Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 1 00:00:04,080 --> 00:00:06,023 Ok so we talked about what exactly 2 2 00:00:06,048 --> 00:00:08,299 lights are and what they are technically 3 3 00:00:08,299 --> 00:00:10,404 and what the are capable of doing. So I'm going 4 4 00:00:10,429 --> 00:00:12,509 to tell you the three different lighting setups. 5 5 00:00:12,509 --> 00:00:14,877 First, being an interview lighting setup. 6 6 00:00:14,902 --> 00:00:17,189 This is the basis for everything this is 7 7 00:00:17,189 --> 00:00:18,755 going to be a basic interview lighting 8 8 00:00:18,780 --> 00:00:20,320 setup that you should be able to grasp 9 9 00:00:20,320 --> 00:00:22,235 walk into any interview and be able to 10 10 00:00:22,260 --> 00:00:24,100 set up very quickly and we'll get you 11 11 00:00:24,100 --> 00:00:26,368 through almost anything. Two: I'm gonna 12 12 00:00:26,393 --> 00:00:28,410 take you through sort of a romantic 13 13 00:00:28,410 --> 00:00:30,917 warm narrative sort of setting where it'll 14 14 00:00:30,942 --> 00:00:33,250 be kind of narrative and I'll be like a 15 15 00:00:33,250 --> 00:00:35,484 nice like just natural place in like an 16 16 00:00:35,509 --> 00:00:37,830 evening sort of room. And then Three: I'm 17 17 00:00:37,830 --> 00:00:40,205 gonna put you in like a very scary dark 18 18 00:00:40,230 --> 00:00:42,580 contrasting moody kind of feeling like. 19 19 00:00:42,580 --> 00:00:44,385 So what we are gonna do is I'm going to have Phil 20 20 00:00:44,410 --> 00:00:46,010 to come in here in a second and then have him 21 21 00:00:46,010 --> 00:00:48,374 sit down. I'm going to explain the 22 22 00:00:48,399 --> 00:00:50,940 situation, light him up you are gonna 23 23 00:00:50,940 --> 00:00:52,498 see me kind of running around doing 24 24 00:00:52,523 --> 00:00:54,360 light. I'll stop, explain what I did, show 25 25 00:00:54,360 --> 00:00:55,984 you the different lights and then we'll 26 26 00:00:56,009 --> 00:00:57,690 do the next one into the next one. So the 27 27 00:00:57,690 --> 00:00:59,164 first thing I would do is I would come 28 28 00:00:59,189 --> 00:01:00,600 in here and I would look at this room 29 29 00:01:00,600 --> 00:01:02,565 and I'll set the white balance to what 30 30 00:01:02,590 --> 00:01:04,580 we are gonna do. I'm gonna use tungsten 31 31 00:01:04,580 --> 00:01:06,423 balancing here I probably gonna turn off 32 32 00:01:06,448 --> 00:01:08,400 these gross fluorescent lights that you can 33 33 00:01:08,400 --> 00:01:10,326 see right now and just figure out what 34 34 00:01:10,351 --> 00:01:12,400 to do next, but first we are gonna set up 35 35 00:01:12,400 --> 00:01:14,008 the lights. You'll see me go dark and you'll 36 36 00:01:14,033 --> 00:01:15,580 started see me turn lights on in our little 37 37 00:01:15,580 --> 00:01:17,738 time lapse I will just go from there, 38 38 00:01:17,763 --> 00:01:18,604 So you ready Phil? 39 39 00:01:35,000 --> 00:01:36,461 So this is what I would use for a 40 40 00:01:36,486 --> 00:01:38,050 three-point lighting system. A basic 41 41 00:01:38,050 --> 00:01:39,746 interview here on Phil now I do have one 42 42 00:01:39,771 --> 00:01:41,360 little light back there so technically 43 43 00:01:41,360 --> 00:01:43,294 it's 4 lights but you can kinda see 44 44 00:01:43,319 --> 00:01:45,390 the difference between what. This room 45 45 00:01:45,390 --> 00:01:47,376 used to be like and what this room looks 46 46 00:01:47,401 --> 00:01:49,120 like now so it's gonna run with you 47 47 00:01:49,120 --> 00:01:51,039 really quick what I did. So what I did 48 48 00:01:51,064 --> 00:01:52,860 here was my have my system over here 49 49 00:01:52,860 --> 00:01:55,120 turn off this late this is a Phil light. 