Skip to main content

Lighting for Film: Simple not Plain

Lesson 10 of 14

Creating Drama with Light

 

Lighting for Film: Simple not Plain

Lesson 10 of 14

Creating Drama with Light

 

Lesson Info

Creating Drama with Light

here we are in this new in this storage room that we're going to repurpose. We're gonna use this as a as an opportunity to kind of build some drama into the lighting, do more with with what you don't see trying to keep things dark so that you don't really see what's happening. But you see enough so you can follow the story. Um Are actors air going to you should tell us what you're gonna do, because they came up, I started, came up with something, and they came up with a way to end it. So what are you guys gonna do here? So we are going Teoh, and this is rich, and that's Laura. So we're gonna do a scene where it's a warehouse and I'm really scared because I've probably heard something or, you know, something shady is going on. I run into the room, hear strange sounds, and and and as I'm backing up, she surprised me by being right there. And it turns out it's, uh and we could do a various different scenarios where certain turns out she's trying surprise me because it's our anniversary or...

she, too, is afraid. And we're both kind of surprised by each other or something like that. So we'll play that. How do we know it's your anniversary? We're not gonna be using dialogue. And so if you want to make it the anniversary, how would How would you portray that? How would the audience know that we have no props? Well, maybe we do get props way have flowers. Flowers would be good. Or, like just hand gesture Sprint. Well, why don't you guys all right? What I saw in this place first was this. Can you turn out the lights? Just a second. Everything that doesn't have tape on it. What I saw was looking from this direction over here. Once you guys come out here, we can. You don't have to stay in the solitary confinement over there yet. What I saw was coming again using what's here doing a minimal rather than knocking it all down and starting over from scratch, being being impressed by and being inspired by what's here. And I really like the idea of the first shot starting over here and the camera moving. In fact, I can just take that camera and show it to you here if we find what we find eso that you know that someone is watching right away. Because because you're seeing the camera move. The audience says, Well, who's that watching? So you build the mystery and right away. So So the first shot would be maybe something like this and and we see risk coming in from there. Okay? Haven't let it yet or anything, but just the you kind of get the sense of it, right? All right. And then he would come. Maybe it would be a little tighter, maybe something like this. And then he would come in. He would have a little bit of something right about right about where that camera is. That's where he would really do his moment. Yeah, and then he would clear frame. All right, then I thought maybe we could do something where we see a shot over here of the person who's looking but again, don't see who it is. Maybe just a shape or form, not know who it is. Keep it mysterious so that people keep saying what's next. And then how did you guys, How did you How would you take it from there? We're gonna end it over here or if you want to come this way and, uh, where I was because I heard something there. I'm kind of backing away, okay? Backing away, backing away. And suddenly we were gonna improvise. Ended. Okay. Okay. Well, we can we can. You can do that in front of us. Or you can surprise us as long as we know where you are. And basically what tone it's taking. The only question man I have is if it's happening over there and we see, I guess we should never show this area. Yeah, that's the part. I wasn't sure what We should never show this area because we kind of establishing that the person who's looking is over there. Unless there's two people I could back up over there because I could hear of silent here and start backing up that way so we can flip it around. Okay, you know what I mean? Okay, let's do that because we don't know what's really there, except we know that the latter is there. If we use the ladder, or we can push the ladder away and just come behind come from behind this piece of what this thing here. We can just do that. All right, so let's do that. So you clear the frame, right? We cut to over here, or we could shoot it over There. Actually, doesn't matter. We do that because we're just cheating where these things are. And then and then we come And then we come back to you over here, backing up? Yeah, I back up in whatever direction. You OK? So you could back up over here, and, um ok, and then All right. Well, shall we start with the 1st 1 and see what we got? Seems kind of taking in order. Um all right. So what would we do it? It would be nice to kind of get a look at some looks. I'm gonna stop this for a moment until we actually use it, because it's just looking at a blank wall. Um, let's Let's take a look at some looks. So let's get a couple lighting. Looks together. Do we need to throw light on if we start this over here knowing that this is going