This is next level cinematography content because you don’t exclude us from encountering and solving problems „with you“. Sometimes, these videos can lead one to the assumption that this is easy, but the reality is that you will regularly encounter „oh fuck, this just doesn’t work“ moments. Normalizing that and letting us into your brain, how you will approach these situations, is very important.
dude thank you so much for showing that sometimes there is struggle and practical annoyances when lighting a scene. it's refreshing and i get to be like, "omg i'm not the only one who has a hard time figuring out how to light/gaff big shots!"
Well, well! I learn that I need more and different types of lights, more stands, a large crew, materials to build sets and of course, a warehouse to put all together!!! Great video btwy!
i'd like to point out that DP's always light this way because by hitting the side of the face away from the camera, a short key leaves shadow on the closer side, creating mood and interest. It brings out the shape of the nose and cheeks. you don't really need a window for it but the motivation helps, especially in commercials more than dramatic. it's kinda like 3 points lighting. learn the rules, then break them once you've mastered them and know why.
Long-time admirer of these videos! I learn so much from them. In this clip, if the producers want a natural look, i.e., as a room would appear with outdoor light and minimal indoor light, then this setup seems overly complicated. The final images are nice, but when compared with the Bad Therapy stills, there is a dramatic difference: the BT set looks very close to real-life. The set in this clip looks like a studio, it is clear that there is a lot of artificial light support. If that is what they want, then it is a success! But if this were my project, I would use fewer lights to minimize the studio look. Overall, though, this is a great, instructive video, as usual!
A great very learnful video. I like those practical examples. They help a lot to get into the right way of thinking. The only thing I would add, is a wide shot of the whole set, maybe from above.
Love the raw honesty in showing the those moments of frustration to get the lighting right. A few things that pop into mind. On a good budget like this wouldn't it make sense to hire a gaffer? Also the city backdrop didn't really work that great, might it have been better to just blow out the windows as pure white. Plus add some blinds and use a spotlight coming in thru the windows to create that hard light stripey effect. Also the set seemed a touch overly bright compared to the reference. Of course that was probably intentional. Thanks again!
I never thought I would say this but, for me personally, without knowing the details of that shoot ( what the client wanted exactly blah blah ) this scene is way to “well lighten” for the feeling I was prepared to take when you explained part of the project at first. Again I don’t have a full opinion on this because we don’t know anything about the project or the look they asked for. I’m just saying what I felt by watching the shots. For example if that was a “comedy sketch” type of commercial, yeah the lighting make sense. Usually when you’re implementing comedy on something that it doesn’t have comedy in real life, all the shots are brighter and they have a “happier feeling”, well lighten, etc. But if the project was more true to life, realistic, I would def let the shadows kick in more everywhere and play with the practicals a bit more. Either way, you’re work is fantastic and we learn a tone of stuff on its and every video you guys make. Well done.
kindly keep posting like this because it is very informative and make us think how to solve it to be honest with you I didn't shoot something like this, I raised some questions in other comments, because I want to understand why you decided to do that hoping you have time to read my other comment and answer my question thanks in advance
Awesome video! You guys always put out some of the most entertaining training or enter-training videos! And I subscribed long ago so I just liked this video because I'm a Rebel!
How do you guys manage continuity issues since the wide and the close up shots aren't done at the same time. Is it more work for the talents to re-do everything exactly the same way twice?
I’m looking at thay backdrop and I’m like “Man, even the lights won’t make that look real” and the second he flipped them on and showed the shot again I’m like “woahhhh wtf” 😂 amaazzingggg. This just threw me so many ideas now
Awesome! Can you make a color grading tutorial on how to accieve these popular flashy saturated colors? I try to get this right for two years now, but I always end up with very unnatural looking results that are nothing like THIS!
@@EpicLightMedia Do you use a special in-house LUT? I've just never seen the Ursa look like it does on your projects, and the look has a very consistent gold sheen, especially on skin.
I love the breakdowns! Also I'm not sure if I love or hate the fact that you all speak with EXTREMELY EXAGGERATED ANNUNCIATION. Is that a local accent where you are from?
Thomas, please make a video about hiring actors. This process is so time consuming and so particular with details when working with clients. How do you guys do it?