50 50 00:01:55,120 --> 00:01:57,425 Get it Phil light. So if you just push 51 51 00:01:57,450 --> 00:01:59,670 the button to turn it off you can see 52 52 00:01:59,670 --> 00:02:01,876 that all it really is just feeling in 53 53 00:02:01,901 --> 00:02:04,140 the shadows here from our key light. I 54 54 00:02:04,140 --> 00:02:06,657 started with the key light. So If I turn 55 55 00:02:06,682 --> 00:02:08,929 this one off. So you can see this is 56 56 00:02:08,929 --> 00:02:10,680 going to be really where a main light is 57 57 00:02:10,705 --> 00:02:12,430 coming from and this is what we call the 58 58 00:02:12,430 --> 00:02:14,548 key light. So turn the key light on, so 59 59 00:02:14,573 --> 00:02:16,560 he's light right? but now you can see 60 60 00:02:16,560 --> 00:02:18,517 over here on Phil's right side it's a little 61 61 00:02:18,542 --> 00:02:20,170 shady and it's a little more menacing 62 62 00:02:20,170 --> 00:02:23,566 than we wanted to be. So we are gonna do is 63 63 00:02:23,591 --> 00:02:27,040 to turn on our Phil light, our Phil light is 64 64 00:02:27,040 --> 00:02:29,300 filling in for Phil, the shade on the 65 65 00:02:29,325 --> 00:02:31,739 side so it's little more even typically 66 66 00:02:31,739 --> 00:02:34,275 at that light is usually have a stop to 67 67 00:02:34,300 --> 00:02:36,810 a stop to two stops less than the stops 68 68 00:02:36,810 --> 00:02:38,572 coming from this light. So we got a key we 69 69 00:02:38,597 --> 00:02:40,170 gotta Phil, now let's look at the back 70 70 00:02:40,170 --> 00:02:41,917 light. You see my shadow and it right now 71 71 00:02:41,942 --> 00:02:43,580 and you can see the light itself in the 72 72 00:02:43,580 --> 00:02:47,660 white shade here but in our normal shot 73 73 00:02:47,685 --> 00:02:51,739 let's turn it off and on and on and you 74 74 00:02:51,739 --> 00:02:53,829 can see out it's giving him just a little 75 75 00:02:53,854 --> 00:02:55,670 bit of an edge when it's on and it's 76 76 00:02:55,670 --> 00:02:57,743 separate from the background so get on 77 77 00:02:57,768 --> 00:02:59,709 and off on off on off and you should 78 78 00:02:59,709 --> 00:03:01,160 really difference. The thing I like about 79 79 00:03:01,185 --> 00:03:02,370 the backlight is that it's able to 80 80 00:03:02,370 --> 00:03:03,567 separate them from the background 81 81 00:03:03,592 --> 00:03:05,010 depending on what your background is and 82 82 00:03:05,010 --> 00:03:07,409 it just adds a nice little dynamic pop 83 83 00:03:07,434 --> 00:03:09,930 to the subject. You can see I did at one 84 84 00:03:09,930 --> 00:03:12,200 light over here and I can unplug and plug it in 85 85 00:03:12,200 --> 00:03:13,504 it's more of an accent lamp for the 86 86 00:03:13,529 --> 00:03:14,880 background because we are shooting in 87 87 00:03:14,880 --> 00:03:17,530 such a crappy background but you can see if 88 88 00:03:17,555 --> 00:03:20,060 I take it out, it's just plain back there 89 89 00:03:20,060 --> 00:03:22,316 and it's just black and