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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,291 --> 00:00:02,085 This is not a course about lighting. 2 00:00:02,085 --> 00:00:05,046 We have another one specifically about that. 3 00:00:05,255 --> 00:00:06,131 But we should briefly 4 00:00:06,131 --> 00:00:09,926 talk about some lighting considerations when planning your shots, 5 00:00:10,010 --> 00:00:12,429 moving shots, or when the camera goes 6 00:00:12,429 --> 00:00:17,183 significantly up or down, presents a whole set of challenges, 7 00:00:17,350 --> 00:00:20,520 especially when shooting exteriors at night. 8 00:00:20,603 --> 00:00:24,399 The light sources need to be positioned outside the shooting angles, 9 00:00:24,566 --> 00:00:28,987 and during the day, the sunlight might need to be diffused. 10 00:00:29,070 --> 00:00:32,073 Using artificial lighting on a wide angle shot 11 00:00:32,073 --> 00:00:34,993 often requires very bright lights. 12 00:00:34,993 --> 00:00:38,747 Light sources for closeups should be easy to diffuse. 13 00:00:38,830 --> 00:00:41,833 Decreasing or increasing our depth of field 14 00:00:41,916 --> 00:00:44,919 will affect the amount of light reaching the sensor or film. 15 00:00:44,961 --> 00:00:48,673 For example, using a very wide aperture to limit the depth of field 16 00:00:48,882 --> 00:00:52,927 will greatly increase the amount of light reaching the sensor. 17 00:00:53,011 --> 00:00:56,139 Since our ISO is generally set to the lowest 18 00:00:56,139 --> 00:01:00,060 possible setting on the camera and we can't really use the shutter speed 19 00:01:00,226 --> 00:01:03,438 with the same flexibility as when we are shooting stills, 20 00:01:03,521 --> 00:01:09,986 we need to add in in the filter neutral density to achieve a proper exposure. 21 00:01:10,028 --> 00:01:12,697 And the filters are designed to decrease the light 22 00:01:12,697 --> 00:01:17,118 reaching the sensor in specific F stops increments. 23 00:01:17,202 --> 00:01:18,912 To illustrate the exact 24 00:01:18,912 --> 00:01:22,916 opposite situation, we shot this nighttime abstract shot 25 00:01:22,957 --> 00:01:27,712 of a tram approaching the camera with car headlights in the background, 26 00:01:27,796 --> 00:01:31,716 purposely adding flare and kinetic energy to an otherwise 27 00:01:31,716 --> 00:01:36,137 steady take. 28 00:01:36,221 --> 00:01:39,099 This footage was captured at the highest acceptable 29 00:01:39,099 --> 00:01:43,228 ISO on the camera somewhere around 6400 30 00:01:43,394 --> 00:01:48,066 in the widest aperture on the lens around 1.8. 31 00:01:48,149 --> 00:01:52,570 Similar abstract shots could be created from scratch using light shapers 32 00:01:52,570 --> 00:01:57,617 filters, specialty lenses, or translucent objects in front of the lens. 33 00:01:57,700 --> 00:02:00,703 But when possible, we try to use what we can find 34 00:02:00,703 --> 00:02:04,165 on each location. 35 00:02:04,249 --> 00:02:05,500 Lighting for closeups 36 00:02:05,500 --> 00:02:10,588 could be its own separate course, as it totally depends on the story genre. 37 00:02:10,588 --> 00:02:14,509 The deepest technical knowledge and the director's personal preferences. 38 00:02:14,592 --> 00:02:19,806 But it is generally desired to catch some light on the actor's eyes 39 00:02:19,889 --> 00:02:24,060 as well as add some light to separate subject from the background. 40 00:02:24,185 --> 00:02:26,980 In craft a more compelling look, 41 00:02:26,980 --> 00:02:30,942 close ups allow for a lot more fine tuning as we can easily 42 00:02:30,942 --> 00:02:34,571 hide the light sources, something that becomes increasingly harder. 43 00:02:34,737 --> 00:02:39,659 The wider we go, Lighting continuity is another important consideration, 44 00:02:39,742 --> 00:02:44,914 especially when shooting over extended periods of time or at different locations. 45 00:02:44,998 --> 00:02:49,752 The same applies when switching from long shots to medium close ups, for example, 46 00:02:49,836 --> 00:02:55,216 when for a number of reasons, matching white and tight shots is not possible. 47 00:02:55,425 --> 00:02:58,344 A simple trick is to make the angles and shot sizes 48 00:02:58,344 --> 00:03:03,308 different enough that the differences can be concealed. 49 00:03:03,391 --> 00:03:05,643 As you can see, the lighting strategy 50 00:03:05,643 --> 00:03:09,898 goes hand in hand with lens selection in planning your shots. 4667