to be handheld, But just for now, we'll put it here just so we don't have to hold it. What do you guys see here? We've got Do we want to see? Is this gonna be a real night scene? Or is it going to be something else? Just a kind of Ah, um you know, like a horror movie. Sort of blue space. Whatever. Doesn't have to be a night scene. Do we want to keep it in blue? Do we like it in blue, I think. Sorry. Speak. I would say yes. Since it's like border. Yeah. Okay, so we kind of like this color. Doing so. So this is OK for ambient light in the place. It's not a lot of life. We could bring in more light by raising those curtains there. At least the ones in the back that would give it a little more depth. Why doesn't someone go over there and raise the if it's a separate curtain? If it's not one big curtain, it's just one big one, huh? Let's raise that one big one just a little bit. I'm recording now. Let's see what happens. I would hold it. There wouldn't go any higher than that. Break it down a little bit. You need to get that camera, man. off the table for a second. Yeah, I think that if we raise that anymore, what's gonna happen by raising it like that? It's giving you just a little more. Three to mention. But if we raise Look, let's see what happens. Raise it some more if someone still back there Keep coming. Come on. Back down To where? The linings. Right there. That'll that'll work. All right, All right. So do we need to add some more blue in the space? We need to. We need to rim him. What we're gonna do here is we're gonna rim him. We're gonna use backlight on him so that we don't so that we don't really seve his features. You want to save his features for the close ups? All right, so where can we put a life if we put a light very high from back here? I don't think we're going to see this side of it, are we? We could avoid it so we could put a light back here, or we could put a light back behind there. What do you think, Adrian? Baby is here here, since this is all pretty high. Okay, so let's put Let's put the 6 50 with blue on it. Maybe even a blue and 1/2 appear but way have cut blue to we have not just the sheets. Right. So Okay, well, if we If we just have the chutes, then let's cut it so that we have enough to do this. Okay. In the meantime, let's see what this looks like if we add a little bit of warm light. One of the things that happens is, um no, thank you. Just take that person. And can you run out there and ask him for the light bulbs for this? The white vote. One of the things that happens with color is if you to really well, get used to this blue very quickly. So if we really wanted to feel like blue, let's put another color in it. Let's put some warm against it so that it will really make it something that contrasts with. Okay, so we're gonna will put this. We might hide this very low underneath here. Let's just see what that looks like. It might end up being here below the frame. We don't know where it's gonna be up, but let's just take a look at it. And, um, who's there? Will you run out and get the dimmer? That's on the table over there, please. That's now we do need a barn door on that. And Adrian, we walked away. Okay? All right, Well, keep this moving here. We just don't know where the power is. That was that. He was going to run the NC's. I mean, run stingers. That was the goal Here. Okay. Can we move over here? This work here, put these two together, or he has anymore, you know. Thank you. Okay. So Okay, so let's see what happens here. We've got So we've got this on a dimmer so we can bring it up or down. We don't care that it's extra warm here. All right. Do we have the TV back? All right. Suit got here. All right. So can we see you in your position there? All right, Now we know they were going to throw a hard light from back there. That's gonna be so let's Let's see what happens if we put this on the ground over here and let this just be a little bit of warm. Phil. Now the only problem. These lights air so useful and so easy to use and so cheap. The only thing you have to watch out for is that you don't let that that, um, the bulb hit the paper. All right, so as soon as we get that light and we'll see what's going on here In the meantime, we can set another light while he's while he's doing that. Let some. Okay. What do we think about what we see here? Do we like it? We're getting somewhere. We could still see his face. Well, you see it a lot later than I do. Let me see. Remember, guys, you must look on. This is an else led screen. You must be on access. It looks totally different. Look, look. Look from here to here and see the difference. It looks totally different from the side. You have to be straight on it. All right, you guys, you guys are the eyes on this, so it has to be right on. Okay, Now we can make this bluer by adjusting the white balance. So we try that. Sure. Let's try that. But by adjusting the white balance I go into here hold on. It's gonna It's gonna look. It's gonna look wrong for a second. So if I want to make it even colder instead of I'll go down to, like, 2700. How's that? Look up. It didn't take one more time. I forgot to push a button. Sorry. My bad. I forgot they had set. Okay, I've gone to 20. 