Actually he does not. He mostly does a single bounce diffusion because otherwise - as it is mentioned in the video with book lighting - the light spills everywhere. I don't remember him ever using double diffusion.
@@priyeshpv It's a great way for lighting a space as opposed to just one subject. Deakins is a big fan of the cove lighting set up which is when you bounce multiple light sources off unbleached muslin at varying intensities to get a nice wrap.
Nice set up, It would be interesting to know the camera settings needed to capture the video, most importantly ISO. Obviously there is going to be loss of light.
With a powerful enough light, loss of light isn't too much of an issue, at least in terms of camera setting. This would have been at base ISO in Log at 640, with an aperture of about f2.8, shot at 25fps with a 180° shutter angle. With studio settings I always do my best to work the lighting to base ISO, as most of the time we have full control over lighting.
Thanks! This is a kit from Glide Gear that has a 4x4, 6x6 and 8x8 included, however only one size can be used at once. It's a fantastic entry level scrim kit! www.amazon.com.au/Glide-Gear-Photography-Butterfly-Collapsible/dp/B07P8BN8NR/ref=sr_1_7?crid=1VXKASAQQCYUN&dib=eyJ2IjoiMSJ9.HRyDcDfI734ztsgpfJB7DAcnbStIOoEqKf10KtF0uHvH3x1iH_BrgQ5W_0QNGnP1hV0ZXj9RAqY7hanfkz76G23uytfJmN94ym7CUnf-K6SoTIAQM3XrJlQA9pie8P7_7HcEcroQkjSSMFNDKTQ-XeNKzc4lu02S_XQMVslYb2TW91_Z7YbsXyZXc7yLnHf6BTa8_xNCe7RWG6J2eDgNHFYKHfYOm2ApNwlg10AA7tRq0erSOJm560wm6FbBG07wy2yqxMZSbTkR8nkER3OmG6NdfnJXwuHwd4d7oHIt_kc.tAJGLssDf6Q4cmpnR8wzfJk6NDdiBBzN9Z5s73C5blw&dib_tag=se&keywords=glide+gear&qid=1728352962&sprefix=glide+gea%2Caps%2C404&sr=8-7
@@daleelliott7390 Yeah I felt the same way when I was looking around for one. I figured for the price point I couldn't go wrong! A couple of things that could be better: I would prefer a square tubing instead of round for the frame, which would help the clamps lock in more and stop slip when mounting horizontal. Also the frame is definitely 'lightweight' so tends to twist a bit on the larger sizes like 8x8. For indoors it's been absolutely fine for us though and for the price it's unbeatable. (Currently even cheaper than we bought it for at $593AUD) However if you're after a super sturdy and absolute pro level scrim kit, you might want to look at a Westcott or even Kupo. (you will be looking at much higher $ though)
The problem with that setup is that you’re limited if you want to use more than one angle and the shot has to be very tight as the lights are very close to the talent. If you need a wider frame you’ll loose that softness as you have to setup the diffuser a bit farther, the farther you go the less soft is the light. There is no much space between the talent and the diffuser, nice for a demonstration but difficult to use in an actual interview. What do you normally do to solve that issue and achieve that softness?
So if you need to have this set up a long distance from the talent, one solution would be to go large and more powerful with the light. Generally to get soft sources you want large diffuse light, as you mentioned pulling the source further away will make it smaller comparative to the talent and so will lose some of the effect. In this case going larger and brighter could help. Generally we don't use this for interviews, as we would need much more control in directionality than this set up provides. It's also just way easier to throw up a couple of softboxes on a COB when under the time constraints of an interview schedule. We use the book light set up for giving nice soft even lighting for larger spaces, and we would normally use a lot of light over distance! 🎉
@@kitherco yes, I feel you. I normally use a 120cm octobox for interviews and a bar light for the back light. Generally, I find the same problem, I want to go closer to the subject to get softer light but the angle of the cameras doesn’t allow me to.
Do you guys have the aputures 150 light dome, I use it all the time and i feel like I'm getting atleast 90% of that softness without the hassle of setting up all of that , could you do a comparison?
