Guerilla Filmmaking

Lesson 21 of 41

Motivating the Light and Creating Atmosphere

 

Guerilla Filmmaking

Lesson 21 of 41

Motivating the Light and Creating Atmosphere

 

Lesson Info

Motivating the Light and Creating Atmosphere

Motivating the light we talked about it a little bit which is just having a place for your light to be coming from uh so why don't we bring let's bring the table back in and this is something we're often going todo uh let's move some of our lifes let's let's stage him over here a little bit better actually you want to help out with that as well waken leave the kino there for now but let's start moving the tungsten and let's line it up a little bit so we can clear the back a little josh we're going to set the camera up in this area we're gonna want to play with the windows a bit stark and josh you want to open these up for me let's just open both of them cool right there and you want to grab someone another pair of hands grabbed this kino we're just going to stage the kino right here and see where we're at with it and go from there let's switch the daylight so we're gonna goto daylight balance now we were at tungsten now we're going to start playing in the more fifty six hundred land yo...

u got that you say you know let's let's do this instead you sit there stark can you grab the other chairs sit on the other side let's get let's get let's get like yeah like is low as you can get on that thing and let's we could kill the house lights again let's bring this guy in this is stage it right here for now come a little bit this way you has come a little bit this way too I want to try to get rid of that tv just a touch that's good I want you back up just a little bit a little bit this way and just punch in just a touch we won't worry about the tv too much uh take it out leave it let's go a little bit that way let's go two feet that way be sort of center with the table a little you know let's back up just a little bit more getting all in your space sam's gonna see daylight I'm gonna drop the drop in the white balance a little bit here to send the daylight a little more of a cool color and then let's put this guy sideways let's bring it closer to the camera we're going to use this is phil deal all right bring that right in actually can you flip it the other side so the cabling on the other side of the picture and you too if you guys could move some of this back let's get it out of our frame line a little bit just can you lean in a touch or get a little closer work stark same cleaning a touch yeah let's keep coming keep coming right there and let's take it up just a bit I'd say take it up foot cool and let's see if we can paint it down and then a little bit gonna get hands on walter and then uh go ahead in let's turn on one tungsten and see what's up see what it looks like we're plugged in we're not going to leave and don't go to dinner with that one you want to grab the dimmer and get over here that's a daylight with switched to a tungsten I'll switch back to a daylight all right, let's get some do we have ah big actually let's get the bed sheet let's bring the booth full this in half one so we're using the sunlight as our key? What? What happens if we let's actually open that up a little bit? Maybe I went down the one way that stick right around right around sixty lengths which our balance back a little bit to get that skin tone. So now I'm shifting my white balance to try to bring back the skin tone. Their skin tone was a bit too cool. Just just skip town is just too cool, man all right let's float it in front of this so keep keep going up with it up, up, up you go on, just hold tight to it all right now now give me two daylights I will just hollywood it so we could see what it's saying so we're just creating a really, really soft light from this kino uh, turning both off and then on and I love that because it always doesn't seem like it's doing anything until you do until you turn it off and on you see how much it's actually doing did it sound like I said duty way totally d'oh. It's not really doing anything. Uh, let's, let's go this way with the camera a little bit. Punch in tight on josh let's, shift this light over to the front of the moor. Let's get uh, right in front. Well, we might not need the sheet. Let's. Go ahead and get rid of that almost shift. Like right behind stark start. Go ahead and look it look it, josh let's, go one bulb on that cool. We're starting to get a cool uh, look going on all motivated by this window. I mean, obviously the window turn it off windows not rapping like that, but we can kick that back on and I would actually pull it back about a foot and let's go uh to your left about a foot, but now we're using the window light to motivate the light that's on his face even though in reality would not be rapping that much that's the general idea of motivating light using the actual source that's in the room to them dictate what the rest of the lights are doing. Go ahead and kick that butt shut the windows. What would be great for you? No windows like that. You could see that they have the cross bars on the windows, but they're all blown out. You can't see them, you could get really big sheets of nd it's going to kind of pricey on actually throw those on the windows to bring that down. So you're stopping that down to match the inside with what you're saying with the outside to sort of see through that and, you know, we won't we won't jump back into I was going to do a lamp set up, but we actually won't do that because we did that when we had the lamp and we use another light to sort of bring up the lamp was doing that's motivating light. You take the source that's in the room and you build on top of that, which I've been saying over and over, start with one light go from there, sometimes you can have completely unmotivated, light and that's totally fine, we've done a lot of that. You don't really notice it, but if you establish a light it's kind of weird if your main light in the room is over here but a key lights right here and you haven't seen it, so khun feel a bit odd even if you're not fully like catching what