shadowy by adding 90 90 00:03:22,341 --> 00:03:24,519 this as a little bit more dimension with 91 91 00:03:24,519 --> 00:03:26,454 that kind of accent light. So it's nice to 92 92 00:03:26,479 --> 00:03:28,209 kinda have one of the three lights but 93 93 00:03:28,209 --> 00:03:30,230 you can get away with just three lights 94 94 00:03:30,255 --> 00:03:31,140 if you need them, 95 95 00:03:31,140 --> 00:03:32,670 you never know what situation you are in 96 96 00:03:32,670 --> 00:03:35,060 in an interview. Ok so let's move on to a little bit 97 97 00:03:35,085 --> 00:03:37,294 more romantic, warm, nice kind of move lighting. 98 98 00:03:53,000 --> 00:03:54,341 So here we have a more 99 99 00:03:54,366 --> 00:03:56,780 warmer, natural kind of movie lighting 100 100 00:03:56,780 --> 00:03:58,129 here we've got going on Phil, it's a 101 101 00:03:58,154 --> 00:03:59,550 little bit different than the interview 102 102 00:03:59,550 --> 00:04:01,067 lighting although not totally 103 103 00:04:01,092 --> 00:04:03,420 dramatically different what I do is I moved 104 104 00:04:03,420 --> 00:04:05,270 the key light around over to here, so now you 105 105 00:04:05,295 --> 00:04:06,959 have this nice key light coming from this 106 106 00:04:06,959 --> 00:04:08,890 side, I did it down a little bit because 107 107 00:04:08,915 --> 00:04:10,680 our lights that we have a dimmable, I 108 108 00:04:10,680 --> 00:04:12,580 then took our Phil light and actually 109 109 00:04:12,605 --> 00:04:14,680 pointed it down in front of Phil. So it's 110 110 00:04:14,680 --> 00:04:16,715 belting a little bit off the floor there 111 111 00:04:16,740 --> 00:04:18,700 and I lowered the intensity so it's not 112 112 00:04:18,700 --> 00:04:21,558 as intense, you can see it's little bit of shadow 113 113 00:04:21,583 --> 00:04:24,130 and sound over Phil face and then I took our 114 114 00:04:24,130 --> 00:04:25,825 backlight and I moved over here I'm 115 115 00:04:25,850 --> 00:04:27,520 actually bouncing off the wall here 116 116 00:04:27,520 --> 00:04:29,746 which the little white, it's a white door 117 117 00:04:29,771 --> 00:04:31,919 bouncing off the wall. Remember I talked 118 118 00:04:31,919 --> 00:04:33,535 about earlier lights can either be shot 119 119 00:04:33,560 --> 00:04:35,110 directly at or they can be balanced or 120 120 00:04:35,110 --> 00:04:36,871 they can be diffused, this one is 121 121 00:04:36,896 --> 00:04:38,890 actually able to bounce in a kind of a 122 122 00:04:38,890 --> 00:04:41,437 nice nice bounce. I didn't mention that 123 123 00:04:41,462 --> 00:04:43,539 are key lights sites are diffuse 124 124 00:04:43,539 --> 00:04:45,129 with our soft boxes that I talked about 125 125 00:04:45,154 --> 00:04:46,560 before which kind of makes a softer 126 126 00:04:46,560 --> 00:04:48,466 light. I then adjusted the backlight 127 127 00:04:48,491 --> 00:04:50,680 here, you can see not a back door, but the 128 128 00:04:50,680 --> 00:04:52,661 accent light in the back to kinda close 129 129 00:04:52,686 --> 00:04:54,840 down and I lower the intensity and I change 130 130 00:04:54,840 --> 00:04:56,926 the color temperature just a little bit 131 131 00:04:56,951 --> 00:04:58,960 because I can and that makes it look a 132 132 00:04:58,960 --> 00:05:00,490 little bit more interesting. 