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Lighting for Film: Simple not Plain

Lesson 12 of 14

Lighting in the Shade

Bill Megalos

Lighting for Film: Simple not Plain

Bill Megalos

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Lesson Info

12. Lighting in the Shade


  Class Trailer
Now Playing
1 Class Introduction Duration:17:28
2 The Qualities of Light Duration:48:08
3 Hard Light vs. Soft Light Duration:22:54
4 Three Point Lighting Duration:12:17
6 Basic Light Safety & Gear Duration:11:48
7 Lighting a Subject Duration:15:36
8 Lighting a Room in Daylight Duration:12:55
10 Creating Drama with Light Duration:38:03
11 Lighting at Dusk Duration:18:23
12 Lighting in the Shade Duration:21:04
14 Lighting for Night Duration:11:30

Lesson Info

Lighting in the Shade

Guys, why don't you move over here and we're gonna move this table out from the wall all right? So that there's room to put lights behind you okay and then we'll set it will set it a little bit more this way so come on over here, you guys hey, look who's back that was fast, huh? Wow. No traffic, huh? No, no actually, you smooth all the way. Okay, so what we're doing here is we're, um we've got a situation where the light has gotten flat on us, but we want to kind of sparkle it up a little bit when I look at her she's looking at him, I think I actually want a lighter from over here, right? Because that way it throws the light into this side of her face all right? It'll make her eyes pop a little bit more, so we're gonna just outta like this a little bit warmer here and we're gonna do the same thing with him from over here back over here all right? And maybe we'll let the light that's hurting him backlight her just a little bit too we'll see how it looks so let's take the uh let's take t...

