All language subtitles for Creating a different time of day or mood

so we just wrapped Casey Harris's interview

he's the master Brewer here at Topa

Topa Brewing Company

and it's time to break down this setup

and it's considerably different than the one that we

did for Kyle

and that's the whole point of this course

if we came in here just to shoot a promotional video

for Topa Topa

we might go with the idea of saying

we wanna light everything exactly the same

with the same type of lighting and make it consistent

but this is a lighting course

so we're gonna do things a little bit differently

so that we can teach different things based on

different interview setups and

all that stuff

so what were the considerations

well Greg and I had dinner last night

we talked a little bit about Kyle's interview yesterday

we talked a little bit about what we wanted to do here

and then when we came into the space

decided to make this feel like it was happening

at a slightly different time of

day than it actually was

we wanted to have a little bit more warmth

and maybe the sun was just coming up

it was earlier in the day

and so that's what we did

and I'm gonna break this down for you so you can see

all of the things that we did do on the set um

first of all

we'll start with the key

cause it's always good to start with the key light

and what we have here is something called a book light

and the concept behind the book light

is we are bouncing and diffusing light

and we're creating this really nice large soft source

and we're using a book like kit

this actually the C47 book like kit

and we are pushing an 800 Joker bug

into unbleached muslin

and then that's coming through

a half grid cloth

and it's kind of directing the light a little bit

which is what a half grid cloth or grid cloth does

just a little bit

but it is a big source

and it has a really nice

big catch light

and in fact

I'm basically looking right now

in the same direction that Casey

was when he was being interviewed

and we're rolling on A&B camera

so you can see what that is

and we can also show you the footage from the interview

we're also flagging that little bit

so we have a little bit of black wrap

to make sure that we're not getting lens flare

we actually have some tape on a camera

to make sure we're not getting lens flare

we're of course

booming from the opposite side of the key

so we're not getting shadows coming in

which we could get if we were bringing that

Mike in from that side

and uh just

a few other things

so Greg looked on

you know apps like Sun Seeker fantastic

they tell us where the lights gonna be

at a certain time of day

uh Google Earth is not a bad tool as well

it can really give you a lot of data

and you know

we have an encyclopedia of information

and access to so much real time data now in our pockets

it's awesome

so up there

we actually had a window

and Greg saw that we were gonna have light

coming directly in that window

at about the time that we were gonna shoot

the interview with Casey

so some duvetine is up there

do we do anything else on that Greg

up on that window

no but we did set a flag just to control the light

a little bit closer to set so

just some lighting control to handle some of that stuff

and then um

other little things

so we've got a low caster behind me

and what's your color temperature on that

about around 30

two hundred

about 30 two hundred

so we're keeping that warm

so the idea is again

warmer light

um also that 800 going into unbleached muslin

is also creating a slightly warmer light as our key

even though it's a daylight source going into that

and then we've got

Joker bug 400

we got a 400 over there

right Greg right

you said yeah

and you've got

bastard Amber on there

yeah sometimes we would use

CTS or color temperature straw

to just sort of warm that up

but that wasn't on the truck

so he used that

amber gel on there

and that's again

warming that up

and you can see what's happening behind me

and we set all of the cameras to a

daylight color temperature

but we just got this nice warmth that's

occurring right now

and to me the secret is not just

trying to create this atmosphere and time of day

but it's this nice

big source and this big catch light

and it's again

that whole rap light

we've got a little piece

here of foam core

which is just being set

just gingerly

by Greg on the side

which is just giving us a little bit of fill

and we can just adjust that

and you can see how that is and again

that in and that out

and I think that people love to

see what happens when lights are being used

and when they're not

so I'm just gonna have Greg go over to the key

and he's gonna go ahead and pan that away

so we can see

what happens when that's

off of the book light

so let's see

and you can see

how much work that's doing in the space

let's bring that back in

let's bring it out again

one more time

pan off and then back in again and boom

okay um great

if you don't mind

let's go over to the 400

and let's pan that too

and see what that light is doing in terms of its job

and while he's going

over there behind me

we have some windows

you can usually see through those windows

we have a 6 by 6

and an 8 by 8 silk

that set outside there

to just create that

so we're not seeing the cars pass by

we're bringing the light level down a little bit

we're not now dealing with all of the

problems that we would normally have to deal with

now that could be

a double net

if we wanted to see

outside of the window

um we could go ahead and set duvatine

or floppy cutters out there

if we just wanted it to read black

this is the look that we talked about creating

and I think it's working very

very well so

let's go ahead

and pan the 400

and let's see what that is doing

in terms of the set

let's bring it back in again

you can see it

let's go out

boom you know

these lights

are doing a lot

we are thinking a lot

when we set this up

I would say

normal interview setups are

taking us about 45 minutes to an hour

we actually set up Kyle's

yesterday in 15 to 20 minutes

but that is

a little bit of time

if you wanna be able to

finesse a little bit

then I would

try to give

yourselves 45

minutes to an hour

uh that's great

and then I know

you're gonna have to sneak by me

um thanks Greg

there you go

we're gonna go ahead

and we're gonna audition

on and off this little lowcaster

and see what that's doing

so let's go ahead

and do that

boom boom right

so it's doing the job

and it's an

important job

and let's get away from this mindset of 3 or 4

point lighting

let's go into a space

that's what I love to do

and figure out

creating a look

a mood an atmosphere um

we could do this

in any great architectural space

this is not

specific to being inside of a brewery

we can do it in

a cool board room

finding an you know

another space where

you've got some depth

look for architectural spaces

where this visual interest

where we've got

production design

that is being brought into this

just by the space

alone that's why

scouting for locations

for projects is so important