First of all, SHUT UP !! I loved your video so I am Subscribing it 😛And now, I can say, with humility in my heart.......Thank You for the Video. I learnt a Lot 😊And btw, Dave Maze, has been subscribed as well 😁
I love your channel. The best. How did you bounce the 1200 aputure? from bottom up ? Where did you position it? or was it bounced from the top ? On top of the bleached muslin ?
Thanks for an interesting video. I'm admittedly no cinema lighting expert, but - hey!- I'm wondering about the logic of firing up several practicals in an interior shot when you've got (in your words) "super-duper bright" light coming from in the windows; who would have three lights on in such an apartment?.
@@EpicLightMedia Thanks for the reply ... note that my comment, sincerely, wasn't a criticism, but I've only recently learned of the meaning of "motivated lighting", so I was just curious.
Thanks, Great job on the video. But, like 99.9% of online lighting tutorials, you show how to light a person standing or sitting still. In many serranoes in video the person and or camera is moving. Please do a video on lighting for movement. Best Wishes David Jones
great video, appreciated very much! May I ask you if you ever struggle shooting orange objects with Ursa mini pro? I often have trouble with the saturation the camera gets on those wave-lenghts.
@@EpicLightMedia thank you! And I also noticed that it gets worse when the orange object is out of focus (may depend on how compression happens in Braw). Sometimes in the orange I get real gamut clipping. Do you have any strategy to counterbalance that? Really appreciate your help!
excellent, something I could not understand, after you used the bleach muslin have you fired the 600d from above the muslin as trunsclenct or you used the bounce technique something came to my mind why you did not use small pavo tube above the painting as an accent light even they sell in home Dept in stores some accessories like it with golden metal cover you can hide in it the pavotube something else why you did not hang pipe grids and hang on them some china ball to light the whole scene and some dedo light as an accent light for the painting on the wall
Awesome video again and I don't expect less from you guys. I have a question: would you still light his helmet the same way if you were to shoot a similar ad? I can see the justification for the helmet edge light on camera right but the intensity is the same on the helmet camera left. I might be missing something so feel free to set me straight :)
Nice Video as usual ! Sadly for me it looks a bit fake... Thomas is always talking about imitating real life lighting but you are not going to the end of the subject, why are you not striking a big big source through the window ? Aputure 1200, M18 M40 or any big HMI source, something to replicate the sun, with a gel to warm it up (some + Magenta is nice sometimes). In the room we feel that all your lights are coming from the inside. And if you want to add softlight you can add a fill light like you did with the muslin on top or use another source bounced or diffused through the window. The fact that tou didn't shine a light through the window makes the muslin on top too strong becoming your key light and it's something that wouldn't exist in the real world. Your final result look great but it's really "fake and unmotivated" in my opinion :) I am not criticizing for the pleasure you asked us how we would shoot it. I would have set the biggest source you have through the window, undiffused, shining on the couch or the desk and add the geminis (or maybe more firepower) on stands bouncing on a 4x4 ultrabounce on top of the city to light it like the sky, penetrating through the windows as a soft fill to mimic the sky again. For the inside i like your solutions but I would lower the brightness. You can add a bit of haze to shape the light if you want too.
Nice points! I was wondering how else to shoot this... yours would definitely look more natural with enough light contrast to be 'cinematic' but i'm sure epic light media was going for that commercial look (:
Exactly, as others have said, for a cinematic scene, your strategy would work great. But for this style of commercial, the lighting intent wasn't to be theatrical.
Hi! We met at NAB this year popping in the comments to wave. Anyways, I recently did a shoot with high key lighting. Decided to use a couple overhead lanterns on a grid, but the shadows from the overhead in certain instances caused some issues. Had to end up adding in more fill light to combat that. I'm thinking maybe next time doing an overhead muslin and bouncing my 600D to the muslin for the large source fill. Then a motivated key. I'm guessing a chimera would've been a great solution, but the way my bank account is setup you see ...
Hi! NAB was fun I had never gone to something like that before. Yes large sources are best. I think I would only do space lights if the space was too big for a 20x or something
@@EpicLightMedia I remember now, it was the Aputure party I got to meet you! That was a blast. There's a RUclips conference, Vidsummit in a week. If you're out there I'll have to say hi again haha Yeah plus the time it takes to safely rig anything up a grid adds up a lot. We only had half a day of studio time to setup before the shoot next day so sometimes you just gotta get things done.
