@@joshmillerdpnot much at all, just it almost lenses or focuses the light in a way that makes it feel a bit bright that’s why I add a single or double net a lot of the time depending on the surrounding and what look I’m going for.
It's an excellent video! Thanks! Most UA-cam channels try to explain only verbally or by showing pictures, but in order to understand cinematography, it is necessary to convey field experience because this is a dynamic work. StudioBinder is a great channel in this regard, but even they can't do what you do. I think this is a very, very important thing.
Even the American Cinematographer Manual isn't a good enough resource. It is a very good handbook for professional cinematographers, but it is a very inadequate book for beginners who want to learn everything about the job. It would be great if you could create guides as playlists like StudioBinder does, bro. Of course, reflecting the field experience.
Bro. Wow I am speechless. Thank you for this!!! You’re right cinematography is a very dynamic career. Especially working as a DP on a set with a crew to manage. My only goal for this channel is to help cinematographers grow and get better. Even if it’s just in a small way. I guess my second goal is to connect with awesome people like you! Seriously I appreciate the kind words 🔥
Great tips and yeah, can definitely second your tip about looking the part. As someone whose been on the client side of productions for a while, it go south fast when people start pulling out wacky contraptions.
Thank you for saying that! I think a lot of people that disagree with me on this are people that have done the low budget indie movie kind of stuff. Which is totally fine for that kind of stuff. But for stuff with a healthy budget or like commercial work for a company, absolutely does not fly. Thank you for the comment bro!
Awesome tutorial! Love the look at 4:58 for some reason. Totally get that a harsh rim light like that isn't technically "motivated" by anything but something about it just looks sick to me haha.
Haha it does look good. That’s always the hard balance. I didn’t have one on hand but what id probably do on an actual set is used a way thinner piece of diffusion for that edge light so it had more kick to it. That one definitely took off a ton of the power
Nice tutorial. So true about, don't show up to a paid corporate client with your janky PVC pipe, and shower curtain. That is definitely a guarantee not to work for them again. Doesn't matter if your footage looks great. I have learned over the years, presentation is just as important
Thank you! I got a lot of backlash for saying that but it’s 100% true. Presentation is absolutely important. The difference between a one off job and a reoccurring client!
You may not but a lot of clients would absolutely think “what the hell did I just pay for you amateur”. After you’ve built trust with them you can use “janky” things and they won’t blink an eye
@joshmillerdp I understand. What you mean. It is a very cut throat industry. Presentation is key. But me personally, I'm all for the nitty gritty. I will say that early on I started with those home depot castration lights with baking sheets as diffusers. Lmao. It was a nightmare. Sometimes it works but a lot of times it was a pain in the ass especially with such a warm color. I'm still missing a good light set. I've really got nothing at the moment. Any recommendations for something decent but still within a manageable price range?
The nitty gritty is definitely fun. I guess it also depends on what type of project. Like if it’s a movie, you can get away with really nitty gritty. What type of work do you mostly do? Nanlite had some amazing lights that are at a great price point
@joshmillerdp i agree with you. That’s why I use KinoFlo and ARRI HMI lights only. You can’t bring toys to the set if you expect to get well paid jobs.
Thanks, got great ideas on how to work with the sun. Local area is a desert. Now I need ideas on how light talent with extreme color difference in skin tone with in the same frame or shot.
@@joshmillerdp thank you. I wish to know: Since new lighting situations constantly arise while filming, the white balance also changes, e.g. cloud and sun alternating. I'm very unsure how I can quickly adjust this and how do I know which Kalvin number I need?
Great video brother! I think exteriors scare a lot of folk, but the beauty of using the sun is you eliminated the need for a 600-1200w light! Haha very good. Much love from Tennessee🙏🏼
Ya absolutely! Anything to return some light on to the face works! I feel like an ultra bounce or a bead board would look nice since it’s fabric and texture so it would return light in a softer way.
