All language subtitles for Lighting fixtures

okay so now we get to lighting

which is my favorite thing

and what this course is all about

but I wanna introduce Greg Pichart

who is gonna be working with me for the next few days

along with the rest of the crew

how's it going

good good thanks

so we're gonna be having a lot of conversations about

what we're doing and what our setups are

and the choices that we're making

and it's kind of unique

because we're doing two videos in one here

we're creating a promotional video for Topa Topa

and we're also shooting this educational video

so we'll get into all of that um

let's talk light fixtures

let's do it

alright good

let's do it

so we're gonna go down the line here

and the first thing I wanna do is

and if you're hearing some noise

we've got a lot of activity here

this is a working brewery

this is a working place

so just know that that's what's happening

so we've got this here

1 by 1 light panel

really the first

professional LED light in this form factor right

a work horse

historically expensive

25 to $3,000

for a fixture yeah

that's kind of now changed

because they now have a new light called the Astra

which has considerably more output

and is about half the cost right

we don't have that here

but it has much larger LEDs

what are some of the advantages

for us when we use LED lights

one of the biggest things I think is portability

and flexibility to be able to

move them around quickly

set them up fast

they've definitely got a nice

soft and wide spread

for the actual light throw

so they're definitely great for interview setups

low heat so you're not going to be

frying the talent behind your lights

yeah so yeah

a good quick slide

and we're always thinking about cost

and we're thinking about time

and when we use these

they've got low power draw

and as you said

very little heat

I mean we can put our hand on this forever right

pretty much

and it also means that when we have somebody on camera

we're not dealing with hot fixtures as much

we don't have to have somebody step in all the time

and deal with makeup

and you know

those issues that come up on a production

they do have some downsides

I think um you know

because of these multiple LEDs

they kind of need to be controlled

especially when somebody's closer to a wall

right or something that we're gonna see that light on

because you're gonna see multiple shadows

and then if we have a bi color version of this

then it becomes magnified right

so I think that that's something um

they're not really a

a typical hard light source

so even though this is a spot version

and is a little bit more narrow in terms of its beam

it's not like using a

a true hard light source right

but they are

as you said

very portable

they run off of batteries generally

a one by one has a power draw of about 50 to 60 Watts

and that means you can run these things off of

a battery very easily

but you can also plug

a gazillion of them into

the wall yeah

and not have to worry about it right

so that's a big advantage um

and there's sort of been an evolution here

in terms of these panels

this is actually

a flexible LED

it's a by color

this is called the Flex Light

this one happens to be made by Westcott

and I use these all the time now

we're gonna see them in the course

and pretty cool

they are pretty cool I mean

you can bend them

you can put them up on you know

let's say you were shooting something in elevator

you can just take gaffers tape

and just gas them to the top there

yeah you know

you can bend them into little corners

and places like that

we have it here on a harp

which we can use with

basically a paper lantern

and I have two versions here

this one is an actual paper lantern

which is gonna be a slightly softer

warmer version

and then I have a nylon version here

which is not gonna be as warm

but obviously

it won't break as easily

so I think these will come into play

and this is a very easy light

and you know

I can turn this thing on here

has a dimmer

and it is by color

and we can see here

that's only 10%

of the light

and if I bring it up here

you can see that it becomes a very

very bright fixture

we get a lot of light off of it

and we're running it off of a battery

we can go on this fixture between 28 and 6,000 Kelvin

so it gives us a lot of choices in production

definitely do a lot of things um

do you have any

experience with these yet

I don't this is

the first time that I've worked with these lights

so I'm really anxious to test them out

I think we're gonna use them a lot in the course

so I think it's gonna be pretty cool um

so that's that

then we have um

I'll talk about this in a minute

this is a light

called the Matchbox

it's made by Sineo Lighting

and you have some

experience with what we call remote foster lights

right correct

so Remote Phosphor is a little bit different

it still has these blue

LEDs that the 1 by 1 and the flex Light has

right but if we

take a look

and this is a good

place to look at it right here

if we look at

the flex light

these blue LEDs

are covered

with a phosphor coating

and the one that's more orange is going to produce

a tungsten obviously

color temperature

and the one that's more yellow produces

a daylight color temperature

and that's fine

but this remote

phosphor technology

it has the blue LEDs inside of here

and then it separates

the phosphor panels

from the LEDs

so that they're not next to each other yeah

what I really love about these is that

you then don't get those

little mini

spots of light

when you're

working with

the subject

close to a wall

or if you're working with

uh you know

really just anything

you don't have those little spots

forming in your

eyelights or

your catchlights

whatever it is

you create a whole

new source of light

uh from that foster panel

exactly and it becomes a single source yeah

so I mean that's

that's what we love

we like to create

single sources

it's much easier to work with

the truth is that right

now as we are

all basically shooting HD

and some of us

are moving towards

ultra high definition

