Lighting Day to Look Like Night

 

Lighting for Film: Simple not Plain

 

Lesson Info

Lighting Day to Look Like Night

All right, so we go for a night so we go for a night okay? Let's do night all right just so that we have just so that we have um the most options let's change the bulbs out and put this stuff in so that we're ready we're ready to just look okay, so the first thing we're going to do for a night is we are going to um first thing I'm gonna do for a night and I'm going to change the on this on this er s o on here okay because I don't want it in auto I want it and now we know one thing about the cannons like way well I wanna have because of the winds is not very fast and I just want to be able to now the cannons we know that they have to be in multiples of one sixty to get the best images so it's either got to be one sixty three twenty six forty or let's goto let's go beyond six forty which is what is that doing that did you want this one black here we go so we want six forty let's well, we can start with blackout but we could go to twelve fifty and let's see how twelve fifty works for us o...

kay? Did you want this oneto blacked out behind me? No. Yeah, yeah let's do that let's do that yeah there's plenty of stop here so we'll be ok it makes a big difference okay all right so the first thing we know that we're gonna do is we're gonna change we've decided we're going to use movie convention and have the nighttime b balloon right so we're going to change the timing the white balance in here right and we're going to go to we're going to go to let's just start at at tungsten ok we can make it even bluer later but for now we'll just started toasting okay right now we do have weight got a black out that guy there you see that one that's see that's the one that's up there can you do that bad I guess you're doing it and if you could bring them all the way down that would be great you see others a foot at the bottom yeah we'll go as low as we can okay so right now let's see what happens when we look at this monitor all right we got some we got some blue going on there's a little bit of green in there but let's just you know what let's ask celeste to take her green thing off of love it's quite it's quite hot. Okay, great. All right all right so we know first off here we know that we've got a little bit of blue coming through here this one, isn't it no that's um how clever this is one side is one on one side the other it's the screams down one more inch away just trying to get a little bit here so we're basically we're just it's not that we're killing time but we're making sure that um and these guys have to be replaced too so let me let me jump up help one of these can you give me one of those light bulbs? Okay, so what we're doing here just just to read uh well we're going to do the other ones too just to recreate just just to reiterate hey, we're going to use the outside light now as blue light from coming in from outside and we're going to um and we're going to we're changing these lights here so that they're all tungsten colored and they're orange all right? I'll take one of those it is hot so once you've gotta try to get rid of it as soon as you can just put it down okay all right so adrian's already done his thing before we start letting blue light in here the main source the key for this before the key like for daylight was the light coming in from outside and we balanced that now the key light that is we're going to be using is really going to be these top lights so let's get this look good, right? And the way we want it before we start bringing in the amount of ambient blue light that we want and it's very conceivable here that we might let in more light from here than we do back over there. Right? We might keep that really dark and let a little more blue light beyond them. Let's. See what happens with that so let's, turn on let's. Start with the red ones first. Okay? Mmm. Like that? Well, not bad, huh? But it's a little over exposes in it. Probably right. I should probably darken it. They're not bad as a start. Let's, before we fall in love with this let's, switch these off and switch the other ones on. Oh, that's. More ninety, isn't it, it's? More like it's. More ninety, isn't it? Yeah. Not bad, huh? It's got it's. Got green. And it though, doesn't it? These fluorescent lights have green, and I know the monitor has some green. And I have noticed that. All right, here we do have an issue. What is their issue? Our issue is right now, free she's really dark because of where these lights are. Yeah. Uh, maybe maybe we want to bring in foot orange and put a little of that on that and may be maybe we want to hide it over here right in here where we don't see it and come up on him on that maybe that'll work I think of float because you've got a full up there all right so that's that's kind of interesting, huh? Let's try one more while well well adrian is working let's try let's see what this one does do anything for us guard maybe we add it to the other one would try it on and off did someone say they liked the first one you like you like this one? The best thiss one that's this one you like the best like like you like this one okay well, you know what let's let's set our level because we're not let's set our level to this and you know it's very possible it's very conceivable I'm conceiving of it right now that this front light is too much that we might need to unplug unscrew this like watch what's happening what's what this is putting maybe too much light on what's what happens if this comes out how's that that's okay, so thanks. Is that better? Does that look more ninety? I mean, this is the question I think when this happens and we've got is that too much or it's like indoor nighttime, right? Well, it is indoors so with the lights on okay so you like this you think she needs this on the top rather than I think what happens if you open the iris on that do you know how to do that it's the it's the the wheel the round wheel to the right the closest one to us right right us know the wheels on the back of the thing the secrets of the other way the other way okay stop there hold it there you gotta keep it off waiting for the green okay you keep it down low level this okay so really it's kind of it's kind of interesting teo that's that's looking kind of good on let's put the darn door in on her a little bit more I want to keep it off better okay just yeah that works yeah okay so um how's that looking you guys what do you think I have only one issue I think that white wall has got too much white on it it's not it's not it's and it's killing us because it's a big white water and it's not looking is ninety as we want so where's the light coming from well I see one of the things the light is coming from is this if I take this off the reflection is gone right did that help yeah well okay and now I think the only other thing we need to do is we need to get that blue wait where is it coming from? Is it coming from here yeah because it is there in the back wall it's the back wall but where is it coming from? You know this back okay, so let's try one more thing and then we'll get out of here because I think we're really close let's what if we put a big foot your floppy up here and kind of knock some of that like it's coming from back over there where we kind of can't really control it very well but overall the other thing we could do is we could make this brighter in here that's pretty good pretty good I'm kind of liking it there shot I don't know they said there's no blackout's over there kill me is that it wouldn't affect the whole off the whole I know but like the thing that we assemble maybe put it like in the middle well we're going to bring if we're gonna bring something right up here and we're gonna move it in here and see if that does anything okay but you know the other thing that we can do is we can go for the shorter we can go for this zooming in zooming in it's probably gonna look zooming in it looks better doesn't it so adrian adrian see, I think what's happening here look look at where we're trying to kill it's um it's that area kind of from one third of the second way right from the middle of this red over to uh the little room okay, okay that could be doing it till we get it. Yeah, I wasn't expecting that much light to be coming through here is it from the cracks no it's coming from there but that's what I thought too no look, I can see look at the look at when someone stands in the way here look is it uh art I um I'm not stopping it. What are all those lines coming there? The lines from that here let me hold that sin from here one second let's just see if this does anything corner all right, meet me in the shade and try every sport ever it's not really doing much, huh? Yeah, maybe you know what I think you guys might be right? I think it might be the slices between here take this. Yeah, well, why don't we do this then why don't we just have some people stand here? I think what it's the light between here and here so these have to this has to be behind that anyone I think I think we've kind of probably hit I think we've hit the wall here with this yeah, we love it, we love it look at it that way there we go yeah, ok, whoever did that yeah, keep it that way, yeah, that's way. Yeah, ok, the only thing, this what's, that is that monitor. What, that white squash right here, where you just know that that way, but that's, the thing, they're all right. Look, we love with what you guys did. Let's give everybody, especially adrienne a hand, okay.

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.

Pain Bot
 

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"