All language subtitles for 1A_10

Now going back to our cinematic lighting formula
to fill in an important gap, the thill light and

how it helps to set a contrast ratio. so far they
only fill light in our scene was the bounce from

our main light, if we wanted to reduce the
overall contrast and fill in the shadows

ever so slightly we could go into the environment
settings and boost the environment light strength

the lights are usually placed at the complementary
angle to the key light to change the contrast

of the lighting, but here we can get away
with the omnidirectional environment light.

and I would also warm up its tone... uh... because I
imagine this room to be of warmer color due to

the sunlight reflected and also implying
of the additional bounce from the table,

in this case a solid color for the environment
is more than enough to control the fill, but if

we wanted to make it fancier, we could have
used one of the environments, let's say from

Polyhaven which I love! you can choose from many
different 360 Degrees spherical high dynamic

range panoramas, all of them are free and we will
definitely explore these more sophisticated way of

controlling the ambient light among other things
in the next chapter. so that again was a teaser :)

all right... uh... when the key light was our only
light source some part of the scene simply

didn't receive any exposure, after adding the fill
light though these underexposed shadowy areas

can be... well... filled in and that is essentially
how we control the light versus dark contrast.

keeping the fill light pretty low leads to a
dramatic change in exposure between lit and

shaded parts, something like 10 to 1 or 15 to 1,
such dramatic contrast between key and fill is

called low key lighting. on the other end
of the spectrum the fill light can become

so strong that it can virtually eliminate
all the shadows or at least achieve much

lower contrast ratios, something like 2
to 1 that's called the high key lighting.

so ultimately it is all about increasing or
decreasing the contrast ratio, for the chiaroscuro

contrasty look or on the other hand for the high
key low contrast look or any number of stops in

between, you decide. my take on the balance between
key and fill in this case is to aim for a medium

contrast, maybe leaning towards the dramatic side
of the spectrum, slightly towards low key look.