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How to Adjust Lighting For Wide and Tight Shots
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- Опубліковано 14 бер 2021
- In this video we are learning how to adjust your lighting for wide and tight shots. Often times scenes will require multiple shots which require your lighting to be changed, but how do you move your lighting is the question?
This is The Classroom.
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I LOVE this look we created...I know I say this every week, but this is my favorite one we’ve done...even if we were both hangry haha!
I agree! Great job on this one you two.
The look is fantastic, masterpiece 👏
This is a topic that doesn't get talked about enough. Both lighting wide shots well, and adjusting for your other shots in a sequence. This was a super simple and effective take on both. Well done man.
I’m a simple girl. I see a video from Brady and Sara, I click! I love the tips you show for different scenarios each week😊
Great tutorial man, consistency is so important !!
I just want to thank you, my teacher ❤️
and I just want to thank you for supporting!
You know why bro, I watch a lighting video so often seeing repeated content but you just taught me something new. Well done, keep up the good work.
Thank you so much!! Im really glad I did
One of the best Channel Filmmaking in Yt
No way!! Thank you
Incredibly helpful. Thank you, Brady. But hey. We all know that Sara is the real star here! y'all keep on doing what you're doing. Cheers!
Sara is always the real star!
You are the best Brady...love from Nigeria
This question is one i always have when doing my personal projects on learning film making. thank you so much!
I also feel like there is no helpful videos on adjusting lighting from wides to tights so this tutorial is so incredibly important! Great job on the video babe!
Great! Love that minimalist set up!
I allways strugle With this. Great tips B. Thanx😊
Awesome content! Very informative! Thanks for sharing, looking forward for the next one! Cheers
Thank you so much!
I just stumbled across this one and didn't even know I needed this video. I've been storyboarding a scene in a kitchen and this was HUGELY helpful.
I am procrastinating by watching this since it's Friday. Funny enough this is one of my favorite videos of yours because it shows that good lighting can make something as mundane as sitting there and reading a book captivating and beautiful. Seeing how lighting changes from wide to tight also makes a huge difference, so it has motivated me not to be lazy and try to get away with a single lighting setup when it's not the best option.
The close-up is beautiful - love how the light wraps her face on that cut. The book to me looks really great but if the motivation was the china balls - the shadow looks like the it is not coming from above. But that is a little picky and the consideration that the shot looks great should be relevant as well. Using her head to frame the left side in silhouette might have been an option as well. It works here, but I see others where it looks like the hands could be anybody's hands - having the edge of her hair and shoulder would pull it all together ( in my opinion ). Solid information for people though, I wished there was content like this years ago, when I started out. Great work.
If you actually motivated light like it was top light, it would look very flat and provide no dimension, so that's typically why that directional motivation is sacrificed. The untrained eye wouldn't tell the difference.
Changing it up with those purple Gerald Undone accent lights 🤟💡
clear and concise, awesome thanks dude!
Thank you!! Loved this tutorial, much needed
Best breakdowns on UA-cam, seriously.
Enjoyed the breakdown, thanks
Totally helpful..Young filmmaker from Kenya 🇰🇪 am always tuned
Yes, I just showed up just in time. This is the reason why right now "Will Be Legend". Keep going @Brady!!! 👊🏼👊🏼💥
Nice Rembrandt!!🎥💡
SO on time! About to go into a tv series where a lot of time isn't present and needed some last minute tips and perspectives on how one would light an entire area for multiple shots.
Hey mate! Someone mentioned you in the comment section under my videos. Glad he did. Getting good vibes from your style of talking. Keep em coming man!
this is such a useful tutorial, especially the comparison if the lights were left as they were from the establishing shots
You do an amazing job at bringing some complex lighting situations and clearly explaining them for us dummies to see what's going on and how to replicate in our own videos. Thanks for all you do!!
You inspire me to create. Never stop making these helpful videos, please.
As always super helpful stuff!!
my best online classes. Thanks Brady :)
Great! What about a video about low budg shoot in a room with light changing throughout the day. Semi controlled environment. That’d be interesting because we re not always able to have huge lights blasting outside to keep a consistent lighting
Yess! Great content as always. Thanks for sharing this one guys!
Awesome video, but I wish you included the camera settings for each shot as well!
Very Nice video!! love to see more of these
Dude, great Video. This is kinda video that will give u more views cuz that's the type of topics we need now for people who have cleared the basics and now are a little on an intermediate level. I would request u to make a video on how to manage ur camera settings when going through different light setups in one shot, let say the shot starts from outside a house in the afternoon and goes into the house through the stairs and to a living room. How do u manage to keep ur camera not go nuts when going through A- Bright overcast sunlight, than darker staris and than an evenly moderately lit Living room
Video I needed great teaching
Your videos are always helpful and you inspire me alot to learn more and practice lighting on set as a beginner film maker. Tho I don't have the kind of light you have but I will make use of what i have to get the best thanks once again 👍🏾💙
Great tutorial 👌 thank you 😊
I would say that something you always take care of is the production design of every shot you show us, and that´s something very very important. Lightning is essencial, but you also need a good location... In fact, a good video could talk about how to light an agly location!! I think that would be a challenge!!
amazing work mate!