Yeah you could definitely achieve some really beautiful results with a 150! Softness in light will generally come from large and diffuse sources, so a 150cm dome would work quite well. One advantage this set up would have over something like that is being able to light a large space. What we've shown here is a cool demo of the technique, but if you scale this up so instead of a 6x6 scrim you're using perhaps a 20x20 and a much larger light source at a distance, you're starting to get some incredible results for much larger spaces. We run the Nanlite 90cm parabolic's as well as the 120cm lanterns, which all do a great job! We will look into doing a comparison vid in a real world setting between them all! Great idea! :)
@@NellerProductions For sure! We're fairly new to UA-cam and a production company first and foremost, so it will be interesting to see how this goes! Hopefully we have enough time to keep doing fun videos like this! :)
Great question! They're called a Cyclorama wall. It's probably best to search how to build them as they're not simple. This video might help! ua-cam.com/video/QDYifetF7ss/v-deo.htmlsi=VXdrOP-5PwQvQKuZ
Thank you! I would be interested to see a comparison with simply bouncing the light off the large white wall to camera left. It would not be as flexible but presumably it would be just as soft or softer, depending on the distance between light and wall (and subject)?
That could be an interesting comparison, we might have to do another video on it! One thing that would happen for sure is the light would lose all sense of directionality and there would be light spill everywhere. (Although the book light is also a bit like that, bouncing off a cyc wall would be the extreme case) Generally the larger and more diffuse a light source is, the softer it will be. Thanks so much for watching! 🙌
Yeah we shot this one a little 'Spur of the moment' so I'm just using the lower grade Rode lav. (on my collar) I've noticed it doesn't take sibilance too well, but I've also sent it into UA-cam pretty hot (not clipped, but with a peak of about -0.5) So it could be a combo of YT crushing it and a cheaper mic! If you watch some of our other vids, they've been recorded with a Senny MKH416 into a 32bit float pre amp. :)
The results here are deceiving because the studio's right wall ( from the camera position) is also bouncing back some light towards the shadow side of the face. Just pause the video at 0:45 min and you will see how obvious it is. The shadows are stronger if you use this method without any source bouncing/reflecting light from the right side. This means you need an additional bouncing surface, some V flat or a reflector on the right side to achieve the same result. You are using one light but 2 sources.
Hey Jorge, thanks so much for taking the time to write such a detailed comment! You are half right and half wrong here actually! I was going to add a 3x3 floppy to that side to create more of a shadow side (as I mention in the video) and I was also going to add a fill light (which I also mention in the video) but once I framed up and looked at the shot, decided I didn't need either of them. Had I thought the cyc walls were adding a huge amount to the 'shadow side' in this shot, I would have added a flag to it, but it actually wasn't doing a huge amount over all. Yes there was some bounce, but not enough to significantly alter the results, as we were far enough away and the light was dim enough for it to be somewhat neutral. Remember in any room you will be getting some sort of bounce from something, unless you're shooting in a void or in the dark. This is still a great demo of what the results of a book light will achieve! Thanks again for the comment! :)
It can look unnatural, like, where exactly would this light be coming from in the real world? Why is it coming from knee height below the face? And why is the light fall off so steep? That is why on sets you will often see this paired with a whole jungle of flags and nets built around. For commercial work it probably works
We actually have a video coming out next week on how to make set lighting look more natural! But for the most part, book lighting is actually a very natural looking light, especially if you're trying to enhance/emulate a diffuse natural window light or softer indoor lighting. What we show here is literally just a demo, in a white cyc.
One of the best channels for film making tips..
Thanks so much for the super kind words! We're fairly new to UA-cam, so really appreciate your support! 🙌
@@kitherco you will go a long way.. already subbed to your channel.. if you remember we had a chat in Instagram..
Thanks so much!
Roger Deakins uses this technique a lot!
The Master!
Actually he does not. He mostly does a single bounce diffusion because otherwise - as it is mentioned in the video with book lighting - the light spills everywhere. I don't remember him ever using double diffusion.
@@priyeshpv Let's get Deakins on the phone and sort it out! 😄☎
@@priyeshpv It's a great way for lighting a space as opposed to just one subject. Deakins is a big fan of the cove lighting set up which is when you bounce multiple light sources off unbleached muslin at varying intensities to get a nice wrap.
🎬 Don't forget to SUBSCRIBE for more filmmaking tips, lighting techniques and BTS from our shoots! 🎥
this is so well explained. finally!!! great work!
Hey thanks so much! Appreciate you taking the time to check it out! 🙌
Great lighting setup!
