All language subtitles for 04-5CinematicLightingTips.mp4

As I mentioned a minute ago, I said,
I'm a big believer in making sure

concept feeds execution,

not the other way around.

Concept is the important thing.

The story is the important thing.

What the shot is about what's the
purpose of the photograph.

And then how do you fulfill that
purpose with the techniques that you

are using?

Kubrick was obviously an extreme
perfectionist,

but it's his techniques.

They were motivated by what he was
trying to create.

He figured out the idea, then he
figured out how to execute it.

This class is not about

It is not about saying,

here's how I did something.

I want you to go out and do the exact
same thing.

That is not what this is about.

This is going to be really different
from a lot of other lighting classes.

This is about me showing you how to
address a scene, how to create

lighting, think critically for what is
happening in an environment.

What is the shot about?

How do you critically think about it?

How do you creatively think about it?

And how do you make light?

That is for what you are working on.

The entire idea here is not to say,
hey, here's a couple of cool shots.

Go out and do the same thing.

It's to show you how to think about
lighting in a much broader way.

Both the shoots that we have done, I
have not shot anything exactly like it,

but my approach

to the Scenes is how I would approach
anything.

What does the environment look like?

How do I make the environment look like
how I want to make it look?

And then what does that shot look like?

How am I communicating

my ideas most effectively?

Right?

I want you to be able to look at

any environment, or any situation and
go, how can I apply these principles,

these guiding principles of light, to
what it is

I am doing?

And we're going to start

pretty broad with that.

And we're eventually going to work
ourselves

to a much more specific way about it.

But I'm going to give you some of those
generalizations

I mentioned a little bit ago.

These are my, like, simple tips for
creating cinematic lighting.

And these are not absolutes by any
stretch of the imagination.

They're just things that I find to be
helpful when thinking about cinematic

cinematic lighting.

And so the first thing

is

dark and low key.

I understand that there are all
different kinds of movies, and some are

bright and some are happy.

But when we think about cinematic
lighting.

In regards to photography,

usually it's one of the main things
it's just dark,

it's a little bit darker, there's lots
of shadow.

That's how we think about things that
are cinematic.

And so we make it darker, and we use a
little bit more of a low key image

building upon that.

Remember that shadows are your friend.

You're not necessarily going to want to
think about lighting things really

straight onto the front, or really
broad and really soft.

Again, there's not a place for that.

But, you know, for our purposes, we're
overgeneralizing

and we're going to Embrace those
shadows.

But it's not about the absolutes or the
shadows.

We still have to control the fill.

So you start darker

utilize the shadows, but then you have
to utilize and control how dark

those shadows are,

how bright they are.

And again, this depends upon the mood.

You're trying to create,

separate the subject from the
background.

In a very dark environment,

you don't want to lose track of your
subject.

You want to make sure you're able to
clearly express who the subject is.

And so we separate the subject in the
background.

There's a lot of different ways you
could do that.

You do it with depth of field.

You can do it with rimlights, hair
lights,

environmental factors.

So framing them up in a doorway, or
creating figure ground relationships,

basic compositional things.

And then lastly,

show depth.

I mentioned this a little bit ago, but
film like photography, if you're

making, like photography, it is trying
to create depth,

three dimensions on a two dimensional
plane.

How do you do that?

And again, we can use perspective, we
can use depth of field, we can use

lighting, highlight shadow,

we can stagger lighting,

a lot of different ways we can do that.

And so

this is my, like, quick quick tips and
tricks for things.

Remember, when it comes to cinematic
lighting, I'm going to show you what

that looks like in practice.

Now, when I approach

a scene,