All language subtitles for Handheld accent lighting

so here we are in the back of the house

the brewery itself

and we wanna figure out what we're gonna do as far as

all that b roll coverage

those inserts

the cutaways

and all of the stuff that I'm talking right now about

can be applied to other places

but what we needed to figure out

for what we were gonna shoot in this space was

where did they make the beer

they make it right here

this is command central

this is the bridge

this is on the Millennium Falcon

the cockpit

and I would say that about 80 to 90% of making beer

is all happening up here

so this is where a lot of our shots

were gonna take place

so Greg and I came in

we walked to space

we were talking to Casey

we're finding about all of this stuff

and we had to figure out how we're gonna light this

but do it in a quick

fast way because everybody's working

and we don't wanna get in their way

so the first thing that we did

was we actually addressed these windows

because that was gonna be a big problem

and we actually did it for two reasons

one for the B roll and 2

for an interview with Casey

the head Brewer

we've got a 6 by 6 and an 8 by 8 out there

we put a 6 by 6 there first

it wasn't covering enough of the windows

so Greg built an 8 by 8

we put that up

and that is doing a lot of work for us over there

we did set an 800 Joker bug outside

and it's a great way to get light into a space

and have a footprint that doesn't come into

the space that people are working in

he put diffusion in front of it

it did a little bit of something for one of the shots

but in the end

it got turned off after that

and we actually wound up working with lights inside

the space from that point on

so what did we use

we had a Joker bug 400 over here

and maybe you don't need a light that's this bright

maybe the Q1000 would work for a light

and you can dial it up and down

it doesn't have to be just sort of a fixed output

or you might have a Joker 200 in a smaller space

um we wanted to simulate daylight because that was

the overriding color temperature in here

so that's what we went with

with our lights

and this did a lot of work today

right now we actually have it gelled a little bit

so it's a little warmer

because we were using it for an interview

but we didn't have that gel on it earlier on

it just read as daylight

Hmis do a great job of that

and Greg just sort of move this down this line on this

side of the room

depending on what we were shooting over here

and it does a lot

to bring up what's happening in the space

um what else do we use over here

this came into play a lot one by one

incredibly lightweight

it's not the only fixture out there that does

what this light does

but it's battery powered

it's dimmable

we can just go from place to place

they make by color versions of this

so if you wanna dial in specific color temperatures

those little flex lights could work on a frame

I mean you've got that flexibility as well

but these are great for walking around and just getting

light into places and throwing light

this particular one is a spot version

so it's great because it concentrates the light

has a little bit more

of a directional

light to it as a

as opposed to the flood versions

which in my opinion

aren't as good for this type of stuff

we also use the Maverick in a similar way

and we are able to move around with that

or just create a little bit of a rim on people

again a 50 600

Kelvin color temperature

panel in there

and then the little Lowcaster

um this was used in different ways

this is color temperature

uh changeable

we had this turned on

and for instance

over here on this panel

we did a shot

and Greg held this over the panel

and it just

gave us a little bit of a warm light

and he's just getting that light into

a particular place where we're looking

he might be using it for a little bit of rim

to just create some separation

and it just is putting light in certain places

so that we can highlight certain sections

so it doesn't feel as flat

in fact can you do me a favor Greg

can you pan this

Joker so that we can

see it actually working

and not at the beginning of the video

obviously it wasn't on

but let's just pan it to the right

and you can see that

even though we've got all of this stuff bouncing around

that when we bring in a light

and let's bring that back in

it just completely changes the scene

and let's go ahead and pan it out one more time

and I'll turn this on again

and you can see

if I just point this light up here

this is just a one by one

and it's on this flux capacitor

you can see that it's doing some stuff

obviously he was moving around

depending on the movement of the talent

over here is where they boil stuff

so again we can put light on there

so just this idea of moving around

being able to dial it up and down

to get the right light level

create visual interest

add production value