500. How's that look? Is that blue? Yeah. Is that kind of interesting? Yeah. Okay. Um, all right. Now, again, we want to have a feel. We want to feel this. We want to feel the front light more than see it. We don't really want to see who he is. Or, um okay, we're going to need another light. In the meantime, I want to start getting ready for this. Like, for here for our close up on are other person. Let's get this in here. Asia. And can you tell me where the led light went? I don't see it out there. The work is it. Is it on the floor? No. Oh, it's on a stand. Okay, Okay. Got it. Now I got it. Okay. While we're waiting for that light to get up. I'm gonna just just keep moving because I know we're going to do another shot over here. I'm just going to get this light ready over here. Okay. Is that a single blue? Yeah. Maybe we need to double that. Okay. It's just not looking quite blue enough here, and we need to get a lot of scrim in front of it. You guys can see that. What if we put too much light on here? Yeah. So we're going even bluer with that. That's looks good. And put a double in. Just look at it. Remember the doubles air? Those those screens, right. That's gonna take some of the light out. Okay, Let's see what happens when we see you back behind your little in your area. Because we're trying to light this now so we can do it for this shot, but that when it's ready to do the other one, we're kind of ready to go. That looks pretty good, huh? Yeah, I got an interesting look. Yeah. Okay, So what we're doing here is we're creating three dimensional space by not lighting it frontally. Yeah, she looks good there. And he looks good All right. Um all right, So what else do we need to do for this? Remember, we're never going to see this shot like this. Correct? We're going to see him, and he's gonna leave, and then we're gonna cut to here with her and Okay, so shall we shoot the first part of it? This is I've let I've brought this light over here. Um, I'm gonna set this little light up in a place like this. This light might even be more. You will probably be more useful than the big lights because we're going with very low lighting levels. One of the reasons we can do that is we're using a DSLR, which has a very big sensor. And, um, the SLR has a big sensor, so that means it can operate with very low life. But I'm thinking this little light here, which isn't very bright, we should be able to kind of throw a little pattern on it somewhere if we need it. So let's keep this standing by ready to go. All right. Anybody. So let's see, what we've got is Let's see. Let's see. Um, let's see Risch come in. Maybe we start I'm going to start recording here just for the heck of it. So, um, Risch will start out of shot. In fact, the door should be closed and you open it. So that means we need to put some tape on the door. Right? Otherwise, he will need a key. This one? Yeah. I will let you in. Does that look sharp on him? Yeah. It doesn't matter. Uh, you're not in the shot if you're there. Not now. You're in the shop. It's your arm. When you it's they are. Once he moves into the frame, you can move. OK, All right. So come on in and let's just see this walk block through it and let's see how this is looking. Okay, That's good. Mysterious. We don't see anything as he comes into here. We start seeing his face a little bit from the China ball, and now he's being hit. You can see Stop where you won't go back a little bit. You see, there's a little light coming through the top of those stairs. The chairs right on his right side. So that's pretty good. We see where he is. Keep coming and do what you're gonna dio it was there. Okay, so we need to get him out of this shot, right? What? Do you love him? We don't want to be him on that one. So we have to figure out a way so I can keep walking down. Okay? Keep walking down there, OK? The turning is nice because the turning again helps us with the three dimensionality and it. So yeah, so you're turning, and that's telling us that we don't know that you don't know. You know that you don't that you're in an unfamiliar place and you're looking what's going on? So let's just try that one more time. I'm going to stop right here. You but you clean clear frame. But I'm going to stop here and let him clear frame. Okay? Okay. That gives him an out. Gives us something to cut, too. All right, let me ask you guys. What did you think? Did it work? Yeah. So we try one tighter. Yeah, Let's take time. I'm going to zoom in on this lens right where I am. What? You will try it a little tighter. Okay, so you're on. Just go out close the door and give a couple of seconds. I think we got that one. What do you think? Okay, good. All right. So how did we do it? Just to recap for a second. I'm gonna pause this for a second, cause there's no one that was excellent. So how did we do it? We just had just the tiniest little bit of light on his face so that when we do come to see him will know it is. But basically, he was lit from the side in the back, which makes it look mysterious and dark. And we don't really know what's going on. Tells into this. So while we're shooting this way, the camera's looking this way. The lights have done this way. We should probably