Love your content and aputure products but youtube is becoming this big intransparent marketing/advertising show the to a point you don't even know which channel is bought and which channel is independent. Keep up the quality content though
@acl I have the same issue with just about everything on the internet. Even with the right discernment, you can only sometimes figure out when a youtuber/blogger/influencer has been bought out. I have known Thomas and others from the ELM crew since before I could ride a bike. They genuinely think that Aputure provides the best bang for buck lighting solutions.
Nice! I see you're rocking your G2 rig on the flowtech 75 as opposed to the 100. How's that been for you? We have a G2 with a similar weight setup but we're concerned about it being on the high end of what the 75 takes as we're looking at new tripods. Have you had any issues? Does everything lock off OK? It would be useful to get your thoughts as there's a substantial price increase between the 75 and the 100!
So, did you or did you not put some light above the muslim? If so, I'm not sure you needed any actual backlight. That's used for separation and the overall set seemd bright enough that the actors had separation from the walls. But, really nice job. I'd love to see the finished, edited product with color grading and all.
What was the Contrast Ratio? 1:1? There was, in my opinion, too much light. Perhaps increasing the contrast would be preferable for me, but perhaps not for your client!
This is cake. this is okay. this is a disaster. help. oh god. oh god. oh... oh good. this is good. okay we're ready. -every DP on every project. I'm curious why you topped the set with muslin vs. throwing up some space lights above the set for your soft top, or a lantern box?
![Eminem - Temporary (feat. Skylar Grey) [Official Music Video]](http://i.ytimg.com/vi/ZaK9Wi5ho0o/mqdefault.jpg)
This is next level cinematography content because you don’t exclude us from encountering and solving problems „with you“. Sometimes, these videos can lead one to the assumption that this is easy, but the reality is that you will regularly encounter „oh fuck, this just doesn’t work“ moments. Normalizing that and letting us into your brain, how you will approach these situations, is very important.
Wow thanks!! I’ll keep that in mind and include more of those moments in the future. They happen every time haha
dude thank you so much for showing that sometimes there is struggle and practical annoyances when lighting a scene. it's refreshing and i get to be like, "omg i'm not the only one who has a hard time figuring out how to light/gaff big shots!"
Well, well! I learn that I need more and different types of lights, more stands, a large crew, materials to build sets and of course, a warehouse to put all together!!! Great video btwy!
Homie’s vocal stylings always give slight Albert Brooks vibes! Good walkthrough-thanks for posting
I wish i could give this channel a billion likes at once.
Oh thanks!! Haha
I'm here 3 weeks later to remind you that your videos are fantastic.
Thanks so so much!!
I cannot believe I just discovered this channel. Amazingly informative content. Thank you so much
Thanks!!!!!
Excellent explanations. Thank you for sharing.
i'd like to point out that DP's always light this way because by hitting the side of the face away from the camera, a short key leaves shadow on the closer side, creating mood and interest. It brings out the shape of the nose and cheeks. you don't really need a window for it but the motivation helps, especially in commercials more than dramatic. it's kinda like 3 points lighting. learn the rules, then break them once you've mastered them and know why.
Yes it’s called reverse keylighting
This is going to be very helpful for lighting my kitchen! Thank you
Lighting the city backdrop so bright is what really sold this for me
I would have never thought that light could be so interesting. Good work and narration!
Generations ND'd windows for centuries now we go for bright windows🤣
first thing I thought of when you put that 20x up was "oh that's gonna be warm, I hope thats what they were going for..." lol
REALLY GOOD! Thank you for continuing posting videos like these, it helps a lot seeing the BTS behind commercials! Great lighting job by the way! 👏🏾
Long-time admirer of these videos! I learn so much from them. In this clip, if the producers want a natural look, i.e., as a room would appear with outdoor light and minimal indoor light, then this setup seems overly complicated. The final images are nice, but when compared with the Bad Therapy stills, there is a dramatic difference: the BT set looks very close to real-life. The set in this clip looks like a studio, it is clear that there is a lot of artificial light support. If that is what they want, then it is a success! But if this were my project, I would use fewer lights to minimize the studio look. Overall, though, this is a great, instructive video, as usual!
This is better than any film school!
I miss watching your videos.... A lot
You guys are finally back! Missed you guys! And thanks again for all the tips!
A great very learnful video. I like those practical examples. They help a lot to get into the right way of thinking. The only thing I would add, is a wide shot of the whole set, maybe from above.