he romero and put that over here way have to find something similar to that for him maybe with him we used the lift see how this looks thank you go straight in here now lights here are different lights these air actually, this is a tungsten balanced like so it's going to be kind of orange so it's very possible that we might need to, um wait might need toe cool this down a little bit I don't know I would like to get a little more out of this so I think what we'll do can you take the skin off it and take the inner baffle out? Okay, first thing we'll do here is we'll set up a nice shot for laura let's see what the white balance is set on this? You know it looks cool it's cool it's set for daylight all right now what's happening is that the night is the day is leaving us and we're getting a lot more skylight here so let's see what happens if someone looking at the monitor there so he's got the eyes on the monitor reconnected okay, so take a look at this and tell me we're going to go if we if we wanted to warm up then we should try either shade which is seven thousand or so or cloudy so which one looks better way still waiting for let's see if I get out of menu if that helps here we go okay, so take a look over there get right on top of it this is this is cloudy do we want to go even warmer than this? You try even warmer than this okay okay well goto that was let's go to shade this is a swarm is we can get without making up our own that's looking pretty good from here take a look at that can you go look over there and see it looks straight in on it no not off access it looks good way like that color okay, so what have we done here? Let's see what happens when this is off all right okay so this is off it doesn't okay, so this is the light that we decided to put in were putting a tungsten balanced light in and it looks pretty good all of a sudden doesn't it is that a little bit much? Is it a little too warm? Wei don't want teo one lower one lower what? One lower in the white balance yes so like six six sixty five is that the right one? I think it is all right, so this is six k what do we think about this? It was the other one better it's more realistic this is more realistic. Is the other one more rahm come? Yeah it's a little more the other one's a little more bright orange ok, well let's figure out let's get some light over on him too so we're gonna light him from the same side too so this is without without without filling light warm and that's off and this is on okay so this is off and that's on how does it look over there? Good. Okay, good. All right. So let's so we have to do the equivalent on him now what's happened over here is we've got we've got we've got warm light on her we've got tungsten balance so we need to keep something kind of similar on him over here which of our life can we use kino flo is daylight balance this is tungsten balance. If we have one of those led lights with the orange correction on it we could use that right well let's get it going to be hard let's try that. Shall we try that? Take the blue office and try that ok, we do need the diffusion on it. All right let's see what happens then way need a little more diffusion than that that's that diffusion there is very then you see how thin it is it's not you have you have to sixteen okay let's do some multiples on there that help now. Yeah put it on the outside of it. If you put it on the outside it will be further away and that means it'll make a bigger it will make a bigger a bigger source which means it'll be soft ok that's a little bright so maybe wei would need one of those screams through this way it's flooding way moving back what happens? What happens if we move it back? It gets smaller and it gets harder it's hard so we want it to look like it's not really there so we really wanted to not be hard the other thing that's happening here is we've got a little bit I think it's probably a little because she's got this blond hair it's a little bit there so we might need to put a flag in here but we're not going to dim it we're gonna put screens on it right off the scrimmage there in that black bag okay let's take that this this what we're gonna do is we're going to make sure it only hits her and not him okay, we don't want to take the light off him. We want to take it off of her. Can everybody see looking in the monitor what's happening looking in the monitor there's too much light on her back light on her hair yeah, so we're gonna want to put this like this right? That that makes a difference, right? Yes. All right, well now the question is is this in the shot? Well that's not gonna work is it how much too much a little bit is too much let's move this over here is it in the shot now it's still in the shot? Oh, boy. Then wait. Maybe let's move her out a little bit just just a little yeah, just a little bit, you know, just just tiny that way you don't. Until I'm sorry. Go back to where you are and just move your chair this way way too much, too much too much. All right. Is that is that all right? Someone's on the camera, right. Little bit more this way now. It's off of her. Hold on a second. I'm gonna leave this with you, let's. Let let me see. Let me see if I can find the shot a little better than it is because we like what that light is doing on him. I think he was sitting in the next booth. Yeah, that you know, that c stand has to come from the other side of the white sea standards in the shot. This okay now what's happening is the lightest changing there's the light gets less. These lights that we put up on that looked really great a couple of minutes ago are now starting to show that they're that they're really uh, that we're starting to feel like it's lit and we don't we really don't want to do that, we want it to feel real we'll bring them down a little bit, yeah we'll dock in it a little world we'll put a screaming their way got the screams you could bring that closer to the light okay okay wait okay well it was it was really more let's see what it looks we haven't even gotten to this side yeah, that looks pretty good that looks good all right, I think everybody's moved but that's okay, I'm gonna move this life all right because this light is in his shot now. Okay, can we so have we've rolled on this right? We're pretty happy with her shot let's try the other shot on him the other one around on him okay? You're crossing the access there what happens now is she was on the right if you move over there she'll be on the left you want it there's a line between the two of them you don't want across that way. Okay, so we're gonna have to open this up a little bit so it looks like it looks okay I'm not in love with it what's happening is it some no it's not that it's just looking to hire local radio yeah, the lightest too hard on you okay it's stupid it's just too hard another no no that's not it that's just makes it darker that doesn't make it softer let's take this well, we're going to do look the reason it's hard because it's a big light source and it's getting it's getting far away from him so what we're gonna do because we will take this off because we're losing light because of this way would move this and which is much bluer moving in much closer and now look at it how does it look now is it looks softer because the sources the source's closer and bigger yeah does it look softer now e I feel like it might be the soft box or I don't know that's creating this harshness no how could a light this behind them create a harshness let me look at it like bouncing let's turn this off and let's see if you could be right yeah there you go take it off okay, so I'm gonna I'm gonna leave a little bit of it on him I'm gonna pan it off him so there's less on him so that it still has a little bit and the other thing we're gonna do is we're gonna pull this scream out of here because we put a screaming all right so this is a little bit brighter now how's that looking good I think it needs to be this needs to be probably a little bit blue now what's happening now is that the skylight is getting bluer and bluer so that as the skylight is as we're getting more sky unless some the sun has gone down there's no son anywhere this is blue so these these lights that before we're okay they were just a little bit warm now they're really warm so they're starting to look a little bit fake so at this point if we were still filming now did the battery diane listen I just switched the shape well it's not it's the problem is not what the it's not what the white balance overall is it's the combination it's the combination with this skylight these lights air to warm that lights that we've added are too warm compared to the skylight so when you move that to shade what that's doing this making these even warmer so so what we need to do is we need to correct these lights we need to make these lights bluer okay so that's when you would add a little bit of half or quarter blew and by making and and as that's happening this light is going down so we can get away with less light well now what's happening is here it's really the problem is not fixing the camera the problem is matching the lights to the daylight okay so that's what we're going that's what we're working on now all right so now let's go back go back to leave it on it's cloudy leave it on cloudy and let's also I'm sorry we've got to do one more here let's also changed the because we're running out of light here remember everything is so let's change this two three twenty way have a little now we have somewhere to go as it gets darker we'll be able to we'll be able to work with us so you see what? Okay, now this comes back up. Thank you for doing all right. So the closer you get to him the closer you get to him bigger this light is what did that get flooded? Spotted wei don't want this spot it no it's not smoking. Okay, that's what? We're going to move this in a little bit because we need just a a touch more like okay, let's, try that. Try to fill this with as much light as possible. See if you feel this what's happening is then then it's a softer light on him. Okay, so as what happens as it gets darker so clearly it gets darker, it gets darker, it gets dark, you have to keep putting, you have to keep putting scrims in to make this darker. You have to keep adjusting the color so that so that the colors keep matching and then you can keep shooting later into the day. The other way of doing it is two is tio tent the whole thing and, you know, do it on a studio where you have the backdrop, but as you're going back and forth let's go let's take one more look at hers and see what we have to do to make her his work now come back around its and see horace and then we're going to set up for this other shot that we're gonna be our last thing for the night ok, you can pull that out now thanks, let's. See what's happening over here way now what's happened with laura has she gotten too warm a little warm? Okay, so we'll put that on there. That's the half blue full let's put the house from there on they were done with him so let's use that one just for the moment with wait there's one more left on that way so what's happening here here we should probably warm up the light again not the whole light but the color balance in the camera, right? Let's see, I'm gonna I'm lowering the camera so I can see what the background looks like the background starting to look a little cold again, right? So we'll do that we'll go in here will change the white balance from cloudy now we'll go to shade, right? The shade is will warm it up a little on a kind of and there we go that's about it uh so what we've done is, as the light keeps changing, we keep matching it and the things all pretty much look the same to a little brighter strider talking this close, you know how to close the shutter. One look the other way doesn't look like you is too dark. One more open, ok, wei need to make it blue or the light on her. You think it's good, okay. And, you know, one of the things that's happening now is we're starting to get into as we get into the higher and say this, the cameras look, is starting to get a crunch here is starting to get more contrast.

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."


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.

Joe Stevens

Great class, learned a lot. Would highly recommend!

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"