get the shot with Laura and him at the end, right? Even though we know we're going to come back on this side, we don't really need. Don't come back here, change all the white and go back. Let's get this one while it's here. So let's figure out what we're gonna do for this. And so there's a payoff. But we know that we owe ourselves a shot over here and maybe one more shot of him. Maybe one more shot of him looking around. I kind of like this area here. I'm gonna move the camera out just for a moment. Well, this is I just now that that camera could have been a little lower there, but I think it was about right. Anyway, we could do something in here. Maybe we move that light back. Um, we could do something in here. He's moving right to left, left to right. So maybe I kind of like this area. I don't know why, but maybe we do something with him again in here, coming from over here, outside of frame. And he's just kind of he's just kind of doing the same thing over here. All right, Does that look OK? What would we do with that? How would we would we make that better? Let's see it with him in it. It will be better right there. Let's see what you're trying to extend him wandering through. Yeah, Yeah. Just build the okay. Build the whole. Now we do need him moving from left to right, cause we did that before. Okay, let me Let's try that one more time Let's give him a little bit more room to work. Okay? So that he doesn't start in the frame. Let's see if we can do that. Can you? Um Alright, let's try that. Now we go ahead. Yeah. Do we like that? Do we need We need to We need to turn some things right. So we don't see. Okay. All right. So, guys, what's happening? It's a little mushy in here, isn't it? It's a little kind of murky and like, but not kind of just noisy. Okay, so why don't we try this? Why don't we take that little light and throw a little bit of light back in here? We're just just around here somewhere to throw a little bit of that light. Um, and we can do that, but does he look pretty good over here as he gets into this light? He looks pretty good, doesn't it? Yeah. And then maybe we can do this. Maybe we can put this back over here. We don't We're not gonna see below here. Yes, to like well, weaken Dimmitt. Remember, there's a saying I can always make it darker. Let's make it a little dark and see what happens, can you can hold off on that one? Let's see. Let's see you come for Rush. Go ahead. Come on. How's that? Is it okay? You like a little bit. Well, let's see what happens now that we know that. But is this working? It is a little nice on his face, isn't it, that when he comes through here, there's a little something on his face? All right, so let's so shall we try? So we try this light and see what you would do with it. I would like it blew. If we have any more blue, all the blue in the world, we know that this is way too bright, right? Compared to the lighting levels that we have around. We know it's way too bright, but he's gonna put blue on it. Darkened. Okay, Once he puts blue on, that's going to take a lot of it out. Keep coming. We can take the camera out of here. There's an extra camera here. Here's a battery. That's I like that. So, no, I would double the blue. Well, he's gonna be start. Is he moving from there? But we should move one more coffee maker in them, but should remove both of these coffee makers. See these? Is that better? Yes. Okay. How's that? Adrian has doubled the blue. How's that looking? You're you. You are standing in the wrong place. Yes. No. Stand right in the middle and see what's happening. I think it's a little too much up here. I don't mind it hitting these things, but I think it's a little too much up there. Let's see what happened. I can also closed down for that. I can close down. Watch this. What I'll do is I'll turn this up a little bit and I'll change my Irish. But we have to wait until that blues and in place what I'm gonna So what I'm gonna do is I'm gonna I brought the white out there and I'm gonna close the iris down. So even though we have more blue there will close it down, it'll look the same. So what we've done here is we're really getting in a very intense blue because we're doubling the blue. We were taking our white balance and we're taking it even warmer then 3200. So that so that it makes everything blue or blue or blower, And then we're doubling the blue. Is that a double blue? Okay, okay. So now I'm gonna close it. Can we Can you get into your position, please? Hold on. We're not way having slows down. Get down. Get a little bit more. A little more forward. Yeah, A little bit more. Okay. All right. How's that looking now? Is that helping us with the blue? That's pretty good, huh? You want to cut that line right there like that? Only thing is like when the cameras at that position, he's never out of this. Well, he'll have to leave. You have to leave. Money will close up a little bit. Zoom in a little bit. Right. And don't walk out. Okay. So what do we think about that? You guys like it? Yeah. Baton. He found it. He's trying to save his life. Are you can't just go fishing camera like you're kind of still in. Well, I just I close the frame down a little. I made a little. Okay, so you'll see. You