I'm in love with lights. I have been saving up for the nova and a spotlight mount. Nice job made me subscribe
cool it with the lamps bella.
But I like lamps….
Dave Maze is a great guy
Thank you dear sir sooooo honest
This was very clear and thorough
Love the raw honesty in showing the those moments of frustration to get the lighting right. A few things that pop into mind. On a good budget like this wouldn't it make sense to hire a gaffer? Also the city backdrop didn't really work that great, might it have been better to just blow out the windows as pure white. Plus add some blinds and use a spotlight coming in thru the windows to create that hard light stripey effect. Also the set seemed a touch overly bright compared to the reference. Of course that was probably intentional. Thanks again!
I never thought I would say this but, for me personally, without knowing the details of that shoot ( what the client wanted exactly blah blah ) this scene is way to “well lighten” for the feeling I was prepared to take when you explained part of the project at first.
Again I don’t have a full opinion on this because we don’t know anything about the project or the look they asked for. I’m just saying what I felt by watching the shots.
For example if that was a “comedy sketch” type of commercial, yeah the lighting make sense. Usually when you’re implementing comedy on something that it doesn’t have comedy in real life, all the shots are brighter and they have a “happier feeling”, well lighten, etc.
But if the project was more true to life, realistic, I would def let the shadows kick in more everywhere and play with the practicals a bit more.
Either way, you’re work is fantastic and we learn a tone of stuff on its and every video you guys make. Well done.
kindly keep posting like this because it is very informative and make us think how to solve it
to be honest with you I didn't shoot something like this, I raised some questions in other comments, because I want to understand why you decided to do that
hoping you have time to read my other comment and answer my question
thanks in advance
Thank you, always learn something from your videos!
The result is amazing
I would love to have something similar to that set
Pretty good presenting btw, I appreciate the effort for showing bts
Hey thanks so much!!!! This was fun to put together even though the filming day was stressful
Y’all have done it again! Awesome video 💯
Thanks❤️
Awesome video! You guys always put out some of the most entertaining training or enter-training videos! And I subscribed long ago so I just liked this video because I'm a Rebel!
Great video and break down as always.
Excellent breakdown I akways enjoy your content!
I love this video!
I love your videos man! watch them all. Thank you so much for these gold nuggets. Learn so much!
This is a great video for a noob like me. Can you do a vid on crash course editing as well as how to analyze a film
I wish you could see my crappy studio in Phoenix and help me out. It’s a podcast called family care learning. But little to zero budget.
awesome 👍
How do you guys manage continuity issues since the wide and the close up shots aren't done at the same time. Is it more work for the talents to re-do everything exactly the same way twice?
I’m wondering the same thing.
You have been the best, continue with this cosa bueno
Gracias 🙏🏾
Thank you for informative content. 👍🏾
I’m looking at thay backdrop and I’m like “Man, even the lights won’t make that look real” and the second he flipped them on and showed the shot again I’m like “woahhhh wtf” 😂 amaazzingggg. This just threw me so many ideas now
Just in time! Thanks, guys!
Lol I really went through a Dave Mays wormhole because he mentioned it at the end
"Epic" short masterclass, thank you! May I ask how you were using your iPad as a director's monitor? That's cool!
Hey thanks!! I think we used either hollyland or acsoon
God! Watching your videos I realize I don't know anything yet!
Thanks for making this. Very insightful info - I learned a lot from watching this video!
Thank you guys!
Awesome! Can you make a color grading tutorial on how to accieve these popular flashy saturated colors? I try to get this right for two years now, but I always end up with very unnatural looking results that are nothing like THIS!
Good idea
@@EpicLightMedia Do you use a special in-house LUT? I've just never seen the Ursa look like it does on your projects, and the look has a very consistent gold sheen, especially on skin.
I would also like to see a color grading tut cuz I use an ursa 4k and pocket 4k
Yes please!
Did you have to adjust for the biker’s jersey? In some of the BTS footage, it looked like his jersey was reflective.
Looks totally great! I hate Epic Light Media! Yuck!
Amazing effort. Great content
I love the breakdowns! Also I'm not sure if I love or hate the fact that you all speak with EXTREMELY EXAGGERATED ANNUNCIATION. Is that a local accent where you are from?
You spoke highly of the Nanlite fixtures but I noticed you aren't using them in this commercial setting. Great video btw.
very nice, thank you
Thomas, please make a video about hiring actors. This process is so time consuming and so particular with details when working with clients. How do you guys do it?
