Lighting with One Light
So we're going to talk about setting up a scene with one lights and stuff that you could do to bounce your light around and start getting the look that you want because a lot of things that we're talking about is solving big problems with limited amount of gear you don't have a lot of stuff to work with so what can you do to make your scene really work let's get that at the end of this uh why don't we throw another chair on the other end here josh why don't we get a c stand free? We could take this can light we could do away with it for now so I mean in the last segment we were doing a lot of lighting but it's also a lot of directing setting up your scene to get what you want the cinematography is something that you will direct to get that tone that you want you were close with the cinematographer or if you are the cinematographer it's all about using these things to manipulate and they were focusing a lot on lighting or it seems like it but all of this is directing that manipulation o...
f your audience that we continually talk about and the last thing that we did with filling out the frame that wasn't cinematography at all that's what you would do is a director we're making it look like a party scene with very limited resources we have you know what we have ten people max and we're making it look like a fool room so these are things that you're thinking of as a director just a filmmaker in general to make things work so it seems like we're focusing on lighting but these are all things that are very important that translate to everything else you get the concept of one and it kind of all speaks to each other so let's spread this guy out let's get uh let's do an airy on this one let's start with do we have the six fifty no alright let's put the three hundred on this let's start with that and see how that works out might not be strong enough but let's dio bill marine you guys want to help me out with that grab the c stand just move it over here so we could stage it let's start three fifty on it making sure to keep the knuckles on the right and not bending the c stand uh you want to grab us a stinger let's run the string stinger over here thiss guy right here so we could do away with the c t be like this stark you uh have a seat here let's go we're gonna go a little bit eye level is going to be probably right about there um and let's let's go on let's do this side of the frame let's go give me right here so I don't think I mentioned that so far, so if your director and you have a camera operating a camera team the cinematographer as the director you're coming in, you're finding the shot that you want, you're looking at your shot, then you're gonna come into them and tell them okay, right here they're going to find where it is and then they're going to set camera for you so that you can go away. You could talk to your actor, set whatever else up that you want to do if you're doing both jobs obviously not. But if you have somebody that's setting it up for you that's obviously key even if you are the same photographer. So money man in camera for you so you could be running and doing things are a little bit more important for you to be worrying about, so yeah, you're gonna flip it around a good deal, why don't we get one more sandbags for this and maybe another that we might hang teo counterbalance uh, sam, you wanna help josh out with that let's? Make sure that's super secure because we're gonna fly this over them and let's not do it over stark's head though let's paint in a way a little bit, okay, we're good with that good go ahead and break that down we can let that fall we don't need to keep all that up there you go that works good josh why don't you sit on this side and uh you want to fly this out for me just get it out of our way we're going with a low wattage light this is only a three hundred watt light see what we can pull for from it so we have a table scene maybe it's a metal table or a regular table of any kind like this time we're just going to throw a white sheet on top of it bill you won't help me fly this guy in sam you want to wrangle these lights for bring it about right where your little closer to a fetus almost level with stark I'd say right about there is good I'll get it right above the table so you're gonna loosen that topping out so this guy this guy here yep that's one fly that around locking up which makes me immediately think of wedding crashes you lock it up let's get another c a sandbag was put it on this end the sort of counter balance okay let's move this in directly over now let's just go straight up with your eyes well let's hold it there come down just a touch okay? I'm gonna spot that I think we could bring it down a little more actually okay cool. Can we drop the lights in here way on a dimmer oh my goodness all right so this is looking a little scared can you look in the camera and do that we roll up that way and keep it it's gonna become like a mean look in the camera good yeah what in the world under mine you got to switch up to a dimmer once again so we can control this again you don't need these types of dimmers you could make him at home very cheaply yep let's actually go back this way it's a little darker than I wanted to be so I'm getting the main bit on the table but then letting a little bit fall on him let's bring it up keep it going keep it coming little further that's good right there and let's just the white balance teo kind of play with let's go down. Yeah, all right let's go to three thousand yes, I did that. Okay, so that's one light bouncing off the table kind of feels like a gangster film to me a little bit on I really dig that we could easily play with the background like were shown before throw on a kicker and then we could move to josh aside let's go in and just flip you want help him do that now we're going to do is just move a little bit maybe I'll angle josh is just a touch more than this guy's doing keep josh really in the darkness and we got some stuff happen in the background already that's pretty interesting let's take that off the bed we have some more room on that yeah, that looks great right there is good that's just one light playing with the sunlight that's coming in through some of this spill and we've got something that's looking really cool really dramatic let's do we have that uh, black sheep let's get the black sheet in here from bottle let's just drink that over josh well let's go full intensity if we're not and so now we're still getting bounced let's go off so now we're getting bounced but we're really just sucking all the light out of it we're just getting mild amount of detail so we could just put ah slight backlight on this and we have a really ominous on common phenomena shot means speaking not best friends turn it back on so we've got this really creepy looking phil happening on the difference between the two is pretty massive so what you're wanting to dio is entirely based on what you're bouncing off of the kind of source what what kind of reflective sources is what we have here so this is black as well but this is going to get a lot more bounce because of the style source it is do we lose monitor? All right? Could we grab s'more batteries there but you could just see with your eyes how muchmore just leading how you were how it's how much more reflective uh this style of surface of black is compared to the style of surface of black and even what it's doing to his skin so how it's playing