I’m definitely excited to help more people as time goes on but I’m so freakin grateful for the people that follow me right now. I appreciate you brother 🔥
I'm curious, for the backlighting part, what if you substitute a mirror board and a 1/4 grid as the key light instead of the bounce 4 by. Would it get the same results?
Super good question! Ya absolutely you would! And you’d probably want to use that if you need a wider shot and you couldn’t get close with the bounce board. I’ll have to show that in a video some time! Thank you!
Mirror board without diffusion almost gives the image a cool cartoon effect. Great video, I had heard of a mirror board before but want to try it out now!
great video! i was always wondering how big movies are shot outside :)) the light on the actors face seemed really soft, but the sun is blasting! now i now they use big diffusion panels :))
i agree with you until the curtains. I follow some well known cinematogaphers that uses anything that they have available to make the final image great. Roger Deakins filmmed almost an entire movie with the existing lightning, and I mean practicles. The clients who really why is hiring you will always care about the final result.
I 100% agree that the final image is the most important. However the key word is “well known”. When you’re Roger Deakins or have a reputation then ya you can do whatever the hell you want. But if you’re young and just getting started you definitely should not bring out a shower curtain on some PVC pipe. It can also be a safety hazard to use stuff like that. Proper professional equipment is always a better option
If you can’t afford a floppy and flag frame, I mean we’re talking $250, then you probably shouldn’t be doing professional work. They’re pretty basic levels of equipment.
@@kiwimike2330I partially agree with that. The reason why I disagree is because you can rent this from a rental house for $3 a day. At least from my rental house here in Utah.
Haha thanks bro! I don't believe I was using any sort of filter on this one. I could be mistaken tho. I did shoot this a year ago so I don't remember exactly. Looking back at it tho I definitely pulled my highlights way back so that contrast is not super strong over all. That could be whats making it look soft.
Totally depends. I probably wouldn’t use something that has a reflector element just cause it can be a really hard light. I’d recommend a a checkered bounce that has like white and tan colors that gives a nice mix of warm and cool light. Or look up bluff bounce. It’s a new thing that will blow your mind!
In photography i expose for the sky and then use a strobe to light the skin. For video do you expose for the skin and bring down the highlights in the background/sky in post?
And what would that be? Cause I know a lot of “big companies” that are supppppper unprofessional. I’d rather they at least look professional aka be professional
Amazing video!! Where does one buy an OPAL Diffuser off the internet had a look and couldn't find anything and didn't see anything in your gear link... any help appreciated :)) cheers
haha spoke a little to soon ;D haha kidding. But I also just put links for everything in the description including how to make a bounce board. Hope that helps!
@@The_Idea_of_Dream_Visionmmm good question. So the bigger the group the bigger the diffusion. I mean I’ve seen sets where they have massive rigs with huge pieces of diffusion to cover like a freakin house haha but there’s frames that you can put on combos that are 6x6, 12x12. This is definitely a very small example but can be applied using bigger things
Here’s a link to one! I rent mine from a local rental house so I’m not sure exactly is the best one like brand wise www.bhphotovideo.com/c/product/1677159-REG/matthews_xeno_mirrored_reflector_with.html
Shoot did it not link?! I definitely did it when I was putting the video together. Let me see if it worked. But here’s the link ua-cam.com/video/GOdRqO7F8Ps/v-deo.htmlsi=CbNFO7-T1H0qMwDM
hi josh i really liked this breakdown - would there be any chance for more budget/one man lighting tutorials for those not able to dish out on rentals etc? love the content thought thank you for this
Hey! Thank you I appreciate it! More then likely there won't be much content like this on my channel. My goal is to take the skills I've learned from these big sets I have been on and simplify them to something that's for smaller crews but still holding a professional level. Also rentals can usually be cheaper then making something janky! Like a 4X4 floppy at my rental house is $3 a day. Thank you bro. I hope I can still benefit your cinematography in some way.