Thanks! 🙌
Very nice and informative video ❤
Thanks so much! ❤️
Superb
Thanks! ❤️
Nice set up, It would be interesting to know the camera settings needed to capture the video, most importantly ISO. Obviously there is going to be loss of light.
With a powerful enough light, loss of light isn't too much of an issue, at least in terms of camera setting. This would have been at base ISO in Log at 640, with an aperture of about f2.8, shot at 25fps with a 180° shutter angle. With studio settings I always do my best to work the lighting to base ISO, as most of the time we have full control over lighting.
thank for your sharing
Thanks for the support! 🙌
Love the book light. Just wondering what the diffusion frame you're using is?
Thanks! This is a kit from Glide Gear that has a 4x4, 6x6 and 8x8 included, however only one size can be used at once. It's a fantastic entry level scrim kit! www.amazon.com.au/Glide-Gear-Photography-Butterfly-Collapsible/dp/B07P8BN8NR/ref=sr_1_7?crid=1VXKASAQQCYUN&dib=eyJ2IjoiMSJ9.HRyDcDfI734ztsgpfJB7DAcnbStIOoEqKf10KtF0uHvH3x1iH_BrgQ5W_0QNGnP1hV0ZXj9RAqY7hanfkz76G23uytfJmN94ym7CUnf-K6SoTIAQM3XrJlQA9pie8P7_7HcEcroQkjSSMFNDKTQ-XeNKzc4lu02S_XQMVslYb2TW91_Z7YbsXyZXc7yLnHf6BTa8_xNCe7RWG6J2eDgNHFYKHfYOm2ApNwlg10AA7tRq0erSOJm560wm6FbBG07wy2yqxMZSbTkR8nkER3OmG6NdfnJXwuHwd4d7oHIt_kc.tAJGLssDf6Q4cmpnR8wzfJk6NDdiBBzN9Z5s73C5blw&dib_tag=se&keywords=glide+gear&qid=1728352962&sprefix=glide+gea%2Caps%2C404&sr=8-7
@@kitherco Awesome. I had actually been looking into that one for a while but hadn't seen enough reviews to know if it was reliable.
@@daleelliott7390 Yeah I felt the same way when I was looking around for one. I figured for the price point I couldn't go wrong! A couple of things that could be better: I would prefer a square tubing instead of round for the frame, which would help the clamps lock in more and stop slip when mounting horizontal. Also the frame is definitely 'lightweight' so tends to twist a bit on the larger sizes like 8x8. For indoors it's been absolutely fine for us though and for the price it's unbeatable. (Currently even cheaper than we bought it for at $593AUD) However if you're after a super sturdy and absolute pro level scrim kit, you might want to look at a Westcott or even Kupo. (you will be looking at much higher $ though)
The problem with that setup is that you’re limited if you want to use more than one angle and the shot has to be very tight as the lights are very close to the talent. If you need a wider frame you’ll loose that softness as you have to setup the diffuser a bit farther, the farther you go the less soft is the light. There is no much space between the talent and the diffuser, nice for a demonstration but difficult to use in an actual interview. What do you normally do to solve that issue and achieve that softness?
So if you need to have this set up a long distance from the talent, one solution would be to go large and more powerful with the light. Generally to get soft sources you want large diffuse light, as you mentioned pulling the source further away will make it smaller comparative to the talent and so will lose some of the effect. In this case going larger and brighter could help. Generally we don't use this for interviews, as we would need much more control in directionality than this set up provides. It's also just way easier to throw up a couple of softboxes on a COB when under the time constraints of an interview schedule. We use the book light set up for giving nice soft even lighting for larger spaces, and we would normally use a lot of light over distance! 🎉
@@kitherco yes, I feel you. I normally use a 120cm octobox for interviews and a bar light for the back light. Generally, I find the same problem, I want to go closer to the subject to get softer light but the angle of the cameras doesn’t allow me to.
great
Thanks 🙌
wow
🙌
Do you guys have the aputures 150 light dome, I use it all the time and i feel like I'm getting atleast 90% of that softness without the hassle of setting up all of that , could you do a comparison?