and 4K production yeah

we're seeing more

there's more pixels

and what we want is

we like broad

soft light sources

we can make the

decision to

use hard light

for certain things

and it's great

for background

and for accents

we're using it to

put focus on specific

parts of backgrounds

but we're talking about lighting talent

I think you would agree

that most of the time

we wanna create

the largest

broadest wrapped light source that we

can absolutely

and I think what we're

trying to do is

we're trying to

create that northern light

we're trying to create that soft

bounce light

um we love it when you know

we shoot on

cloudy days

and we just

add a little negative fill

which we'll talk about later in the course

we love it when

we have Northern Light

coming into a room

and it's bouncing around

and we just

get that nice

wrapped light

and so I think

you know for me personally

that's the way I love to light

is to do that

and one of the things that we're gonna

really talk about

and show in this course

is less of a

let's take a light

like a one by one

and just point it

at somebody

right and let's

bounce it off of something

or let's push it through

a big piece of diffusion right

and we have these cameras now

which you're shooting with

I'm shooting with

that can practically

see in the dark

that doesn't mean we

don't have to

light though

I think lighting is

the most important part

yeah and I think what

all these tools

sort of give us

is a nice array

to sort of place

our foundation on

right and then

add those modifications to

really make that lighting

look beautiful

for our digital cameras

and I think that

that's the key

is the modification part of it

because we can actually

use lights that have less output

but we still wanna create

the same size

source from that

because we can bump up

the gain or

the ISO on these camera systems

we can make talent more

comfortable

and it's pretty amazing

what we can do

our big source right here

coming from over there

is actually

a frosted glass door

and we're just pushing

what fixture

through there

I got the 800

HMI out there

so it's an 800 watt

we can still plug that into a 10

amp circuit right

which is awesome

and because of these

new camera systems

we can actually use

an 800 watt fixture

now hmis are efficient

so they are

outputting more than

an 800 watt

tungsten unit

woods correct

but this is sunlight

but soft sunlight

coming through

and just wrapping around

and I think that

anytime we're dealing with a fixture

we're trying to do some of those things yeah

um and we have

the 400 watt

version here

right and I

use these all

the time just

coming through a window

bounced off of something

who have a lot of options

and we may use this

we may not over

the next few days

but we're definitely using that 800

and that's awesome

um I'd say historically

when we were using

older camera systems

we would have to have a

5 or 10 k light

pushing through there

in order to get

the same effect

right but Ben

and Zach can shoot

at higher ISOs

and we don't need to make

the talent uncomfortable

we don't need to draw as much power

I think it's a good thing

it's great yeah good

um so even a little light like this

this little

um remote phosphor

light and again

I have these little

foster panels

so this is a 40

300 Kelvin uh

foster panel

this is a daylight one

which would be

what we would

put in here to match

the color temperature

that we're using right now

it's a soft

broad source

it has about

160 degree spread

and we obviously

have barn doors on here

but this is a

cutting board

you know you

can pick up

at any store

pretty much

and a couple of C40 Sevens

and just by

taking this

and putting this onto

the barn doors here

you can create

a larger source

and you know

this is what I want

people to be thinking about

when they're shooting

yeah little

nano stands

I've got a ball mount

under here which

allows me to adjust

this light into

any direction I want

this could be

a perfect little light

to do a little

tabletop thing

if somebody

was throwing

you know a beer

flight or something

right to the bar

that'll definitely come

and play on

the shoot absolutely

and then we use this

one as a hair

light a lot

because again

we don't have

those multiple LEDs

it just one

nice source

definitely um

what else should

we talk about

I've got this uh

this is the

piata lights

this is from ICAN

and we're seeing a

few of these lights

now on the market

I don't use these a lot

but what I like

about them is

they come in

different shapes

so they're rectangular

they're circular

um they are

LED sources again

and this happens to be

a daylight one

but if you could

think about this

and let's take

a look at it

together as

just a soft

source yeah

and we could

rig them and

use them as

accent lights in a space

yeah you know

and we're shooting

at a you know

it depends on what

we're doing

but I don't know

what f stop

you're usually

shooting with

with these large

sensor cameras

what we're usually between

usually a 2

8 to a 5 6 yeah

we have a little

depth in the space

this is gonna go

out of focus

you know we

get that nice

Boca and we

can have some

interesting

accents in the background

definitely that

would be great

like architectural lapse

yeah yeah exactly

and they have

little clips

here and we

can take stuff

you know um

we can just

take gels yeah

and it's always

good to have

one of these here

and theatrical gels

or just put

some CTB color

temperature

blue on here

right to make

it even bluer

in the background

and we're gonna

talk about color contrast

in this course too

what color we use

to light our talent

and then what

color we're using in

the background

and how those

contrast yeah

and just show what

that communicates

on camera um

but this is a

pretty cool

little unit

you know we can

we can do some

stuff like this

and why don't

you tell us a little

bit about this

staple in the industry

that's been around

for a while

so this is the

4 foot 4 bank

