All language subtitles for 1A_16

As a method we have chosen to build our lighting
formula from scratch, from darkness, then right away

we have placed a pretty big and soft light
very close to our scene on the opposite side

from where our cameras stands, to make sure that
we shoot in the shadows. this placement of the key

light is sometimes called the reverse key light
or upstage lighting in cinematography. not stopping

there we have enhanced our bigger and softer
main light with help of the smaller pinpoint

light source to help bring out the fine details,
the glints and highlights said thank you :) then

caring about the cinematic vibes we accommodated
the narrow depth of field and the anamorphic

widescreen aspect ratio. the next step was to
allow the much hotter and harder light streak

to hit our scene to create the pool of visual
interest and to hint at the possible environment

not to mention the perception of dynamic range
that it brings to our picture with the help of

the hotter highlights and I wonder if you agree, it
helps to motivate everything it just makes us

feel the window and the weather behind it even. :) the
next logical step after setting up the key light

was to control the amount of fill in the shadows
to ultimately control the contrast ratio and to

be able to choose between the low key and the
high key look and all the variations in between.

after we got the light basics right we happily
digressed into material enhancements, namely by

introducing some subsurface scattering and
allowing the light rays from the sun and

from the key light to actually go through the
translucent surface of the minerals and exit

on the other side for a nice light wrap effect
which by happy accident complemented our original

reverse key light scheme very nicely indeed. then
we fired our haze machine to achieve a cinematic

separation of objects, to make the foreground
objects pop and just to give texture to the

volume or space we're shooting in. it naturally and
very fortunately set the planes apart in terms of

contrast ratios, in between the background and
mid ground and foreground objects and then to

crank it to 11 we made sure that our sunbeams
actually catch some dust particles as well,

including the beautiful foreground bokeh elements,
elongated by the use of the anamorphic squeeze.

all because we care about this sense of place. :) and
lastly we shamelessly blasted it with the lens

flare artifact which helped to unify the colors
and bring in some photographic truth into it.

so this is it for the first chapter of the
Cinematic Lighting course that you are watching

right now, my name is Gleb Alexandrov, thank
you for watching and see you in the next video!