shouldn't see him now. Yeah, OK, come back into that middle position. Come back into your come back into their Now. What do we think about this? This light, The life is coming from the front. You think it's cool. You don't want that? That's none. How about there? I'm bringing it up very slowly. That's good, all right, because as I bring it up, you know it's bringing up the back to he recognizes, bringing up shadows on the back. But you like his shadows on the back. Okay, good. Well, let's shoot it. We hold on. No, it's not rolling yet. Hold on. Let's check the focus on him right here, You guys, You guys were watching their Tell me one were focused. Make sure you don't walk a moved to the right to quickly as well. Don't he'll chew the scenery? Is that good? He's out of focus in a second. Yeah, we can't. It's really hard to do. I can't really can't. Here's what we can dio. Does anybody have a little led flashlight or like one of those, like on your key chain? That's it. Good. Okay, Here. Can you hold this by yourself? And it's a very tight Just hold it by your face. It's a very tight little. It's a very little light. So as we focus when it gets a smallest possible we know it's in focus. Let's work. How is that? That looks good. There doesn't like. Okay. Okay. Thank you. Thank you. Okay. So are we ready? And we're rolling, and you're gonna don't forget to chew the scenery. You know what? Here's what I'm gonna Okay, Go ahead. Do go for it. We'll do one more. Okay, let's cut this for a second or does not cut it. But, you know, I would do about half assed much in the middle. I would get through in about half the time. Here's what I'm gonna do. I'm gonna turn this light down. And as he comes into the shot, I'm going to slowly turn it up so that when it starts, it's not as brightly lit. Okay, we're still rolling. So action. Okay, one more. Let's try one with the turn over your shoulder, But just not a whole 3 60 turnaround. How did that look? The light didn't crank up as fast as well. You don't want to really see it, but okay. I'll see that. We'll start it a little higher. You don't see me in there. do you Okay. I know was that it was gonna be ready to move on? Yes. OK. Okay. Well, let's do the, um, let's do that. Let's do the you know this scene because we can get weakened even though we don't want to not have Lower will make a big thing for upstairs. We can also we can if we don't need that shot. We don't really need it, you know? I'm saying if we don't get it, we don't need it. So what do you guys gonna do? Shows? Show us the money here. Okay, so he's moving again. Left to right. Good. He's back in here. Okay. So I think we do need to see something over there. Yeah. Do we like this flare? Because we can get more flair or less flair. The flare is this. You see that flare on the lands there? Do we like that or not? Okay, so you don't like it in order to avoid it? What we'll do is we'll raise the camera. Is that light up all the way? Now, why don't we raise the light like another six inches? Is it full flood lives? Okay, You raised the light up another CIA. That's good. Yeah, I think so. Okay. So the question we have Yeah, it is. I think we'll be. Oh, yeah. You can put that. You can put it right over here, I guess. Or season, he's coming through that. Can you go through your shot again? Okay. Okay. Okay. So let's do this. Let's have you. Can you hide a little bit more? Can Let's do that. Why don't you do that? Why don't you hide? Here's what we do. Just to add a little drama. So to add a little drama, we just want to see her just the tiniest bit of her at the beginning. And then she'll come out. So come out. Yeah, I like that. You see that? Now? I think she needs I think the camp this light needs to be tilted down a little or panned a little bit this way. So there's just a little more on her. You can bring it down because the final scene is going to be here. Just just till till the light down. Okay, let me see. That might be too much. Come back up. Yeah, that's good. So So you're gonna Yeah, you. That's about as much as you want to see Until you make your move. We don't. I think it's really nice if you make your move before he gets in there. Okay, You know what I mean. You make your move at your starting to move as he's moving. Yeah, well, just wait until he's really close. And now start your move. You start your move when he gets to about here, Where did you find? Yeah, let's do that. And then what we can do is we can end up. We can end up hiding a light here. That comes on when it would be nice if there's a light that comes on when you guys turn and see each other. So it's all in shadow until that moment. Right? So we're going to use the lighting to kind of keep building. So what should that light be? Let's try this one. I think we need another extension here, though I don't think this will go much further. Where is this going? This is gonna go try it just behind the thing. Here. I'll give you the other end of this, you know, Take this. There's okay. So let's see what happens if this lives. So what we're going to do is we're gonna hide this light so we don't see it behind here, because just lay it on that, okay? And then it will. The only thing we need