Thank you for the transparency! All is good, there is still so much value from these videos and from you. Keep pushing, excited to see more and good luck on your journey! @@joshmillerdp
So the 4x4 floppy just comes pre built you don’t have to skin that one. Here’s the link to it on BH www.bhphotovideo.com/c/product/184869-REG/Matthews_169028T_48x48_Floppy_Cutter.html
That’s an awesome question! Same principles apply just do different things. For a moving shot you could have a 8x8 frame with diffusion and could have 2 people carrying the frame and walking with the talent. And if it’s just a wider shot just get bigger frame and neg and it’s the same thing
Same approach, but have lighting team also put the lighting setups on wheels, so it can be pushed and moved along. Or a poor man approach is plan and block your characters very detailed, and know where they will be and what camera angles you want, and light each individually and do multiple takes of the wide shot but with more intention to the lighting etc. (The way I do it since I'm usually working with just 1 other person)
I’m a photographer that does some family pictures with OCF. How do you suggest I light them because I wish I had a bit more dimension to each persons face but they are all lighted with the same soft light at 45 degrees
Good question. I would say maybe adding a bit of an edge light possible? Something soft but it would just separate your subject out a bit more from the back ground
Very good question. So you can go about that in multiple ways. One way is you would just have to shoot over the course of 2 or 3 days depending on how much you need to film. And just shoot different parts of the scene each time and plan it according to the position if the sun. That would take some serious planning. Another way would be to recreate the sun with something like a ARRI M18 and control the actual sun with flags. Obviously you wouldn’t be able to shoot past a certain time if you’re outside and can see the sky haha you can’t light that up. But really good DP are able to recreate daytime at night in certain environments. That’s some high level stuff
I wanted to chime in on a couple of points raised in the video. The idea of "motivated light" often buzzes around among DPs, but let's be real-the audience isn't scrutinizing those technicalities. Ultimately, our craft is about engaging viewers, not impressing industry circles. Regarding the notion of "don't show up with PVC pipe," I've had a different experience. In my extensive career, clients rarely pay heed to the gear specifics. Whether it's top-notch equipment or something makeshift, what matters is delivering results. Interestingly, high-end clients typically trust the professionals they hire and focus more on the outcome rather than the tools. Let's remember, our primary aim is to captivate audiences, not just reel in the approval of fellow filmmakers or cater to a gear-centric mindset. Ultimately, it's about the experience we create for those who consume our work.
Hey I appreciate the chime in! So the point of motivated lighting I extremely disagree with you. Pretty much any movie you watch by a high level DP the light is motivated by something. That is how a DP really brings the viewer into the world of the movie and you feel immersed. I think cinematography is kind of like audio, it should be so good and that you don't even notice it. Like nothing bugs you about it. But ya ive listended to high level DP's that have been doing this for a long time so it's not just a buzz word but they always making that light motivated. And absolutely the ultimate goal is to make something beautiful. Absolutely there are times when something make shift is totally fine and necessary. But that can only happen and it be ok if 1) you already have a huge reputation and you can do whatever you want because the client knows you're a killer cinematographer when they've never worked with you before. or 2) you've built a relationship with your client and they trust you enough hat if you whip out something janky they have that trust built up to know it's gonna turn out good. Lets not forget though that janky stuff is usually not safe. So to put your cast and crew in any sort of danger that's an immediate disqualification as a "good" DP for me. I agree that that's the ultimate goal but not if it goes against the point I made above. Especially safety. Cheers!
@@joshmillerdp I think my point might not have come across as intended regarding "motivated light." What I've observed firsthand is that some DPs tend to prioritize their industry circles and their reels over the immediate story and the audience's experience. Let's face it: the general audience is quick to notice poor audio quality or when a film is excessively dark. However, whether the light is meticulously motivated or not typically doesn't register with them. It's simply not on their radar. I'm not advocating for abandoning this approach; I'm just highlighting the reality that most viewers, are engaged rather passively when consuming content. My intent isn't to discredit the significance of thoughtful lighting. Instead, I'm pointing out that while it matters to us in the industry, for the vast majority of viewers, it's not a make-or-break aspect of their viewing experience. Ultimately, the audience's engagement with the story and overall experience takes precedence over technical intricacies like motivated light for most casual viewers. I found some of your perspectives on makeshift gear a bit peculiar, to be honest. But let's agree to disagree on that front. Whether you're associated with a rental house or own one, your take seemed a bit unconventional to me.
