Thanks, Great job on the video. Also, like 99% 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
Hey! Amazing job guys! I only felt that the blue hour video was not very natural, it was somewhat more stylistic... just my opinion with no intention of offending anyone, I liked them!
Same. I was trying to think of when the sky/light would appear this way. It should in morning right before sunrise in the winter upstate areas of the United States.
I think a big reason why it doesn't look natural is how little the practical lights are doing in the scene. In real life, blue hour would make the interior very dark, and you'd get to see the blue light more on reflective surfaces than in the overall ambience, would not be as strong or as blue, and most importantly, the lamps inside would be doing a lot for the scene. So what I'd do is use something to augment those tungsten lights (maybe a 300x with a lanterna just outside of frame) and tone down the blue light coming from outside
Could you please film a tutorial where you show how to set up a light in the shower for a shower scene? Would be interesting in green and cyan colors. Thank you for this tutorial!
lol I have to do an interview followed by a quick re enactment next week. just on my own.... im definitely not doing all that to the windows outside haha. geez... since it's the clients house I wonder what they'd say if I tried it lol
The blue light scene looks amazing, there is only one thing it bothers my eyes, i don't really like how the practical lights are blending on the wall, it's a little too harsh in the centre and at the eges creates a magenta spill, that looks almost like the colors are cracking
For the first setup I’m kinda confused why you’d gel the windows like that as apposed to just shifting the WB in camera..? Other than the lamp it was just the one colour temp across the scene.
@@FilmRunnerMedia The issue with that would be the ambient light is still daylight so there'd be multiple colour temps and the Novas are a soft source.
We wanted to match the color with the ambient daylight outside and compound the light. Of course, we could have tented the area outside of the window as well and changed the color of the Novas, but you want to balance how to get the look with how efficient you can be on set.
Gelling just the source itself still leaves room for the natural sunlight temperature to interfere in the room. Resulting in different temp. So matching the source to the natural light and gelling the window, results in an even color temp.
@@moyosorejimba yes but this could be solved by shifting the WB as a whole as I first said. Thats all the cto gel is doing. All the dominant light sources are coming from outside the window at a daylight colour temp.
how to light when you can't put lights on the outside? just a few weeks ago we decided to shoot a short film but there wasn't access to the outside of the windows so we were very dependent on sunlight, and because it rained intermitently it varied greatly depending on the clouds then. Are there any options about it?
Great question! We have an upcoming video talking more about this. For the time being, consider what source you use as your key, and consider using sheers/curtains to cut sunlight, and carry a practical source!
APUTURE I HOPE YOU SEE THIS!! WE NEED A TINY COB LIGHT LIKE THE AMARAN 60D BUT CAPABLE OF RUNNING OFF A POWER BANK VIA USB-C!!! WOULD BE AN ABSOLUTE GAME CHANGER
Great Vid! Very informative. And I recognize the actor, Christopher Sky. I just saw him in a short film. Together Forever. Fantastic guy and enjoyed meeting him.
Because changing the color temperature of the light won’t change the color temperature of the natural sunlight which accounts for probably 80% of the light that’s coming through the window.