Great job dude!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! (hi from Wales)
That was very helpful, thank you
fantastic work!
Man what a beautiful setup! I absolutely LOVE the lighting in this, and the grade is just 👌🏻 Awesome stuff as always my friend!
Great work Bro
Thank you!
Great setup 💪🏽
Amazing video! You are the Jedi Master of Cinematic Lighting!
Awesome keep posting like this 👍 thanks for sharing knowledge
I am learning a lot from you Sir ☺️❤️
Hi from Ukraine! Amazing video)))
Yeah!🙏👏
Great info, thank you!
Very intersting and beautifull cinematography ! It would be to cover at the same time the camera side, lens, framing, triangle of exposure, balance, movement, maybe in a future masterclass ? 🤓👍❤️ Thank you for sharing your knowledge, it is very apreciated.
Very helpful, thank you
So helpful thanks !!
Great Video My Dude!!
Thanks for sharing man!!
Really useful stuff!
So cool man !
Thank you so much
Move the camera. Move the light. It’s a pain, but this shows why it’s worth it.
Dude, I just discovered your channel and your work is amazing. Exactly what I need at the moment! :)
Looks fantastic man, great tips and visuals as usual!
Wow, that was filled with a full package thanks for the video and congrats for the 70.7K Sub
Another Great Tutorial!!! 💪🏾💪🏾💪🏾💪🏾
i was always wondering this
Glad it helped!!
Great video! Thank you so much! :D
Bro these tuts are just speaking to me! 👏
i love your back light :)
Thank you Brady! Great tutorials 😎👍🏼 Love your channel and content, keep up the great work 😎👊🏻
Just two (expensive as) lights! Great video otherwise. Would love a budget three shot setup next, keep up the good work
Thank you for so much quality content, Brady. I'm learning a lot with you and will definitely use one or two of your tips!
Mind blowing content as always! Beware Brady, film schools are gonna come after you 😂😂😂😂
Hei hei, thanks a lot your amazing job. But can you tell us how do you setup your camera when you setup the lightings?
Great video. Thanks for sharing. One thing I think is worth mentioning for the future is how to tackle exposure, so that all shots look similarly exposed. Especially when you're changing light distances and intensities. Are you using a meter? By eye? Adjusting in post? Keep up the great content!
This is becoming one of my favorite channels of all time. Bro, you will be successful. 100%
Any chance you could send me One clip that is RAW? I would love to do some color grading to just one of those clips for fun.
ur the best man.
Hi Brady! I wanted to make a request on your tips on how to interact with directors and working with the crew, i.e. gaffers
You can make a video about how to light a one shot take? For example if i’m filming a scene without cut, how can I avoid the lights stands and the shadows of the camera operator on my actors? Greeting from Panama🇵🇦
😊😊 was waiting for your video...
Love this content 💕
👌
Adjusting light for wide and tights was hella smooth 😂👌🏻
Good job and amazing content as always! Learned so much from you already. One thing that buffles me is the book shot. While on its own it's so cinematic and appealing, when I look at it from a continuity perspective I think that the table/shot becomes too dark on the edges. It feels (at least to me) like if the character went and turned off the lantern lights (and other possible ambient lights). Am I missing something?
No you are right, sometimes I bent continuity just to improve a specific shot. Only slightly thoigh
Good job sir
Thankss
You’re welcome!
Oh, that's great! Thank you for the lesson!
Amazing content Brady, learned so much from you! Keep it LIT~!! Would like to know about your camera setting/ color profile
Thanks for the video Brady, truly helpful. I have a question tho, I always thought its better to “light the scene, not the shot” does that apply to high budget productions only? Thanks
Bradly please make a video on how to properly expose BMPCC4K footage in both well lit and dark conditions.
I have been looking for this info everywhere but I'm yet to find something comprehensive.
Please help me.
Hey Brady. Awesome video as always. I'm about to film my first short film with a Blackmagic 6k. What are the best settings for exporting my project on Premiere Pro (downscaling it to 4k). Love your content!
Your videos are great! If we had a China lamp but we did not know what kelvin color the light is, is there a machine we can use to find out to better match all the light sources?
It just keeps getting better. Thank you Brady! Curious what ISO you used for this scene and also around what intensity where your 300x set to?
Again thank you!
total side point, but if sarah dyed her hair dark she'd be so incredibly reminiscent of a young isabelle adjani. what a great model to have the opportunity to light!
Yo teach, can you supply us with a video about the various lighting ratios?
Thank you for the great content 👌🏻❤
Again, you did an amazing video! Thanks a lot of your work!! I wonder if the second shot would not be contrasted enough using white fill instead of black fill. What do you think?
What would be sufficiently powerful budget alternatives to the 300X and the Nova P300C?
5:32 looks very good. Do you work alone ?
Hi Brady. Thank you for the awesome video. When you set the lights at 2700k, do you also match the camera settings at 2700k or do you make other adjustments on the camera? I really appreciate your videos, super helpful.