off of his skin because of the quality of light is altered entirely because of just the type of surface to surface is it's more of a glass surface you got it let's bring in another c stand if you could and let's grab another light let's do let's do this mole right here let's get a dimmer on it let's bring the mole uh jason right here okay let's bring the c stand right here and where is our josh can you grab some d I y bounce real quick uh just hollywood threw him a little bit so it touched on it briefly but we'll just go through it real quick about these different bounce sources we got a t shirt here we got a yellow towel and red towel let's fly that around there so we're getting a lot more like kicking up at his face from this but I'm gonna switch over to the white house I like what that's doing a lot more let's take that down a little more that's it right there is good right let's actually get this behind him a little bit more let's get this right here little more go ahead and just flip that diffusion off and you want to kick that on great all right now let's start taking it up they go stop right there it's like c s I he says and it is s o we got that that blue playing that red plane which is off of a tower we don't have a gel we're using a bath how uh let's switch it up with the yellow and let's let's cut that down a bit it's a bit much so yeah that's a good illustration again talking about the different services giving you different things is giving us way mohr bounce it's more intensity because of its color let's let's go ahead and roll on that and I think that shot's looking pretty solid take that and that kind of looks like a street light color to me so that totally plays it's less nihilistic and kind of play and more of a real environment tossem the color like this on there were bouncing weigh less bill can we take up the intensity of this guy? Okay, so we're altering the color in the look of our light with shirts, towels and sheets so again just pushing this idea of you don't need all this massive gear you could do all this stuff with stuff you can find it target home depot and your house which a white sheet is one of the things I actually use the most that's kind of a household object for diffusion bounce all the stuff that you're seeing this too all right let's fight all this out why don't we let's keep the table for now let's fly that out you could hold on the camera actually let's flip around you want to wrangle cable for him let's come to right here let's get that mole let's put that right here gonna be a little higher so right about here no no diffusion face right there. You're actually going to stop up let's just move that to the side and why don't you guys um switch positions actually no don't you stay here? You know what I told you that side I'm sorry go back to those side I'm gonna play with that play that background a little bit more and you guys actually flip and can we run a stinger to one of these lamps get that table a table that we could move this table over there way take all this off this sam we could just move that to the side let's just fly it right right in this area let's get one of the lamps on it the one that we're using before it's fine let's just kick it on kind of the end of the table here way need to flip flip you guys actually back you were right the first time back yeah just in case because we might need to modify it so yeah flip let's get this guy right here so we're going to point it directly at josh's chest keep keep coming so right where I'm standing and we're gonna want to spot it make sure it's spotted well why don't we kick it on so I go ahead and kick it on let's just take it up watch your back okay that looks spotted me so you weren't almost just adjust where the fixtures pointed move this over just move this way a little bit way getting this in frame gosh are we not when we punch out to ah medium close up though yeah you can uh courtney you can kick this guy on this land let's take it up we didn't the houselights let's take this up let's go to thirty two josh three two hundred okay that's good let's take it down just a notch just like ten percent that's fine right there that works so I got this idea from peggy sue got married which I think is just such a cool idea uh do we have that on okay, we need to move that all the way to the edge of the table to get it in there so I wantto I want to figure out how to get that right here so you want to get this out of the way let's start don't you take five steps back and let's let's track a man that works and just adding that lamp in the background to break up that blue a little bit that creates a little more interest so it's not just that flat blew all the way across the frame it'd be nice to spike a little bit of a warmer color on the edge of the frame as well but we'll just skip that for now all right let's go ahead and stark take all your steps forward get right back in the marquee wearing before so we're not even lighting stark we're bouncing we're using like this backlight on josh bouncing off his light shirt to create a key for stark and he walks into it which is a really cool look let's do it one more time why don't you roll on it so we have it and you're gonna follow start the game a little more headroom action say something profound stark awesome all right so we'll cut that so just with one light you really can sort of you know craft exactly what you're wanting to do if you just think a little bit outside of the box and I mean this is again this is something that's exactly how they let the whole scene had this one really bright light coming through a window it was a back light for the one character and then it was the key for the other and the other walked into frame. And then there was let's, actually, do the opposite, let's, kick that back on. Don't you? Take five steps back, five set back. Not you. You stay back into a your deal there, why don't you take five steps back? And then go ahead and you walk into your mark so you could. You could do the opposite to it's a really interesting effect. I mean, it's, very obvious, so you'd have to use it for a reason. But ideas like this will start opening things up for you. Okay, now you can cut that off.
Is there an idea for an incredible film banging on the walls of your brain and begging to come out? If so, join Film Riot founder Ryan Connolly for an immersion into envisioning, shooting, and producing films – with any gear on any budget.
In this course, you’ll explore the step-by-step process of making a film from start to finish. You’ll learn how to script, storyboard, location scout, and cast films. Ryan will offer insights on how to best work with your crew to make your sets fun, collaborative, and professional places to be. Ryan will demonstrate the process of getting the light you want for the shots you’ll need, whether you’re working with DIY lighting structures, available light, or gels and diffusion. Since lighting and sound are equally essential to professional-level work, you’ll also explore both production and post-production audio skills, including integrating music and sound effects. You’ll build a post-production workflow for editing, adding visual effects, and more to ensure you’re getting the pro look every time.
Whether you’re a first time filmmaker or a working professional ready to sharpen up your skills, this course will give you the tools you need to create superior quality films that reflect your unique vision as an artist.