What’s your process for lighting outdoors?
Hilite and single net, lots of neg.
@@timthompsondpI’ve never used hilite! How many stops of light does it cut?
@@joshmillerdpnot much at all, just it almost lenses or focuses the light in a way that makes it feel a bit bright that’s why I add a single or double net a lot of the time depending on the surrounding and what look I’m going for.
@@timthompsondpinteresting! I’ll definitely have to try that out some time. Thankfully enigma has some!
@@timthompsondpi imagine you put your talent in a posission were the sun hits them in the side right?
It's an excellent video! Thanks! Most UA-cam channels try to explain only verbally or by showing pictures, but in order to understand cinematography, it is necessary to convey field experience because this is a dynamic work. StudioBinder is a great channel in this regard, but even they can't do what you do. I think this is a very, very important thing.
Even the American Cinematographer Manual isn't a good enough resource. It is a very good handbook for professional cinematographers, but it is a very inadequate book for beginners who want to learn everything about the job. It would be great if you could create guides as playlists like StudioBinder does, bro. Of course, reflecting the field experience.
Bro. Wow I am speechless. Thank you for this!!! You’re right cinematography is a very dynamic career. Especially working as a DP on a set with a crew to manage.
My only goal for this channel is to help cinematographers grow and get better. Even if it’s just in a small way. I guess my second goal is to connect with awesome people like you! Seriously I appreciate the kind words 🔥
@@joshmillerdp I appreciate your quick response. May all your dreams come true! All the best.
Doing research for my next short film this is very helpful thank you.
Yesssss that’s what I’m talking about! Make sure to watch my diffusion test video as well that’ll give you options on which diffusion to use
The easiest outdoor lights to understand! Thank you!
Niiiiice thank you bro!!!
One of the best natural light Vids. Thank you.
Bro thank you!!! That means so much!
Great tips and yeah, can definitely second your tip about looking the part. As someone whose been on the client side of productions for a while, it go south fast when people start pulling out wacky contraptions.
Thank you for saying that! I think a lot of people that disagree with me on this are people that have done the low budget indie movie kind of stuff. Which is totally fine for that kind of stuff. But for stuff with a healthy budget or like commercial work for a company, absolutely does not fly. Thank you for the comment bro!
Salt Lake City! My cousins live near to SLC and we go to see them all the time! Super helpful video!
Oh nice!! Such a good place to live I love it.
Thank you!!!
Awesome tutorial! Love the look at 4:58 for some reason. Totally get that a harsh rim light like that isn't technically "motivated" by anything but something about it just looks sick to me haha.
Haha it does look good. That’s always the hard balance. I didn’t have one on hand but what id probably do on an actual set is used a way thinner piece of diffusion for that edge light so it had more kick to it. That one definitely took off a ton of the power
Tenzin Lazerson is such a cool name. Great tutorial/demonstration
Haha right?! I freakin love Tenzin he’s one of the best dudes out there
really loved the tips, looking forward to more gems in your vids Josh :)
Hey thank you!!! Lots more to come!
Nice tutorial. So true about, don't show up to a paid corporate client with your janky PVC pipe, and shower curtain. That is definitely a guarantee not to work for them again. Doesn't matter if your footage looks great. I have learned over the years, presentation is just as important
Thank you! I got a lot of backlash for saying that but it’s 100% true. Presentation is absolutely important. The difference between a one off job and a reoccurring client!