You’re my hero
Nice! As always
it's looks like a sitcom lighting
quality content!
thanks for the tips left a like..after all you don't want us to subscribe
First of all, SHUT UP !! I loved your video so I am Subscribing it 😛And now, I can say, with humility in my heart.......Thank You for the Video. I learnt a Lot 😊And btw, Dave Maze, has been subscribed as well 😁
I'm missing links in the description to the Aperture💡lights, is that correct? Nice and helpfully video an the mini lights are amazing 👏🏻 Thx a lot 👍🏻
I love your channel. The best. How did you bounce the 1200 aputure? from bottom up ? Where did you position it? or was it bounced from the top ? On top of the bleached muslin ?
Yes it was high above the set on a stand and pointed down across the muslin. It also bounced off of a 8x8 for extra ambience fill
3:53 if it was opaque you wouldn’t see light through it. I think you meant to say it’s translucent.
Thanks for an interesting video. I'm admittedly no cinema lighting expert, but - hey!- I'm wondering about the logic of firing up several practicals in an interior shot when you've got (in your words) "super-duper bright" light coming from in the windows; who would have three lights on in such an apartment?.
I guess I wanted the visual interest and it was more important to me than logic
@@EpicLightMedia Thanks for the reply ... note that my comment, sincerely, wasn't a criticism, but I've only recently learned of the meaning of "motivated lighting", so I was just curious.
Thanks, Great job on the video. But, like 99.9% of online lighting tutorials, you show how to light a person standing or sitting still. In many serranoes in video the person and or camera is moving. Please do a video on lighting for movement.
Best Wishes David Jones
Amazing content. Just subbed. Jokes on you.
great video, appreciated very much! May I ask you if you ever struggle shooting orange objects with Ursa mini pro? I often have trouble with the saturation the camera gets on those wave-lenghts.
Yes we have to specifically go in and dial down orange in the grade
@@EpicLightMedia thank you! And I also noticed that it gets worse when the orange object is out of focus (may depend on how compression happens in Braw). Sometimes in the orange I get real gamut clipping. Do you have any strategy to counterbalance that?
Really appreciate your help!
Where can we see the finished product?
excellent, something I could not understand, after you used the bleach muslin have you fired the 600d from above the muslin as trunsclenct or you used the bounce technique
something came to my mind why you did not use small pavo tube above the painting as an accent light even they sell in home Dept in stores some accessories like it with golden metal cover you can hide in it the pavotube
something else why you did not hang pipe grids and hang on them some china ball to light the whole scene and some dedo light as an accent light for the painting on the wall
How do I get one of those city vinyl things out of the window
What are you using as a remote monitor with the Ursa G2?
hi
great content as usual
can you also make a video about how to create a minimalistic set, or refer someone who makes regular content about that?
Brilliant. And how did you mix the wide shot? Just curious
Could a polarizer be used to diminish the glare in the actress’s glasses.
Awesome video again and I don't expect less from you guys. I have a question: would you still light his helmet the same way if you were to shoot a similar ad? I can see the justification for the helmet edge light on camera right but the intensity is the same on the helmet camera left. I might be missing something so feel free to set me straight :)
What lights came through the top?
Nice Video as usual ! Sadly for me it looks a bit fake... Thomas is always talking about imitating real life lighting but you are not going to the end of the subject, why are you not striking a big big source through the window ? Aputure 1200, M18 M40 or any big HMI source, something to replicate the sun, with a gel to warm it up (some + Magenta is nice sometimes). In the room we feel that all your lights are coming from the inside. And if you want to add softlight you can add a fill light like you did with the muslin on top or use another source bounced or diffused through the window.
The fact that tou didn't shine a light through the window makes the muslin on top too strong becoming your key light and it's something that wouldn't exist in the real world.
Your final result look great but it's really "fake and unmotivated" in my opinion :)
I am not criticizing for the pleasure you asked us how we would shoot it.
I would have set the biggest source you have through the window, undiffused, shining on the couch or the desk and add the geminis (or maybe more firepower) on stands bouncing on a 4x4 ultrabounce on top of the city to light it like the sky, penetrating through the windows as a soft fill to mimic the sky again. For the inside i like your solutions but I would lower the brightness. You can add a bit of haze to shape the light if you want too.