1. Setup 1 sunset. No need to gel the windows. Too time consuming, unnecessary, and waste of production budget. Can set in-camera color temp if u want the warm sunset vibe & adjust color temp on the B7C to offset in-camera kelvin setting. Gelling windows with warm gels and a 600x bi-color lamp just seems silly. Last point I’d like to make is shooting thru that middle window the sky is NUKED. If sunset is the look you want, the sky wouldn’t be nuked so get it realistic you need to set your in-camera levels to what you can’t control aka the sky. That’ll make the room darker so therefor you’ll need to lift global ambience in the room. But if blown out white to hide background is the move you want, touché. Overall I do like the framing and balance of the frame even though it’s on a wide af lens. Great job showing ceiling corner to confirm it’s not a set. 2. Setup 3 overcast. A nova isn’t a very good “bounce” lamp to begin with as it is technically a “soft” source by definition. Nova has a 180 degree beam spread, just like a s60 or a litemat. 180 degree lamp into a 180 degree bounce, then into a 180 degree silk, then into 180 degree sheets, is a ton of light spill left & right that is just spreading out the exterior of the house which isn’t seen in frame anyways and doing nothing for the shot. The sheers are causing the light to spread left & right on interior which is why you see the back walls all lit up and losing contrast. A more directional lamp like a fresnel in the flood position would make more sense in this scenario. You wouldn’t need the 2-3 novas running on full power as seen in picture. What you used got the job done- but much simpler & faster solutions- with often far greater results. 3. Haze. By adding haze you soften the image, desaturate the image, and creates a lower contrast image which decreases sharpness. Something to always keep in mind. But adding haze is definitely “cool”. 4. Blue hour. What’s up with the red ring around the tungsten lamps? These would be much better if not showing the color corrected versions. Someone shifted a hue in post? The takeaway for me on this video is learning 180 degree beam spread lamps and the beam spreads of other lamps & modifiers to help make your decisions. If you ever catch yourself on set saying holy shit there’s light spilling everywhere or holy shit we don’t have enough lamp level we need 18ks!!! You’re very welcome. We can’t control light that’s impossible due to physics, but we can “guide the light”. TIP from me: “light spaces, not faces”
🙏 This is all so very correct! Wish you would've talked about Setup 2 as well...I just feel like there was a LOT of wasted crew time and misused lighting fixtures in this tutorial.
@@jeffcloud4913 Setup 2: using a nova from inside the room would make more sense to create a “window shaped” soft light from inside. You have the actual window frame when shooting from outside the windows. But again, not the correct lamp to use outside, and that’s not just my opinion, that’s just facts of light physics and the shape of the lamp fixture itself. Lowering the ISO was very interesting. By doing that you lose dynamic range in your highlights by shifting the DR scale, and those windows look nearly clipped so saving them forget about it!! Why not just lower the lamp levels or use an ND.3? Double diffusing a nova lamp may be the most interesting lighting decision I have ever seen and I’ve seen a lot!!! Knowing fixtures is so critical and why the best are the best.
These videos keep getting better and better!
Glad you like them!
Thanks, Great job on the video. Also, like 99% 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 idea!
Hell yeah Kevin! Nice.
Too expensive solutions ... Old school will make it cheaper
Hey! Amazing job guys! I only felt that the blue hour video was not very natural, it was somewhat more stylistic... just my opinion with no intention of offending anyone, I liked them!
Same. I was trying to think of when the sky/light would appear this way. It should in morning right before sunrise in the winter upstate areas of the United States.
We encourage people not to be afraid of "stylistic" setups! They can work depending on the overall tone of your movie.
I think a big reason why it doesn't look natural is how little the practical lights are doing in the scene. In real life, blue hour would make the interior very dark, and you'd get to see the blue light more on reflective surfaces than in the overall ambience, would not be as strong or as blue, and most importantly, the lamps inside would be doing a lot for the scene.
So what I'd do is use something to augment those tungsten lights (maybe a 300x with a lanterna just outside of frame) and tone down the blue light coming from outside
Because it’s too saturated. Moon light is even more desaturated.
The blue lights coming from the windows and the practical yellow lights combination looks amazing
Could you please film a tutorial where you show how to set up a light in the shower for a shower scene? Would be interesting in green and cyan colors. Thank you for this tutorial!
Amazing...
Pure love!
love to see these light setup video!!
lol I have to do an interview followed by a quick re enactment next week. just on my own.... im definitely not doing all that to the windows outside haha. geez... since it's the clients house I wonder what they'd say if I tried it lol
Can't wait to see what it's going to look like!
The blue light scene looks amazing, there is only one thing it bothers my eyes, i don't really like how the practical lights are blending on the wall, it's a little too harsh in the centre and at the eges creates a magenta spill, that looks almost like the colors are cracking
I noticed that too. I feel like that happened in post. The editor probably tried to bring out the orange more and it caused that weird magenta
i agree. I also think the blue and orange are too saturated for the scene. They seem like they'd be better fitted for another type of mood.
way too much haze homie
I can see a huge amount of ART, pure ART, in here.
at 2:50 you are told to reduce the iso, you are not shooting in S-LOG?
