Lighting the Scene
We have a little simple scene here that we've set up, and I wanted to talk a little bit about situations that aren't necessarily ideal when you're asked tio two basically light a scene in a in a situation or a room that isn't necessarily the situation room that you have or that is in the script, so oftentimes a mass like, oh, you know, can we make it look like they're next to a window? Or can we make it look like they're in a cafe? And we're actually like in the basement of some random building, so I have a few tricks that I use a couple techniques that allow to maybe take a smaller space and open it up a little bit more so that you can create some depth and some dynamic, a dynamic setting with your scene, and I'm going to talk about those right now. First, I'm going to plug in this I rig pro, so we get some good audio, so that's going on over here and then what we have for a shotgun mic today, so we have a sign azar shocking might get it's going directly into the eye, rick probe so we...
'll be able to kind of hear that, um, right here we're splitting off so you guys will be able to hear the audio that we're recording as well. So basically, what I have set up right now is a kind of a simple little book light set up um ah, book light is a way to be essentially make a smaller source bigger, so when you're in a small confined area, it's hard to kind of get big, soft sources, which generally are more attractive for people when they're in a situation when they're talking to each other like a big bank of windows like there's nothing that can replace a beautiful big bank of windows were soft, rapid light comes in and really kind of is really attractive, and when you see those in real life you're like, oh my gosh, that's great! Well, that location is always not always available, so what a book light does is because you're actually you're taking a source and you bounce it against another source. So say it's a a ah ah higher power, but more speculator or smaller source we haven't and it's called an m eighteen, which is an eighteen hundred hmm it's pretty nice like you don't necessarily need a light like that you can use uh, any just hire waters light I've used work lights before, like those home depot lights you about those into the wall, it broadened their source and then you take another piece of diffusion we have a half stop silk right now, but you can use a shower curtain material is actually rate really cheap way to diffuse light as long as you don't get it anywhere near your heat source you're fine so what's happening is we've got this really hard small light bouncing into a wall which makes the source bigger and then that is bouncing back into your diffusion which then kind of inter actually here with your subject and you get some kind of wrap e light that's coming around and kind of axes a bigger window source so that's our kind of main key or are blue kind of uh like skylight if you will um one thing I kind of wanna talk about really quick here is often you're asked you are people respond with like colors daylight and the response is fifty six hundred kelvin on and that's the color temperature of daylight it's a bluer sort of light that's true but not necessarily totally the whole story the actual story of daylight is it's a mixture of several different sources you have the sun which is actually a pretty orange source and you have the atmosphere that's being led by this inn which is has I oxygen and nitrogen? What now? And that is blue two people who actually quite blue so you know if you block out the sun in a situation and you just have the atmosphere of the blue sky you're seen as quite blue, but if you let that son come through it's kind of, it warms it up enough. So it is in that fifty six k range. So what I like to do if I'm reproducing a scene where I have a window next to people, I like to reproduce that kind of blew source. So my h m I is my blue resource that's bouncing off the wall in coming in, and then I have a tungsten source, which is basically just a tungsten filament lamp that is burning at thirty, two hundred. Calvin, that is acting is my slash of sun that's kind of coming through and hitting their arms that also is a really nice will referral off the table. It'll bounce up and really sell the idea that they're kind of next to a sunny window, and then I have one other source here or a couple more sources. This is called a pancake sham era it's basically a china ball that you can has a flat top to it so you can put up against a a slower ceiling room really handy if you want to have a bigger, soft china ball sort of source that you are in a smaller room. Basically all this is like those little china balls you can get from my kia it's just a more rugged version of it and I have just a street two hundred watt home depot light bulb screwed into it I love the warmth it's way warmer than thirty, two hundred I love the warmth that those bulbs give and if you give him down a little bit it's even more beautiful I'm using actually a dimmer not to be too random here, but I'm giving down this one k one thousand watt light with a dimmer that I got from harbor freight so little tip here you could get a thousand watt dimmer from harbor freight it's called a, um router speed control and they're twenty bucks, which is their normally like a lot more than that over a hundred dollars and I love those little dimmers getting from harbor freight dot com I use them a lot in my productions and then I have another blue source it's just a led one by one by one panel that's kind of punching in referring that there might be some other window down to the other side of the cafe that is pushing in some blue light to our subjects here, and it adds a little bit of color mixture and phil, I really like to mix my sources and my colors together so have a larger cool source and a harder blue source coming to the same side of the subject it adds a little bit more dynamic look to the image so we have a couple cameras here one cameras set up with a the I pro lens kip really really cool thing created by century optics which is essentially it's a hard case that allows you to mount your iphone six in and then it comes with these little lenses that our band at mount the pop on off this is the telly lin's one of the really one of the difficult parts about shooting with the iphone is getting a longer lens look so this is a two x telly multiplier lens so if you put that on you get a nice kind of medium shot versus the traditional white shot you get from um your traditional I thought shots back here we have our audio we mentioned that earlier it's coming right into our iphone six plus and then neil is over there with his other iphone six plus for a kind of more wide shot and we have another cafe element a little a couch to kind of sell the fact that they're in like a little urban cafe and a splash of light with the tungsten light back here so how are you to feeling good do you have your lines in kennedale okay. Okay that's great yeah ok that's exciting right way we're totally cool with that