Bro great video. I haven’t tried opal before, will have to add it to my kit
Definitely give it a try it’s one of my go to 4x4. Really beautiful look
Clicked on this video because I recognized Tenzin from Instagram, stayed for the comparison shots. Nice video, thanks for making it.
Nice! I thought his face might grab some attention! Haha hopefully it was worth it for ya to watch through the video!
Personally. I don't care what someone uses on set. As long as the results look good.
You may not but a lot of clients would absolutely think “what the hell did I just pay for you amateur”. After you’ve built trust with them you can use “janky” things and they won’t blink an eye
@joshmillerdp I understand. What you mean. It is a very cut throat industry. Presentation is key. But me personally, I'm all for the nitty gritty. I will say that early on I started with those home depot castration lights with baking sheets as diffusers. Lmao. It was a nightmare. Sometimes it works but a lot of times it was a pain in the ass especially with such a warm color. I'm still missing a good light set. I've really got nothing at the moment. Any recommendations for something decent but still within a manageable price range?
The nitty gritty is definitely fun. I guess it also depends on what type of project. Like if it’s a movie, you can get away with really nitty gritty. What type of work do you mostly do? Nanlite had some amazing lights that are at a great price point
@joshmillerdp i agree with you. That’s why I use KinoFlo and ARRI HMI lights only.
You can’t bring toys to the set if you expect to get well paid jobs.
This video looks and feels really good, i hope that more people will see your arts!!! Keep it up)
Thank you! I just hope I can help more people with their cinematography even in just a small way . Thank you for the support!
I am so glad I stumbled across this video Josh! Thank you!
Broooo thank you so much! Glad it was helpful!
Thanks, got great ideas on how to work with the sun. Local area is a desert. Now I need ideas on how light talent with extreme color difference in skin tone with in the same frame or shot.
I’ve actually been wanting to do a video like that so I’ll put it on my list of videos to get done!
Thankyou Brother ❤❤❤❤ u kept it Really nice and Simple ❤
You’re welcome! Love to hear it 🔥🔥🔥
Diggin this video style and BTS cutaways!
Hell ya bro thank you!!! Definitely will do more of these
Really awesome, really informative, really authentic!
Dope!!! Glad you liked it! Just trying to be a normal human being and the “UA-camr” style vibe haha
Really nice, thank you.
Could you make a video about white balance outside?
Absolutely I can do that! Anything specific you’ve been having trouble with?
@@joshmillerdp thank you. I wish to know: Since new lighting situations constantly arise while filming, the white balance also changes, e.g. cloud and sun alternating. I'm very unsure how I can quickly adjust this and how do I know which Kalvin number I need?
this is a brilliant "how to" video... just what i needed ! ♥
Hey thank you! Seriously so glad it helped you
Hey this is great! I always struggle with outdoor lighting.
It’s for sure very hard. Especially if it’s a wide shot it’s really hard.
Thank u for the video Josh 🎊💫
Absolutely! I’m glad you enjoyed it!
Super cool video! I am excited to try out these techniques on upcoming projects. Thanks for putting this together!
Absolutely! I’m glad it was helpful! Tag me in the final product if you post it I’d love to see the results
Great video brother! I think exteriors scare a lot of folk, but the beauty of using the sun is you eliminated the need for a 600-1200w light! Haha very good. Much love from Tennessee🙏🏼
They absolutely are scary!!! Once you have the right tools tho it definitely makes it way easier.
Nice dude what part of Tennessee??
@@joshmillerdp Northeast near Knoxville, Johnson City, Bristol👊🏼
No way?! I lived in Johnson City for a bit years ago!
Great video and great examples, thanks for this mate.
Hey my pleasure! Thank you for watching!
These videos are incredibly helpful, thank you
Hell ya thank you!!!! I need to make more videos like this
Great video man! Thanks for the break down 💪
Hey absolutely! Thank you!!!
