Lighting the Scene
We have a little simple scene here that we set up. And I wanted to talk a little bit about situations that aren't necessarily ideal when you're asked to basically light a scene in a situation or a room that isn't necessarily the situation or room that you have, or that is in the script. So oftentimes, I'm asked, "Oh, 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 in the basement of some random building. So I have a few tricks that I use, a couple of 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 setting with your scene. And I'm gonna talk about those right now. First, I'm gonna plug in this iRig Pro, so we get some good audio. So that's going in over here.
And Jonathan, what do we have for a shotgun mic today?
So, we have a cyanizer shotgun mic and it's going directly into the iRig Pro, so we'll be able to hear that rig...
ht 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 simple little book light setup. A book light is a way to essentially make a smaller source bigger. So when you're in a small confined area, it's hard to 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. There's nothing that can replace a beautiful, big bank of windows where soft wrapping light comes in and is really attractive. And when you see those in real life, you're like, "Oh my gosh, that's great." Well, that location is not always available, so what a book light does is, because you're taking a source and you bounce it against another source, so say it's a higher power but more specular or smaller source, we have, it's called an M18, which is 1800 HMI. It's pretty nice light. You don't necessarily need a light like that. You can use any higher wattage light. I've used work lights before, those Home Depot lights. You bounce those into the wall. It broadens 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 a great, 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 interacts with your subject and you get some kind of wrap-y light that's coming around and acts as a bigger window source. So that's our main key, our blue sky light, if you will. One thing I want to talk about really quick here is, often you're asked, or people respond with, "What color is daylight?" And the response is 5600 Kelvin. 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 lit by the sun, which has Oxygen and Nitrogen and whatnot and that is blue. It's really blue, actually, quite blue. So if you block out the sun in a situation and you just have the atmosphere of the blue sky, your scene is quite blue. But if you let that sun come through, it warms it up enough so it is in that 56K 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 blue source. So my HMI is my bluer source that's bouncing off the wall and coming in. And then I have a tungsten source, which is basically just a tungsten filament lamp that is burning at 3200 Kelvin, that is acting as my slash of sun that's coming through and hitting their arms. It also is a really nice little referral off the table. It'll bounce up and really sell the idea that they're next to a sunny window. And they have one other source here, or a couple more sources. This is called a pancake chimera. It's basically China ball that has a flat top to it, so you can put it up against a lower ceiling room. Really handy if you wanna have a bigger, soft China ball source that you are in a smaller room. Basically, all this is, is like those little China balls you can get from IKEA. It's just a more rugged version of it. And I have just a straight 200-watt Home Depot light bulb screwed into it. I love the warmth; it's way warmer than 3200. I love the warmth that those bulbs give. And if you dim them down a little bit, it's even more beautiful. I'm using, actually, a dimmer. Not to be too random here, but I'm dimming down this 1K, 1000-watt light, with a dimmer that I got from Harbor Freight. So little tip here, you can get a 1000-watt dimmer from Harbor Freight. It's called a Router Speed Control. And they're $20, which is, they're normally a lot more than that, over $100. And I love those little dimmers. You can get them from harborfreight.com. I use them a lot in my productions. And then I have another blue source. It's just an LED one by one panel that's 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 fill. I really like to mix my sources and my colors together, so I 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 of cameras here. One camera is set up with the iPro lens kit. Really, really cool thing, created by Century Optics, which is essentially a hard case that allows you to mount your iPhone Six in and then it comes with these little lenses that are a bayonet mount that pop on and off. This is the Telly lens. One of the difficult parts about shooting with the iPhone is getting a longer lens look. So this is a 2X Telly Multiplier lens. So if you put that on, you get a nice medium shot, versus the traditional wide shot you get from your traditional iPhone 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 more wide shot. And we have another cafe element, a little couch to sell the fact that they're in a little urban cafe. And a splash of light with the tungsten light back here. So, how are you two feeling?
Good? You have your lines and know what we're--
Well, not so much lines.
We'll just keep talking.
We have a conversation.
Okay, that's great, yeah.
It might get weird.
And that's exciting, right? The potential for weirdness.
We're totally cool with that.