All language subtitles for 06-ControlYourFillLighting.mp4

So this becomes the let's control my
fill section.

Ok.

And so here

I have

lots of fil.

On the left hand side, I have no fill.

On the right hand side.

And in the next slide I have some fill.

So I'm going to take you through what
that looks like.

And

this is done

through

two polar opposite modifications.

So the one on the left,

the fill, is controlled through the use
of a v flat.

And it's just a white piece of foam
core reflection.

And it's brought in relatively close to

the side of his face.

With the right image,

it actually uses negative fill.

And so what I have used here is a black
flag brought in really close to the

face and that's absorbing the light and
it's making the shadows even darker.

Now if you do decide to use a v flat,
or, you know, maybe you're using a

secondary fill, light serving the same
purpose,

it's analog control.

So the closer it is to your subject,
the brighter it's going to be.

The further away it is, the darker it's
going to be.

And then when you want something to be
really dark, you bring that flag in and

you put it pretty close.

That's generally how that works.

And so that's kind of my in between

here you can see what the actual set
looks like.

So we have the v flat brought in really
close.

That gives me the lots of Phil.

You can see that umbrella being held
kind of just off axis and behind him a

little bit to the left.

And then over on the right hand side, I
have the fill, the black fill brought in

to make that a little bit more shadowy
and darker.

Over on the right hand side,

then we have to build in separation.

And this is adding in something like a
rimlight or a hairlight.

You call these whatever you want them.

But what they are trying to do is
achieve a little bit of

a visual separation on the dark part of
the side of your subject.

And so on the left side of the image,
you can see that there's no light on

the hat, there's not really much on his
dark shoulder.

And so he gets lost a little bit in
those very shadowy areas.

And this becomes our way that we can
work around the image being too dark.

Overall, where we're working with a lot
of dark images,

chances are you might end up falling
into some darker tones than you're

maybe used to when it comes to
lighting.

Photographically, we know we're always
talking about shadow detail and

preserving shadow detail.

This tends to get a little bit darker,
overall because cinematography

tends to

have a few more

kind of leniencies in that direction.

Now, this particular light in the
background, the one above head, this is

a pro tongston.

So it's a continuous tongston light.

It's relatively bright.

And I've used barn Doors on it to just
create a very tight pocketed of light

on the shoulders and the hat.

We are working in a really small space
with white walls.

The idea was all about controlling

what the different lights were doing.

And so had I just put that light up and
pointed it down, it would have bounced

light off all of the sides of the
hallway and made the fill a lot

brighter.

So by using barn Doors to constrict the
light, I could really put it

specifically where I wanted it to go.

As an extra thought on that,

that rim light also looks like it's
coming from the overhead lights,

and it's very subtle.

It doesn't have to be overwhelming, you
don't have to be going many stops over

what your key looks like.

But I have just that little bit over
here.

I have it on, and the whole thing kind
of works together, and it feels like

it's being lit by what is a relatively

complicated scene.

One of my other favorite elements about
this was a little bit of a stroke of

luck.

And because of the angle I was at, you
can actually see how the light up top

is bouncing off the back wall, which
has given me a little bit more

separation on that collar.

And I really like that element of the
background.

I didn't plan for it.

It was just kind of one of those happy
accidents of the space.

The walls, they were dark painted, but
there was a little bit of a glossy

finish, so it caught light just at the
right angle.

And so that kind of gave me, that kind
of gave me that look

as a one extra sidestep, which is a
little bit of a tangent

with film new r kind of framing.

They use lots of wide angle lenses and
lots of close, kind of

more extreme angles compared to how a
lot of other filmmakers were making things

during the period.

And so that's why it's shot at a pretty
wide angle, kind of low.

It just meant to call back to that
stylistically a little bit.

And I know this is a little bit more of
a lighting class.

But also things like framing and
composition are important things to

remember when it comes to these other
technical, stylistic decisions for how

the image is meant to look