to do is make sure that no light comes through here when it comes on. So between this the other way, uh, the other way, like this will keep Yeah, that's that. Yeah. OK. All right. So this means that if this is here, let's move. This can only move forward a couple inches. Okay, So what you have to do is you really want to be you want to be Now that has to be where someone can operate it. So you want to be You want to be here so that when you see the loving think this light is lighting, you guys, Does that make sense? This is where you want to end up. Are you are you watching that? Rish? So what's happening is this. She's starting further back here so she could be more hidden as you start coming back here. She comes forward at the same time. But when you finally have your moment together. You You need to be here so you can be front lit with this. Okay? Okay. And if we had that white card, we could put the white card right here. And then we'd also reflect a little more light from from up here. Not just the ball. Yeah. Perfect. Thank. So we're putting a white light. We're putting this card up here, so the light is coming from a little higher, too. All right. All right. Can we try this? See what happens? All right, So and you're coming in from the same place. Yeah, I'm gonna actually shoot this, because why not? The only thing is, I need that flashlight on Laura so that we can We can see that she is in focus. Hold on. Let's do this one. Because the little light towards the camera is better. Just that where her eyes actually put your hand on foot forward. Put your hand a foot forward towards the camera. That look good. That's good. Okay. All right. You know, let's tighten it up a little bit tight. Hold that one more time. I'm going to zoom in a little bit just because we can I think it's better if it zoom dead. So this is going to be our final frame. All right. Is that it? Okay, Thank you. Okay. I'm gonna roll this in world Second, make our adjustments. So are you going to operate that? Yeah. We need you to operate it. Here's what you do. You can you see what's happening? Maybe maybe over here is better, because then you consist. Okay. Okay. So what you want is you really want that You do want it on a little bit so it doesn't pop. And then, as as they come in, and as they do their thing, it should It should get up to there. Are you guys watching the eyes over here? Is this Is this a good level here that we can see what they're doing? Or does it need to be brighter? This like I think it's going to see. Okay. All right. So you're going to get up to them, but, you know, has to glow just a little bit of the start. Otherwise it'll pop on. Okay, let's see what we see. We're rolling, huh? That's a sweet. OK, Do we want it a little bit tighter. Maybe. Let's try it. Just a touch tighter. That's all I can go is just a touch. Now, hold on. I looks out of focus here. Stop. Can you be in your position? So no. The ending position? Yeah. You're looking too much. We need to see at the beginning. What we really want to see is just the tiniest edge of you. And it's not until he comes out that you So we just want to see Well said it, just like I would say, Like, is this lunacy? You guys, you guys Look. Is that too much of her? No. Yeah, that's that's good. Okay, okay, I say Okay, here we go. And a little bit more out. A little bit more, outlaw. Ok, go ahead. It's okay. Could we see the flowers? We could. Should we try one more time with a little bit more brightness on her? A little earlier, I think. What did you think? Or was it right enough on her? It was right now you can see there was there. You could see this stuff. Yeah. Okay. So you guys are happy? Yeah. All right. One more time. Just for the heck of it because they're so good way. All agree e little even slower. I think she should reveal slower. Like she should just pop out at the end. Now there's still a couple of seconds where she's behind him looking for him. Okay. Could sound like I think it's all right that we see the shoulder the whole time. You shouldn't see the hair the whole time or her face. I think she reveals herself, and it's like she's watching him. Okay, You know, instead of okay, both goody Good. All right. Good. So we'll have her come out later, but way like we love the arm like it is. Yes. Your arm coming out right now is a little bit back in. Head back in with the arm, Zack. Good. That's perfect. Okay, go for it. That's right. Happy. Was that Perfect. Okay, we're going to stop this while we're here. It's so perfect. We have to get a close up of the end. Okay, So let's find your march. She came just this this last walk into it. Can I see the light at the end? It's just the Yeah. Consider what? How's the light there? Well, are you? And let's go. Let's just walk through. It really blocked the end. Okay? That's where I would think we would want to come in. They're not before then. Right? Okay, so So let's just start there, okay? And we have come back, take a step from here so that you're in motion and go ahead. I was focused. It's only at the end that we care means no good dude again. What? We know that's not enough. You have to tell us what's right. I don't think it was Focus. So tell us what's what's