there a signature visual technique you consider your trademark?

I have a few stylistic tools I like to combine to create what I’d call my visual atmosphere.

I love using compositional symmetry — it grabs the viewer’s eye immediately. I use color temperature shifts — warm and cool tones — to reflect emotional states. Sometimes your subject says nothing, but the light tells you everything you need to know.

When possible, I include wide, cinematic shots of a single character in the frame — it adds weight and presence. I have more techniques than I can fit into a single episode, but I always aim to express something deeper through the visuals.

— Where do you see lighting for television and reality going next?

We’ve already reached the point where lighting isn’t just technical — it’s a language. And that language is becoming more subtle and expressive.

I think the next step is intelligent lighting systems that can adapt in real time — changing color, intensity, or direction based on the scene, without human intervention.

We’ll also see a rise in visual standards and “bibles” — especially in international collaborations. The demand for emotional expressiveness in visuals will grow, and that will require cinematographers to think not just technically, but artistically.