3350 WB! Sorry!
The camera White Balance setting makes that specific Kelvin number pure white, so setting 2700K in camera while using 2700K lights would make the light look pure white. Using a higher (cooler) WB setting in camera, like 3350K (which Brady used in this video), would make 2700K look slightly warm. If using 5600K (daylight) lights, you could achieve the same warm look by setting your camera WB to 6250K. In both of these examples, the lighting used is 650K warmer than the camera's WB setting, so the result will be slightly warm. If he were to have used 2700K lights, but instead set the camera's WB to 2050K, the image would look slightly blue and cold because the lights were a higher Kelvin than the camera's WB setting. These things are done intentionally by cinematographers based on the look and feel you intend for the image and mood.
@@TheSpecterRanger how do you land on 650K when deciding, like is there a technique to be able to come to that figure is it more a creative choice by eye? I guess I'd like to know, in which situations, would I know when to use 650K vs for example, 700, 800, 900 warmer etc, if that makes sense. Is it a case of adjusting in camera until it seems right, or is there a rule of thumb? Great explanation by the way. This all clicked with me recently about setting in warmer/cooler white balance in camera to achieve warmer/cooler lights so reading your explanation, I knew what you were going to say so it was a good moment that I knew I understood it. :)
@@tom_quinlan I'm glad you appreciate it. I think the exact numbers are less important than what feels right by eye (as long as you're viewing a somewhat accurate/calibrated monitor). I often see tungsten and daylight color temperatures used in the same scene, with a WB of around 3500K or 4500K to accentuate the warm and cool contrast between the different light sources. For a less dramatic effect, it may make more visual sense to white balance to the cooler temperature, so that only the warm tungsten light is off-white. Or you may even key light with 4500K, and white balance to that, while having cooler and warmer whites in the scene. Different color temperatures can be used to separate the subject from the background and create more "cinematic" depth because visual separation between layers is a key to making a shot look 3D and cinematic. For example: a 4500K key light on a subject, with a 5600K+ "moonlight" rim light, and a tungsten practical lighting up a wall in the background. This would really separate the subject from the background not simply with differing luminance/exposure levels, but additionally with different color hues. This is what color temperature can do to help make a shot look good. The visual temperature of lights on screen can also help inform the viewer about the setting of the scene, the orientation and intention of the subject, and the mood in a way that monochromatic lighting can't. Take liberty with it, but make sure the colors are motivated and make sense in the space for it to look good, otherwise it could be distracting or confusing. If you want to add different Kelvin light your subject, feel free to create sources in your scene that will allow you to create the lighting you want. In some scenes, sources can be assumed off-screen, but you always want to make sure that the light sources make sense to the viewers without thinking about it. So if you want to add a specific quality of light that doesn't initially make sense, alter the scene so that it does make sense. Move a lamp into frame to motivate a soft warm background, or go near a window at night to motivate harsh cold backlight, or in the day to motivate big soft key light, or show a doorway with light spilling through for directional and contrasty side light, or create a fireplace for a warm rimlight, etc.
@@mfjae If you could do unlimited color adjusting in post-production, setting your white balance wouldn't really matter much. This is somewhat the case for some high-end cameras, but the reality is that your camera is limited in its ability to capture a range of light and color. The closer you can get your camera settings to capturing the image how you want it to look in the end, the better your image quality will be. Think of it similarly to your ISO. If your ISO is too high, and you blow-out your brightly lit scene, in coloring, you can lower the exposure but much information will be gone and the image will look terrible. Or if your ISO is too low, the image will trend dark, and in coloring, you can brighten it up, but darker areas of the shot will have lost information and potentially be missing completely. Color does essentially the same thing, it is just less noticed by amateurs. Try setting your WB to the highest (bluest) it can go, and in color grading, change it to be very warm. You will be reaching the edges of your color information, and the quality of the colors in your image will diminish; sometimes to an unusable level. The hue saturation is also tied to the luminance brightness, so losing color information can effect your luminance (black to white) information as well.
Color correcting is not necessarily exactly what it sounds like. Color correction is done to match different shots to each other so that an entire scene has a cohesive look, and so that the color and exposure between the different shots are accurate with each other, not necessarily accurate with real life. Once all shots are corrected to have proper exposure and look the same, that is when grading can be done more easily. If you are shooting a scene that is intended to have a warm fire light, you should set your white balance higher than the Kelvin of the fire light so that the fire appears warm in your camera just as you want it to appear warm in the final edit. You don't want to "white balance" your camera to the fire light, so that it appears pure white in camera, and then color grade it to look warm--in this case you will be unnecessarily pushing the color information in your image, and losing color detail in other parts of the shot that were on the blue end when captured. Also, if you shot the fire to look warm, but then "color correct" the fire to be white, only then to color grade the fire to look warm again; in many editing programs this would lose color information as well. If you shoot a scene with matching exposure, color temperature lights, and WB setting in every shot, you wouldn't even really have to color correct at all before color grading. In that case, you'd only color "correct" if your initial capture was inaccurate. Hope that makes sense and helps.
This video: makes it look easy
Me on set: uh...
At 2:57, how exactly did you rig the 5in1 diffusion on a single stand without it being centered on the stand and without it spinning around itself?