These videos are the reason I buy Aputure kit 🔥🔥
Love your content!!
For the first setup I’m kinda confused why you’d gel the windows like that as apposed to just shifting the WB in camera..? Other than the lamp it was just the one colour temp across the scene.
@@FilmRunnerMedia The issue with that would be the ambient light is still daylight so there'd be multiple colour temps and the Novas are a soft source.
We wanted to match the color with the ambient daylight outside and compound the light. Of course, we could have tented the area outside of the window as well and changed the color of the Novas, but you want to balance how to get the look with how efficient you can be on set.
Gelling just the source itself still leaves room for the natural sunlight temperature to interfere in the room. Resulting in different temp. So matching the source to the natural light and gelling the window, results in an even color temp.
@@moyosorejimba yes but this could be solved by shifting the WB as a whole as I first said. Thats all the cto gel is doing. All the dominant light sources are coming from outside the window at a daylight colour temp.
@@samneil2568 Yep. Match the artificial light to the daylight and shift the camera WB to 10,000K or use an 85 filter in front of the lens. Easy.
can you achieve the sunset light with a cheaper light like 120 d? or what do i need at least?
Awesom
This is all well and good if you have the money for the equipment.
how to light when you can't put lights on the outside? just a few weeks ago we decided to shoot a short film but there wasn't access to the outside of the windows so we were very dependent on sunlight, and because it rained intermitently it varied greatly depending on the clouds then. Are there any options about it?
Great question! We have an upcoming video talking more about this. For the time being, consider what source you use as your key, and consider using sheers/curtains to cut sunlight, and carry a practical source!
Hey! thanks for the little shout-out for my book light set up in this, much appreciated 😀 Awesome tutorial as always!
Thanks for your great knowledge!!
Very cool and profesional videos. I like how you show the top view every now and then to really show your setup.
Thanks for answering my question, I will have it in mind on my next filming trip. Very interesting video by the way…🙃
Stay safe!
Any time!
That's a lot of haze, looks like his house is on fire
APUTURE I HOPE YOU SEE THIS!! WE NEED A TINY COB LIGHT LIKE THE AMARAN 60D BUT CAPABLE OF RUNNING OFF A POWER BANK VIA USB-C!!! WOULD BE AN ABSOLUTE GAME CHANGER
Cool video! I'd love to see an Amaran version of something like this for the budget filmmaker.
More tutorials coming soon! ruclips.net/user/amaranlighting
Why did you switch hard light to panel light for daytime look? Daytime/High noon is when the sun is brighter, so shouldn't it be hard kight as well
Gaarhhh seeing someone changing the iso to adjust the exposure makes me sad 😢 There’s ND’s for a reason 💔
What was the camera white balance in all scenes?
Great Vid! Very informative. And I recognize the actor, Christopher Sky. I just saw him in a short film. Together Forever. Fantastic guy and enjoyed meeting him.
Why use the X And gel windows vs changing color temp on the light?
Because changing the color temperature of the light won’t change the color temperature of the natural sunlight which accounts for probably 80% of the light that’s coming through the window.
just popped up in my recommendations, It is worth it
Thanks for watching!
For the Blue hour shot, would the Nova P600C on the left be considered the key light?
you made it look so easy🤟🏽
I just want to know what the neighbors are saying
If you low the ISO you sacrifice highlights exposure and detail.
At 1:17, what is the need to cut the light off the top if the window frame itself will cut it?
l have learn something today
The only sad point I see that that to do any of these setups... One would need 2 - 3 $600 watt powered lights.
Ayo what a great content love this channel so much. Sorry for my bad English
Don't apologize
great
Best!!!
Love these videos
expensive setup but nice looks...btw still not affordable for new filmmaker
And a one man team with only a 200d?