You can also use one of those chalkboard whiteboards that flip and have wheels great for bounce boards doesn't look too bad either on set
Ya absolutely! Anything to return some light on to the face works! I feel like an ultra bounce or a bead board would look nice since it’s fabric and texture so it would return light in a softer way.
Did you delete your original comment? 😉
Nice video. I was surprised to see your subscriber count. I’m sure you will grow a lot on here! Great knowledge and well spoken. Subbed.
I’m definitely excited to help more people as time goes on but I’m so freakin grateful for the people that follow me right now. I appreciate you brother 🔥
I find a lot of people are afraid of hard lighting these days. So many of the best films ever shot used it, it really ought to come back in favor.
I’m definitely not afraid of it. That’s the beauty of cinematography there’s a thousand ways to do something. This is just one way 😁
Amazing. Really. Thank you man
Absolutely! So happy you enjoyed it 🔥
I'm curious, for the backlighting part, what if you substitute a mirror board and a 1/4 grid as the key light instead of the bounce 4 by. Would it get the same results?
Super good question! Ya absolutely you would! And you’d probably want to use that if you need a wider shot and you couldn’t get close with the bounce board. I’ll have to show that in a video some time! Thank you!
amazing video man! ✌
Appreciate it! Stay tuned for more 🔥
Mirror board without diffusion almost gives the image a cool cartoon effect. Great video, I had heard of a mirror board before but want to try it out now!
Oh man you’re right!!!! That’s wild 😂😂😂
But ya they are awesome to use for lighting! All the power you need without having a light plugged in
Let’s GOOOO!!! 🙌
LFG 🔥🔥🔥🔥🔥 bringing the basics to the table 🔥🔥🔥
Very well done. Now I know what the next pieces of kit I should invest in. Next.
Nice. Ya I’m definitely going to buy some frames and skin them super soon
Came here for Tenzin, stayed for the good advice
Yooooo thank you! We need to get Tenzin doing some longer videos as well!
great video! i was always wondering how big movies are shot outside :)) the light on the actors face seemed really soft, but the sun is blasting! now i now they use big diffusion panels :))
Yep! That’s how they do it! It’s so cool to see big sets using these exact same techniques!
Thanks for the tips. The scene was great
Yo thanks bro!!!
Great Video, Josh!
Thank you! Glad you enjoyed it!
Opal lookin good
It really such a beautiful piece of diffusion. Seriously my favorite
great colors
Thank you! Good ol phantom Luts for the win! With extra stuff in davinci of course
y0 this was freaking dope. #subscribed
Yooooooo thank you bro!!! 🙏🏼
Loved the tips! Thanks Josh!
Hey thank you bro!
i agree with you until the curtains. I follow some well known cinematogaphers that uses anything that they have available to make the final image great. Roger Deakins filmmed almost an entire movie with the existing lightning, and I mean practicles. The clients who really why is hiring you will always care about the final result.
I 100% agree that the final image is the most important. However the key word is “well known”. When you’re Roger Deakins or have a reputation then ya you can do whatever the hell you want. But if you’re young and just getting started you definitely should not bring out a shower curtain on some PVC pipe. It can also be a safety hazard to use stuff like that. Proper professional equipment is always a better option
The photographers are on UA-cam or cinematographers on UA-cam usually just need help so don’t bag on what they could only get
If you can’t afford a floppy and flag frame, I mean we’re talking $250, then you probably shouldn’t be doing professional work. They’re pretty basic levels of equipment.
@@kiwimike2330I partially agree with that. The reason why I disagree is because you can rent this from a rental house for $3 a day. At least from my rental house here in Utah.
@@jessyjohnson2293ya I’m helping them by telling them to not bring a POS thing to a set that a client is paying them big money for.
Beautiful video mate, very complete and concise, I like it.
Hey brother thank you! I like to keep things short into the point! 🔥🔥🔥
Sony fx6, G master lens... Nothing too crazy?? Got it
Haha my bad. I work with a wide variety of cameras and I freakin love the FX6 but when compared to something like an ARRI Alexa…ya know
@@joshmillerdp dont mind me, I'm just jealous 😂❤️
❤❤❤ nice
Thank you so much!!!