the right folks. I need to know one way, the other are too far too short. Where is your final position? Okay. Oh, your, uh there. That's in focus. Yes. Stop. Okay. Okay, good. All right. So just make sure you hit that mark. I'm gonna We don't care about it until that last moment. That's when we'll cut it. So let's take it one more time from your saying place on action. Oh. Oh, Okay. Okay. Good. All right. So we have just enough time to get Lars close up over here. You know, I guess we do. We need it over there. That's the question. Where should we do it? Maybe we don't get a close up. Maybe that's it. They were done. But we need we'll get We'll get you close upsets Thursday. Does that sound okay? Do we need a close up of for No, No, we don't need someone moving in the background. Let's just ball we're here. Let's just get your shoulder moving through here. Okay? You need You lied to me before when you said to pay out five minutes. That was like a fake five minutes. Okay, so let's just, um here's what we'll do here. This isn't really close enough, is it? Or is it guys? Is this shot close enough? Do we need to switch to another wings? This is I'm all the way in on this lens. I think it's close to know you think it's close enough? Yeah. Okay, so here's what we want. So we really don't want to see her hair doing. We want to see the shoulder. Just moving in there. Don't Don't We want to just see that? Is this too bright? Do I need to close down? I dio That's better, isn't it? Can you get just a little. Be nice to see just just enough to know that. So tell me if this works, I'm gonna touch you. If I may, If she's just back a little further and she just kind of comes in, that's all coming back out like that. Is that good beauty? Okay. What's that? Yeah. You don't want to see the Yeah, The hair is too much of a giveaway. Okay. How's how's the housing exposure? Is it right? It's perfect. Moved her. She should be able to have more shoulder more desist. So we just want you to kind of go in and yeah, that's about that's good. And go back in okay. And start one little bit more to your right. Look like yeah. Okay. And now go out and in and don't stay out quite as long. One more time. On out and back in right away. One more touch longer and in. Okay, We good. All right. All right. Let's do it then. Unless you guys can think of another shot with Laura with her shoulder or anything. Let's get a super close up of her eyes. Let's just do that because you know what we cut away to him twice. So let's just can someone clear this camel? It's stuck around the leg. Or is it? No, No, I didn't unplug. We're just all right, you know. Let's, um I'm gonna change lenses real quick. Where's not lanes? Bags it outside right there. I'm gonna Here's what I'm gonna do. I'm gonna go to a longer lens. I'll take the white one. Thank you. Thank you. You're going to put a cap on the back. Okay. Oh, I can't put this on. Hold on. I can do it this way. Okay. So what I've done here is I put on a really long lens, and we're gonna Let's be on the minimum focus, take a tiny step. Does that do anything for us? Doesn't tell us too much. I think so. I don't know. Hold your hair back with Yeah, I think it's too close. I would love to get closer than this, but I can't with this lens. I'm already at the minimum focus. Yeah, I don't know. No, I'm gonna shoot it. Cause we're here is because she's beautiful. That's, um, like God. Oh, just disappears. I'm gonna go back and shoot this the other way. Very slowly. It was like menacing Buffy. Okay. Did that do anything for anybody? Yeah, I liked it. I just don't know if you would use it. Okay. All right. Let's turn the lights on and get out of here and go upstairs.

Class Description


Young filmmakers are often taught to de-prioritize lighting. They are told that lighting takes too much time, money, and expertise to have any profound effect on their work. Lighting for Film: Simple not Plain with Bill Megalos changes that.

In Lighting for Film, Bill will show you how to light technically, instinctually, and cinematically. You will learn how to light for both interior and exterior work and how the simplest lighting techniques can produce the most dramatic effects. 

You’ll learn how to:

  • Produce story-altering lighting effects with minimal equipment
  • Light for both of interior and exterior content
  • Choose instruments that suit your budget and filming goals


Bill will teach professional lighting techniques you can use on your own or with a crew that defy the everyday budget and common-wisdom of filmmakers having to tell a story "in the dark."

Reviews

a Creativelive Student
 

This is a wonderful class with a very knowledgeable and experienced instructor. It starts with the principles you need to understand and then walks you through the process of actually doing the work on set. You can see what it takes to accomplish the work. I will be watching this over and over to let it all soak in. Thank you Bill for putting this together.

Abel Riojas
 

great class! i've struggled with proper lighting and he broke it down in a matter of minutes. very simple and easy to understand. i would recommend this to someone that is still trying to find their "voice"