133 133 00:05:00,490 --> 00:05:02,513 The key here is that we make this look 134 134 00:05:02,538 --> 00:05:04,640 like a nice warm natural scene like he's 135 135 00:05:04,640 --> 00:05:06,386 in the evening at some room is just 136 136 00:05:06,411 --> 00:05:08,180 hanging out as opposed to full blown 137 137 00:05:08,180 --> 00:05:09,894 live interview it's not accent or 138 138 00:05:09,919 --> 00:05:11,810 anything, it's a natural nice-looking 139 139 00:05:11,810 --> 00:05:14,365 shot based on the weather is ugly room 140 140 00:05:14,390 --> 00:05:16,919 used to look like. So let's move on to 141 141 00:05:16,919 --> 00:05:18,692 something a little bit more dramatic. I'm 142 142 00:05:18,717 --> 00:05:20,550 gonna light Phil as if he's about to murder 143 143 00:05:20,550 --> 00:05:22,919 somebody. Basically I want to make him 144 144 00:05:22,944 --> 00:05:25,410 look really menacing dark, horror, scary 145 145 00:05:25,410 --> 00:05:27,259 I'm gonna try a couple different things out.You 146 146 00:05:27,284 --> 00:05:28,800 can see that this narrative stuff takes 147 147 00:05:28,800 --> 00:05:30,250 me a little bit longer to light than the 148 148 00:05:30,275 --> 00:05:31,630 interview, the interview stuff is very 149 149 00:05:31,630 --> 00:05:33,310 cookie cutter very key light 150 150 00:05:33,335 --> 00:05:35,889 backlight whereas the stuff. I kinda have 151 151 00:05:35,889 --> 00:05:37,729 to play around and it really is 152 152 00:05:37,729 --> 00:05:39,520 depending on the structure in the place 153 153 00:05:39,545 --> 00:05:40,753 you are at, so here we go. 154 154 00:06:09,000 --> 00:06:11,475 Ok so here's my menacing Phil look. So 155 155 00:06:11,500 --> 00:06:13,950 really we've gotten some more contrast 156 156 00:06:13,950 --> 00:06:16,687 more scary a little more dynamic as far 157 157 00:06:16,712 --> 00:06:19,560 as contrast really more than anything. So 158 158 00:06:19,560 --> 00:06:21,612 I took the key and it's over here now, 159 159 00:06:21,637 --> 00:06:23,400 there is no Phil over here I mean 160 160 00:06:23,400 --> 00:06:24,967 there is Phill but there's no Phil light 161 161 00:06:24,992 --> 00:06:26,610 over here. You can see that there's just a 162 162 00:06:26,610 --> 00:06:28,947 dark nice dark shape on the right side. I add 163 163 00:06:28,972 --> 00:06:31,030 a really intense back light, you can see 164 164 00:06:31,030 --> 00:06:33,192 if I block it what it's doing, see a wide 165 165 00:06:33,217 --> 00:06:35,200 shot of us that I'm talking to you can 166 166 00:06:35,200 --> 00:06:37,180 kind of see it down here below right 167 167 00:06:37,205 --> 00:06:39,320 here and in the closer shot it's really 168 168 00:06:39,320 --> 00:06:40,947 just covering in putting a ring around 169 169 00:06:40,972 --> 00:06:42,700 Phil's head right here as I move my hands 170 170 00:06:42,700 --> 00:06:44,631 there you kind of probably see what it's 171 171 00:06:44,656 --> 00:06:46,610 doing. The big thing about that is I like 172 172 00:06:46,610 --> 00:06:48,629 the ring that pops out from the dark 173 173 00:06:48,654 --> 00:06:50,920 background a little more scary. This is a 174 174 00:06:50,920 --> 00:06:52,532 little more contrast, you can see the 175 175 00:06:52,557 --> 00:06:54,060 contrast affects this mood him just 176 176 00:06:54,060 --> 00:06:55,998 being scary and upset like he's about to 177 177 00:06:56,023 --> 00:06:58,030 murder somebody and you can see the effect 178 178 00:06:58,030 --> 00:07:00,243 right here if I take our key light and I 179 179 00:07:00,268 --> 00:07:02,510 just did it down and down and up, you can 180 180 00:07:02,510 --> 00:07:04,688 totally see what it's doing so this is 181 181 00:07:04,713 --> 00:07:06,530 nothing and you can see that the 182 182 00:07:06,530 --> 00:07:08,960 backlight is just taking care of everything. 