Kino Flow this

is just a workhorse

in the industry

um so it's a

nice broad uh

long tubular uh

fluorescent lamp uh

they're very

uh low heat

emitting as well

yep um and uh

the the great thing

about it is that

it's got a uh

reflector on

the back of it um

it's really

lightweight

it's just made

out of corrugated

plastic yep

um and so you

can even just uh

screw this into

the ceiling uh

if you've got low uh

low hanging

ceilings yep

uh you can just

pop this over town

uh talent's head

beautiful soft

key light or

fill yep um

so it's really

versatile um

and you could even

use these barn doors

to even create

a larger source

on the front

you could even get a

nice strip of

diffusion on

the front of this

absolutely and

create just

even broader

beautiful source of light

yeah and one of

the things that I'll tell

you that I do

is this is a

version of a

a Cheno flow

that is a 4

foot fixture

that has a separate ballast

they now make a

version of this

called the Tegra

which is the

4 foot version of

really again

the workhorse in

the industry

the Diva Light

yeah and that

Diva Light has

probably lit

more interviews than

any other light

in the world

so Kino flows

are also one

of my favorite

fixtures and I

use them in

a lot of studio

applications

so even though

I'm using a

lot of these LED

lights and remote

phosphors and HMIS

on location

when I'm in a studio

environment

or on a set

these become great

lights to use

and as you said

we can rig them

pretty easily

if these were rigged

horizontally

uh in a narrative

situation or

reenactment situation

you can very

easily do walking

talks with these

so you can take

a whole bunch of

4 foots and

put them up on

the ceiling

and then when

people are walking

through a space

we would shoot in from

the fill side

but they would be over

on that side

when people

are walking yeah

I use them a lot

for instructional

educational videos

will take a

big frosted

glass table

from a place

like table top

from a place

like IKEA yeah

and take saw horses

those adjustable ones

we put that

there and then

we put under

the saw horse

they have that

platform right

and we just

lay that in there

with some diffusion

and it just

creates a nice

up light nice

and then we

hang usually

and you can

look these up

they have a

another fixture called

the Bar Fly

400 I think

it's called

the 4 50D now

they keep renaming

it and it's a

square Kino

flow and we

use that for

tabletop stuff

and it has a nice

little honeycomb

and those two

together are

really amazing

great great

uh downsides

their fluorescent

tubes so they

can break easily

and by the way

a lot of people

don't know this

we're talking

about phosphor

for these LEDs

this is phosphor on these

fluorescent

tubes as well

that's what's

giving it the color

temperature

but the downsides are

easily breakable

though they

are pretty sturdy

yeah uh and

the other thing

for me is that

you kind of

have to use

these lights

at full power

because when

you start to dim them

unlike LEDs

color temperature

can change and

can change dramatically

right and so

we usually control

these lights

by leaving them

at full power

though they

do have the

advantage as

you can see here

we only using

two of the lights

as opposed to

all four right

and then we

throw stuff

on top of it

yeah for for

controlling it

in terms of

you know diffusion

and color temperature

and things like

that yeah but

I love them

I use them a lot

yeah alright

Greg so let's

talk about this

one that I created here

pretty creative

I didn't create it

people have

been putting

lights into

the hampers

for a while

yeah this is

about a 10 or 12

dollar buy online

I have them

in a couple of

different sizes

and all I did

was put some

industrial white

Velcro in the

top of the light

and I have one of these

flexible LEDs

the Flex Lights

from Wescot

sitting up in there

yeah and it's

just creating

essentially

a little space

light right

you know oh

this is great

and then I also

have Velcro

on the sides here

so if I want

the light to be

mounted there

I can just push it out

specifically

out of one side

that's great

cause then you

can control

the throw of

the light yeah

I see you have

some Velcro

over here on

the backside

yeah I'm sort

of testing out different

configurations

and this allows us to

put the light

over there and then

it'll sort of

push it more

it's a more

sourcey in this

direction um

that's great

yeah the LEDs

tend to be pretty

broad and try to

spread yeah

but it does give

you another

option where

this just sort

of fills it

and this might work

really well

with a high

sensitivity

camera like an A7

series camera

like an A7S

or a seven s

2 where you

were shooting

a little poker

scene or something

like that and

you just drop

this down the

way you would

have China ball

we could of course

use that other

fixture I showed

you before right

for that as well

but this is that nice

hanging lamp

cool homemade

space light

homemade space light

so I mean I think

that's a great

light source

and we can like

green screens

with things like

fluorescent

fixtures yeah

I don't know

right now with

what's out there

if they're the

best ones I

can tell you

that recently

I was down in

Mexico City

and they rolled in

a huge green screen

and we set up a much

larger version of

one of these

remote foster

lights from Sineo

it's called

the HS Light

and it draws

450 Watts and it has

the equivalent

output of about three

and a half K

of tungsten

output big light

so big light

broad light source

we lit this huge

green screen

with one light

that changes a lot

changes the

game it does

it really does

I'm glad you didn't

say game changer

you said change

the game I think

it's a really

exciting time

in lighting it

right now so

we're gonna

teach people

how to use these

smaller fixtures

that draw less power

and create large

light sources

out of them

so let's show

them some of

the things that

we're gonna

use to do that

let's do it cool