All language subtitles for Working with color temperature

so we just finished Jack's interview

and we're gonna break this one down

it's a different kind of lighting setup

we spent about an hour setting up the room

Greg and I and by the way

I just wanna say

you need people who are great at gripping

and who are great gaffers

and he's swinging on this project

and doing both of those jobs

if you don't have those people on the set

or one person like Greg

who can do both of them

it can really make the difference between making

your day and not

and he also has that knowledge to be able to control

the light the way I wanna see

what's gonna be in the frame

so it's really both the director and the DPS

best friend on a set

so let's break this down a little bit

we've got this 1 by 2 flex light going into

a 4 by 6 panel

it's just skinned with a white bounce

that's our key source

we are filling here with this little reflector

it's a silver gold

got a little California sunshine going on to Jack

we're gonna talk about color temperatures a lot in this

but right now

we're looking at a tungsten color temperature

pretty much all around for the entire set

because we blacked it out

there's a keyno flow over there

which is creating a wash of light

we've got an L7 LED fixture

which we can change the color temperature on

which is over there

which is creating this Rake light on the bar

and then we do have a lowcaster light set above

the little blackboard

I think that's it in terms of lighting

what I'd like to do is start to audition some things

for you with Greg

so you can see what those are

so right now we've got a tungsten

tungsten um

I think what I wanna do is

let's just turn off some of

the lights to show them what's happening first

before we do the color temperature thing

let's turn off the Cheno flow

and see what that's doing okay

so that's really bringing up the ambience in the space

and if we do it like that

it's way too Moody for a place like this

so let's bring that back up

let's go ahead and kill the L7

and see what that's doing

I think that that adds a lot of production value

you can see boom

it all goes dark

yes come on

it's definitely feeling

a lot nicer when we bring that back up

let's bring that back up

um it's doing a lot of jobs

but it's bringing this light down here

and it just really kind of

brings the whole level up

and I really like the way it's hitting the bar here

again there's that fill out

there's that fill coming in

and we can adjust it to exactly where we want it to be

and then of course

in the back over there we have the low Castor

we don't need to turn it on and off

I guess nah

it's alright

when we change the color temperature

maybe we'll turn it on and off

so let's do this

let's take a look at color temperatures

and I'm gonna go ahead

and change the color temperature of our key source

to fifty six hundred Kelvin

and of course

what we need to do then is we need to change

our white balance on our camera

so Zach is actually gonna change it over to a

daylight preset

so we can see what that is

and what we're now looking at

is something

honestly that I personally don't like very often

it is a very cool

warm contrast

so we've got cool light hitting the talent

and then our entire background

and everything that's happening is

going to be a warm

what we could do is

let's kill the keynote

because in order to show you that with daylight

we'd have to change out the bulbs

but let's go ahead and change the L7 to daylight

so we can see what that's like

and yeah let's switch it to daylight

so we match the key

and there you go

so now you can see

now we've got a cool

cool together

so if we white bounce

the camera correctly

that's okay

but that's really a decision based on your space

and what you're trying to do

I love in interior spaces to light with tungsten

color temperature

um and then let's go back up on the ladder

and let's change the low Castor to daylight

and we might as well just show them

so we've seen now

a warm warm

secondly we looked at a cool warm

and now we're looking at a cool cool

and of course you have to change the bounce

but we were looking at it by changing color temperature

so now we're at daylight

and I think what we're gonna do now

is we're going to bring the whole set

now back to where I think I'd like it to be

and where we shot Jack's interview

which is we're gonna go ahead and take the L7

we're gonna put that back to our tungsten right

we're gonna go ahead

and you can see what's happening in this camera

let's just leave it on daylight right now

so we can see all the funkiness

we're gonna bring up the 4 foot keno

and see what that's doing

boom so that now we've got our warm light

you can start to see that

now I'm gonna go ahead and change my key

I'm gonna put that back to

tungsten so that's going down to about thirty

two hundred

and remember that we can white balance instantly

cameras need to be told

where the white balance is gonna be

so now Zach's gonna

switch it back over on our camera here to a tungsten

white balance

and this is a little bit different

but what we're looking at now is

pretty much what we wound up with for the interview

which is we've got a warm key

we've got the L7 warm

we've got the Keeno warm

and then we've just changed that low Castor up there

to a daylight color temperature

when we white bounce the tungsten

and we use a blue light

that's not spilling on talent in the background

it's gonna read very blue

and you get that nice warm

cool contrast

which I like a lot when I'm shooting things um

couple of other things that we're doing

we had a little bit of spill here from the key light

which was hitting over in this area

and it was bringing up

the ambience a little bit too much

so we've set a 4 by floppy

so we got a 4 by 8 here which is

stopping some of that key light from hitting here

and then Greg set the keyno flow to do that job

in a much better way over there

and it's doing it really

really well so again

a little bit more contrasty

I think it works really well

it's a completely different setup

we can use this in a lot of different production

environments

it's just what we chose to do here

for this particular interview

and now we're gonna break down this set

and we're gonna go set up for an

entirely different lighting setup for another interview