183 183 00:07:08,960 --> 00:07:11,196 light and dark you came to the details on his 184 184 00:07:11,221 --> 00:07:13,480 face, as much as I pull this up and started em 185 185 00:07:13,480 --> 00:07:15,390 up you can see the different attitude of 186 186 00:07:15,415 --> 00:07:17,440 it, this is really bright. This is probably 187 187 00:07:17,440 --> 00:07:19,410 about where I had it, so it's a little 188 188 00:07:19,435 --> 00:07:21,380 more menacing a little more contrasty. 189 189 00:07:21,380 --> 00:07:23,413 Alternatively I did set up a different 190 190 00:07:23,438 --> 00:07:25,290 light you may have seen in the time 191 191 00:07:25,290 --> 00:07:29,932 lapse, when we turn this down and plan it off 192 192 00:07:29,957 --> 00:07:34,070 and I turn on my lower front light, also 193 193 00:07:34,070 --> 00:07:35,546 another way to look a little bit more 194 194 00:07:35,571 --> 00:07:37,100 minus, more scary it's like having that 195 195 00:07:37,100 --> 00:07:38,720 flashlight at dinner we only see like 196 196 00:07:38,745 --> 00:07:40,170 the head and if we turned off the 197 197 00:07:40,170 --> 00:07:42,284 back light, you can see all we see is Phil 198 198 00:07:42,309 --> 00:07:44,300 just right there in his face and kind of 199 199 00:07:44,300 --> 00:07:45,969 a tense. Also another way to look a 200 200 00:07:45,994 --> 00:07:47,730 little bit more minus more scary it's 201 201 00:07:47,730 --> 00:07:49,441 like having that flashlight at dinner, we 202 202 00:07:49,466 --> 00:07:51,070 only see like the head and if we turned 203 203 00:07:51,070 --> 00:07:53,085 off the backlight you can see all we see 204 204 00:07:53,110 --> 00:07:55,100 is Phil just right there in his face and 205 205 00:07:55,100 --> 00:07:56,666 kind of a tense. So this is just some 206 206 00:07:56,691 --> 00:07:58,150 really quick examples of how we can 207 207 00:07:58,150 --> 00:08:00,062 change light and to use light to affect the 208 208 00:08:00,087 --> 00:08:01,800 scene there were doing. Using the tools 209 209 00:08:01,800 --> 00:08:04,398 that we have here. There is infinite ways 210 210 00:08:04,423 --> 00:08:06,810 to light a scene and depending on what 211 211 00:08:06,810 --> 00:08:08,331 you are trying to say and what you are 212 212 00:08:08,356 --> 00:08:09,970 doing away, your composition is there's a 213 213 00:08:09,970 --> 00:08:12,136 million different ways. Those to me are 214 214 00:08:12,161 --> 00:08:14,140 some very structurally based ways to 215 215 00:08:14,140 --> 00:08:16,014 light things and if you can't use that 216 216 00:08:16,039 --> 00:08:17,840 as like a template or way to start to 217 217 00:08:17,840 --> 00:08:20,190 look at things, you really need to develop your own 218 218 00:08:20,190 --> 00:08:22,370 own style, how to light and what you can 219 219 00:08:22,395 --> 00:08:24,550 do to really use the tools that you have 220 220 00:08:24,550 --> 00:08:25,720 to make your story come alive. 19289