I think for this type of commercial it works though
Nice points! I was wondering how else to shoot this... yours would definitely look more natural with enough light contrast to be 'cinematic' but i'm sure epic light media was going for that commercial look (:
Yeah that's closer to how I would light it. What they did also looks good in a 'stylised commercial' way.
Exactly, as others have said, for a cinematic scene, your strategy would work great. But for this style of commercial, the lighting intent wasn't to be theatrical.
The voice-over cracks me up. Extracting the urine at every turn. Noice.
Great did u bounce a1200d to the ceiling fir the ambient fill in the wide shot?
Yeah
Hi! We met at NAB this year popping in the comments to wave.
Anyways, I recently did a shoot with high key lighting. Decided to use a couple overhead lanterns on a grid, but the shadows from the overhead in certain instances caused some issues. Had to end up adding in more fill light to combat that. I'm thinking maybe next time doing an overhead muslin and bouncing my 600D to the muslin for the large source fill. Then a motivated key. I'm guessing a chimera would've been a great solution, but the way my bank account is setup you see ...
Hi! NAB was fun I had never gone to something like that before. Yes large sources are best. I think I would only do space lights if the space was too big for a 20x or something
@@EpicLightMedia I remember now, it was the Aputure party I got to meet you! That was a blast. There's a RUclips conference, Vidsummit in a week. If you're out there I'll have to say hi again haha
Yeah plus the time it takes to safely rig anything up a grid adds up a lot. We only had half a day of studio time to setup before the shoot next day so sometimes you just gotta get things done.
❤️
At 7:46 you've got an 8x8 or 12x12 bouncing back into set on camera right? What's going on there?
Yeah I forgot to mention it. It’s catching some of the 1200 skimming over the top of the muslin and adding a soft fill for the whole room
Best channel on RUclips! Thank you for taking the time to share all of this information for free. I'll unsub now.
I'll subscribe to you or whoever I want, as**ole. Nice video btw.
Press F1 on your keyboard and its show you everytNice tutorialng you need to know...if you are stuck then watch the video
Love your content and aputure products but youtube is becoming this big intransparent marketing/advertising show the to a point you don't even know which channel is bought and which channel is independent. Keep up the quality content though
I’m an Aputure fan boy
@acl I have the same issue with just about everything on the internet. Even with the right discernment, you can only sometimes figure out when a youtuber/blogger/influencer has been bought out. I have known Thomas and others from the ELM crew since before I could ride a bike. They genuinely think that Aputure provides the best bang for buck lighting solutions.
How did you get the wide shots with all the stands and booms in the shot. Did you remove them in post with a mask?
Yes we filmed a clean plate with no boom mics and stuff
what mics were used for the scene pllz
MKH50
How did you handle the boom mics for the wide shot?
Filmed a clean plate and cropped them out.
@@EpicLightMedia Found it in another one of your videos lol. Thank you so much!
Nice! I see you're rocking your G2 rig on the flowtech 75 as opposed to the 100. How's that been for you?
We have a G2 with a similar weight setup but we're concerned about it being on the high end of what the 75 takes as we're looking at new tripods. Have you had any issues? Does everything lock off OK?
It would be useful to get your thoughts as there's a substantial price increase between the 75 and the 100!
Yes the 75 has been good. It can balance well fully rigged
@@EpicLightMedia That's good to know, have you been primarily using it for some time now without issues?
So, did you or did you not put some light above the muslim? If so, I'm not sure you needed any actual backlight. That's used for separation and the overall set seemd bright enough that the actors had separation from the walls. But, really nice job. I'd love to see the finished, edited product with color grading and all.
You guys are awesome…. Please post more often…. I REALLY gain a lot of knowledge from your videos….. I promise I won’t subscribe….again.
What was the Contrast Ratio? 1:1? There was, in my opinion, too much light. Perhaps increasing the contrast would be preferable for me, but perhaps not for your client!
One camera, three takes ?
Yes so it was a one camera shoot like most movies so we just ran the scene over and over again for each angle
This is cake. this is okay. this is a disaster. help. oh god. oh god. oh... oh good. this is good. okay we're ready. -every DP on every project.
I'm curious why you topped the set with muslin vs. throwing up some space lights above the set for your soft top, or a lantern box?
I think we were too lazy to hang space lights up
Did I just watch an informercial for Aputure???
BUY APUTURE NOW!!!!!!!