All language subtitles for 2. Lighting for your shot

This is not a course about lighting.

We have another one
specifically about that.

But we should briefly

talk about some lighting considerations
when planning your shots,

moving shots, or when the camera goes

significantly up or down, presents
a whole set of challenges,

especially when shooting exteriors
at night.

The light sources need to be positioned
outside the shooting angles,

and during the day,
the sunlight might need to be diffused.

Using artificial lighting on a wide
angle shot

often requires very bright lights.

Light sources for closeups
should be easy to diffuse.

Decreasing
or increasing our depth of field

will affect the amount of light
reaching the sensor or film.

For example, using a very wide aperture
to limit the depth of field

will greatly increase the amount of light
reaching the sensor.

Since our
ISO is generally set to the lowest

possible setting on the camera
and we can't really use the shutter speed

with the same flexibility
as when we are shooting stills,

we need to add in in the filter neutral
density to achieve a proper exposure.

And the
filters are designed to decrease the light

reaching the sensor
in specific F stops increments.

To illustrate the exact

opposite situation,
we shot this nighttime abstract shot

of a tram approaching the camera
with car headlights in the background,

purposely adding flare and kinetic energy
to an otherwise

steady take.

This footage was captured
at the highest acceptable

ISO on the camera somewhere around 6400

in the widest aperture
on the lens around 1.8.

Similar abstract shots could be created
from scratch using light shapers

filters, specialty lenses, or translucent
objects in front of the lens.

But when possible,
we try to use what we can find

on each location.

Lighting for closeups

could be its own separate course,
as it totally depends on the story genre.

The deepest technical knowledge
and the director's personal preferences.

But it is generally desired
to catch some light on the actor's eyes

as well as add some light
to separate subject from the background.

In craft a more compelling look,

close ups allow for a lot more fine
tuning as we can easily

hide the light sources, something
that becomes increasingly harder.

The wider we go, Lighting continuity
is another important consideration,

especially when shooting over extended
periods of time or at different locations.

The same applies when switching from long
shots to medium close ups, for example,

when for a number of reasons, matching
white and tight shots is not possible.

A simple trick is to make the angles
and shot sizes

different enough
that the differences can be concealed.

As you can see, the lighting strategy

goes hand in hand with lens selection
in planning your shots.