I liked all of them except blue hour. Blue hour looked bleh to me. Way too exhausted. All the other looks were great.
JC is the GOAT
♥️💥
what color Gel did you use to obtain the blue hour look in the windows ?
the talent is a bit dark, can you get this look with no lights?
high noon looks pretty dark to me
Can you do this but night time exteriors!!!
Who was in charge of audio?
Nice
Great.. Helpful tutorial..😁
Tue Duong người Việt giỏi vãi
Asante sana
1. Setup 1 sunset. No need to gel the windows. Too time consuming, unnecessary, and waste of production budget. Can set in-camera color temp if u want the warm sunset vibe & adjust color temp on the B7C to offset in-camera kelvin setting. Gelling windows with warm gels and a 600x bi-color lamp just seems silly. Last point I’d like to make is shooting thru that middle window the sky is NUKED. If sunset is the look you want, the sky wouldn’t be nuked so get it realistic you need to set your in-camera levels to what you can’t control aka the sky. That’ll make the room darker so therefor you’ll need to lift global ambience in the room. But if blown out white to hide background is the move you want, touché. Overall I do like the framing and balance of the frame even though it’s on a wide af lens. Great job showing ceiling corner to confirm it’s not a set.
2. Setup 3 overcast. A nova isn’t a very good “bounce” lamp to begin with as it is technically a “soft” source by definition. Nova has a 180 degree beam spread, just like a s60 or a litemat. 180 degree lamp into a 180 degree bounce, then into a 180 degree silk, then into 180 degree sheets, is a ton of light spill left & right that is just spreading out the exterior of the house which isn’t seen in frame anyways and doing nothing for the shot. The sheers are causing the light to spread left & right on interior which is why you see the back walls all lit up and losing contrast. A more directional lamp like a fresnel in the flood position would make more sense in this scenario. You wouldn’t need the 2-3 novas running on full power as seen in picture. What you used got the job done- but much simpler & faster solutions- with often far greater results.
3. Haze. By adding haze you soften the image, desaturate the image, and creates a lower contrast image which decreases sharpness. Something to always keep in mind. But adding haze is definitely “cool”.
4. Blue hour. What’s up with the red ring around the tungsten lamps? These would be much better if not showing the color corrected versions. Someone shifted a hue in post?
The takeaway for me on this video is learning 180 degree beam spread lamps and the beam spreads of other lamps & modifiers to help make your decisions. If you ever catch yourself on set saying holy shit there’s light spilling everywhere or holy shit we don’t have enough lamp level we need 18ks!!! You’re very welcome. We can’t control light that’s impossible due to physics, but we can “guide the light”.
TIP from me: “light spaces, not faces”
🙏 This is all so very correct! Wish you would've talked about Setup 2 as well...I just feel like there was a LOT of wasted crew time and misused lighting fixtures in this tutorial.
@@jeffcloud4913 I’m just here to teach the teachers lol 🤝
@@jeffcloud4913 Setup 2: using a nova from inside the room would make more sense to create a “window shaped” soft light from inside. You have the actual window frame when shooting from outside the windows. But again, not the correct lamp to use outside, and that’s not just my opinion, that’s just facts of light physics and the shape of the lamp fixture itself. Lowering the ISO was very interesting. By doing that you lose dynamic range in your highlights by shifting the DR scale, and those windows look nearly clipped so saving them forget about it!! Why not just lower the lamp levels or use an ND.3? Double diffusing a nova lamp may be the most interesting lighting decision I have ever seen and I’ve seen a lot!!! Knowing fixtures is so critical and why the best are the best.
good job!! great
Love the videos, but honestly...the fixtures are still to costly for most indie film makers...
Keep an eye out for amaran! We'll be posting more breakdown content soon ruclips.net/user/amaranlightingvideos
what is effect name in 00:43? Please!
Film scratching overlay transition
Plz outdoor raneing car bus lights plz apulodeing
Кайф
The first viewer 🔥
Yes you are!
This was dope @kevinreyes !