it is, it can kind of subliminally be something off for you. I think my favorite version of that is in, I think it's in king arthur it's like back the medieval days and there's a neon green backlight happening going what's, has we? We're club king arthur now let's, go ahead and fly the table out. We're gonna talk about, uh, creating atmosphere, which is going to be a key note. So if we could switch over to the keynote piece, wait, talk a little bit about this. Using the cigarette, for instance, to create that atmosphere in the room. That's cool. We can leave all that they're for now. Uh, but a fog machine or heyzer there's. A whole lot for your scene. If you use it well, it could be overused, which is great. You could use that for horror comedic effect. Hazers are awesome because the way that they work and the fog that they use it will live in the room a lot better it doesn't move around as much is kind of just settles where's a fog wishing that you'll get from the store is a little harder to use you really have to fan that around dissipates quicker and you'll usually get some floating through the air if you have like an air conditioner going moving all that around it it becomes a little bit obvious but you can do it I have not used a heyzer in any of my productions it's always been a fog machine one was a fifty dollars fog machine from like party city the other one was like one hundred something fog machine both of them worked very well so either either way is good to go you can use a friend of fusion not the best uh it does it kind of drops contrast for your whole scene very similar to what the barack black promise filter that we were looking at the other day will do use it for mood which is what I use it for uh create shafts of light and here's an example for a spot we did in our show film right for domain dot com where we just went way overboard kind of doing almost the sand lot story flashback idea mixed with the spielberg e and sort of look and you could see all these shafts of light were able to create and josh, with his beautiful mustache. And you got that spielberg flashlight look going on, which I adore. You could see the fog kind of hanging in the air, and it sort of feels like a house that no one's walked into for a very long time. This is the adobe inn, the frog piece that will show you guys a little bit later. Very subtle. But you can see the blooming that's happening around the highlights without that there. That was very harsh edge that was happening around those currents. Well, now you put the fog in there and you get this really nice early morning. Dreamy kind of feeling if you use it really subtly. It's sort of upset production value field mate feels a little bit more pro, feels less empty even though it's an empty room here's, another one that we shot real quick. Put a tough grade on it. To try to bring things out on this will be this room in different phases of fog is a lot of fog in the room right now. You could see for those from those blinds were getting the shafts of light happening. Josh, as always, looking as excited as ever, this will be just a little bit of fog. Zero fog nothing changed between those shots except the fog living in the room or not, you can even see it's changing the color of the background because lights able to carry on that. So we're getting more of a blue look from the daylight actually carrying through the fog that's a lot log happening there. So that's an extreme look kind of goes in and out. This is a nighttime version of that I haven't led behind that dress right there. What you can't really see until the fog kicks in and then it's just huge beam of light happening behind, which is really intense, which you congee then just kicked down that intensity just a little bit. I have kind of just that nice blue glow happening in there, that's not super distracting, but it is adding a lot to the scene. Brain brain is always tough to shoot in obviously talking about fake rain, not real rain clearly, but the best way to shoot let rain is too back light it if you front light rain it's really difficult to pick up there's a lot of things that people do with, like their rain machines, where they'll actually funnel through something like milk into the water, so it'll show up a lot more, so you got that thicker whiteness to it. But this is just my back backyard with the hose looking a little crazy, I'm sure and just backlight in the rain, with one light and, uh, that's showing up pretty nice. But in the second, especially, look over by the grill. We're going to shift over to front light, and you can't see it at all. You can only really see it in those trees and that's, because we're front lighting, that rain and it's, just not getting picked up by the camera. Just move the light behind the rain, and it changes everything.

Class Description


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.

Reviews

Samuel Befekadu
 

I bet this class will be awesome. the course is given by Ryan Connolly!! I have been watching this guy for more that 5 years. I just wasn't serous about film making then. but now since i love film making why not try to be one of them by learning form the best in the field like Rayn. he has been inspiration for a lot of film maker from his YouTube channel Film Riot. his way of teaching so funny and entertaining . I bought this course to learn Ryan Connolly's killer skill. Thanks creative live and Ryan Connolly!

Will Green
 

Great class! It starts at a very simplistic level and covers the full spectrum of filmmaking. I would not necessarily buy this course for advanced film students, however it is an amazing review for beginner students to intermediate students. I would love to see a BTS of a short film from start to finish. I've seen all of Ryan's BTS shorts and I would greatly enjoy a much more intricate play by play of the short. THAT"S SOMETHING I WOULD PAY A LOT TO SEE. An 18 hour compilation of prepro - post of a short would be awesome.

Jonathan Beresford
 

Love Ryan and everyone at Film Riot. Excellent course of the excellent quality I've come to expect from them. I just wIsh he'd act more. So funny.