Yeah you could definitely achieve some really beautiful results with a 150! Softness in light will generally come from large and diffuse sources, so a 150cm dome would work quite well. One advantage this set up would have over something like that is being able to light a large space. What we've shown here is a cool demo of the technique, but if you scale this up so instead of a 6x6 scrim you're using perhaps a 20x20 and a much larger light source at a distance, you're starting to get some incredible results for much larger spaces. We run the Nanlite 90cm parabolic's as well as the 120cm lanterns, which all do a great job! We will look into doing a comparison vid in a real world setting between them all! Great idea! :)
@@kitherco yeah no for sure a 20x20 would make a maaaasssiveee difference ! You'll deffo need the space for it hahaha
For best results use ultra bounce white, not the high shine silver.
Absolutely! Our bounce was actually out on a shoot when we shot this and we had to grab this silver one from the studio store! 😅😂
@@kitherco ahhhh! That makes sense! The best equipment is the kit you have with you
@@NellerProductions For sure! We're fairly new to UA-cam and a production company first and foremost, so it will be interesting to see how this goes! Hopefully we have enough time to keep doing fun videos like this! :)
Was going to ask about the silver bounce board. The ultra bounce white board, where would I find that or was it something that will have to be made?
How do I build that infinity backdrop for myself?
Great question! They're called a Cyclorama wall. It's probably best to search how to build them as they're not simple. This video might help!
ua-cam.com/video/QDYifetF7ss/v-deo.htmlsi=VXdrOP-5PwQvQKuZ
I see that we have to use an aperture ...f2.8 and toward 1.2. Right?
I'm not too sure what you're asking exactly, but the lens would have been set at around f2.8. :)
@@kitherco Thanks.
Thank you! I would be interested to see a comparison with simply bouncing the light off the large white wall to camera left. It would not be as flexible but presumably it would be just as soft or softer, depending on the distance between light and wall (and subject)?
That could be an interesting comparison, we might have to do another video on it! One thing that would happen for sure is the light would lose all sense of directionality and there would be light spill everywhere. (Although the book light is also a bit like that, bouncing off a cyc wall would be the extreme case) Generally the larger and more diffuse a light source is, the softer it will be. Thanks so much for watching! 🙌
What is the difusion youre using for the book light?
This is a kit from Glide Gear that has a 4x4, 6x6, and 8x8 in it. It's a great entry level scrim kit, selling for around $780AUD on Amazon. 🙌
is it just me or the BG music or your mic sound distored-ish?
Yeah we shot this one a little 'Spur of the moment' so I'm just using the lower grade Rode lav. (on my collar) I've noticed it doesn't take sibilance too well, but I've also sent it into UA-cam pretty hot (not clipped, but with a peak of about -0.5) So it could be a combo of YT crushing it and a cheaper mic! If you watch some of our other vids, they've been recorded with a Senny MKH416 into a 32bit float pre amp. :)
The results here are deceiving because the studio's right wall ( from the camera position) is also bouncing back some light towards the shadow side of the face. Just pause the video at 0:45 min and you will see how obvious it is. The shadows are stronger if you use this method without any source bouncing/reflecting light from the right side. This means you need an additional bouncing surface, some V flat or a reflector on the right side to achieve the same result. You are using one light but 2 sources.
Hey Jorge, thanks so much for taking the time to write such a detailed comment! You are half right and half wrong here actually! I was going to add a 3x3 floppy to that side to create more of a shadow side (as I mention in the video) and I was also going to add a fill light (which I also mention in the video) but once I framed up and looked at the shot, decided I didn't need either of them. Had I thought the cyc walls were adding a huge amount to the 'shadow side' in this shot, I would have added a flag to it, but it actually wasn't doing a huge amount over all. Yes there was some bounce, but not enough to significantly alter the results, as we were far enough away and the light was dim enough for it to be somewhat neutral. Remember in any room you will be getting some sort of bounce from something, unless you're shooting in a void or in the dark.
This is still a great demo of what the results of a book light will achieve!
Thanks again for the comment! :)
It can look unnatural, like, where exactly would this light be coming from in the real world? Why is it coming from knee height below the face? And why is the light fall off so steep? That is why on sets you will often see this paired with a whole jungle of flags and nets built around. For commercial work it probably works
We actually have a video coming out next week on how to make set lighting look more natural! But for the most part, book lighting is actually a very natural looking light, especially if you're trying to enhance/emulate a diffuse natural window light or softer indoor lighting. What we show here is literally just a demo, in a white cyc.