Incredible info 🎉 new subscriber thank you!!!🎉
Hell ya! Absolutely! Thank you!!!
Good tut
Hey thank you! 🙏🏼
Subbed even though my left ear felt a bit lonely! 😁
Wait what?! Was the audio only coming out of one side?
@@joshmillerdp No, but it was probably recorded stereo or something as there was a difference between the ears 😁
@@videografenNO really?! Hahaha oh crap my bad. Didn’t even recognize that!!!
Why do your talking head segments look...soft? Lens filter? I like it.
Haha thanks bro! I don't believe I was using any sort of filter on this one. I could be mistaken tho. I did shoot this a year ago so I don't remember exactly. Looking back at it tho I definitely pulled my highlights way back so that contrast is not super strong over all. That could be whats making it look soft.
@@joshmillerdp got it thanks man
Instead of a bounce board... Would u recommend using a checkerboard reflector???
Totally depends. I probably wouldn’t use something that has a reflector element just cause it can be a really hard light. I’d recommend a a checkered bounce that has like white and tan colors that gives a nice mix of warm and cool light. Or look up bluff bounce. It’s a new thing that will blow your mind!
Thank you for the content, very insightful
Absolutely! Glad you enjoyed it 🔥
that's it! john krasinski, you look like him! haha
Haha me or Tenzin?!
Great tutorial!
Thank you!!! Glad you enjoyed it!
Thanks a lot mate, it was helpful!
Absolutely! Glad it helped!
In photography i expose for the sky and then use a strobe to light the skin. For video do you expose for the skin and bring down the highlights in the background/sky in post?
thank you good sir
this is great info
Absolutely! Hopefully it helped you as a cinematographer even just a little!
There‘s a difference between being professional and looking professional.
And what would that be? Cause I know a lot of “big companies” that are supppppper unprofessional. I’d rather they at least look professional aka be professional
loving the content man! keep it up!
Thanks bro!!! were ramping up!
very nice
Thank you!!!
Great breakdown, really love these! Subscribed
Hey seriously appreciate it. Hopefully you were able to take a little nugget of information from to help your cinematography!
Awesome video bro! Subbed
Heyyyyyy I appreciate it 🔥🔥🔥
Why do you remind me so much of John Krasinski? haha, anyway good video
Haha that’s so funny I’ve had a few other people say that! I’m not sure what it is 😂
Thank you! 🙏🏼 I
Just wondering, what Cstand do you use to hold the opal frame?
They’re from my rental house but I believe they are American C stands
Good one BRO...!
Thank you 🙏🏼🙏🏼🙏🏼 let me know if you have any questions!
Great video…
Thank you!!
Amazing video!! Where does one buy an OPAL Diffuser off the internet had a look and couldn't find anything and didn't see anything in your gear link... any help appreciated :)) cheers
lol, I had paused your video to ask.... and there it is -thanks :))
haha spoke a little to soon ;D haha kidding. But I also just put links for everything in the description including how to make a bounce board. Hope that helps!
@@joshmillerdp Thanks Chief! Such great tips!!
Thanks for this. Kinda makes sense
Any questions you have that I can answer for ya?
@@joshmillerdp maybe jus how this can be applied to different groups sizes
@@The_Idea_of_Dream_Visionmmm good question. So the bigger the group the bigger the diffusion. I mean I’ve seen sets where they have massive rigs with huge pieces of diffusion to cover like a freakin house haha but there’s frames that you can put on combos that are 6x6, 12x12. This is definitely a very small example but can be applied using bigger things
Thanks Josh. Who sells mirror boards?
Here’s a link to one! I rent mine from a local rental house so I’m not sure exactly is the best one like brand wise
www.bhphotovideo.com/c/product/1677159-REG/matthews_xeno_mirrored_reflector_with.html
@@joshmillerdp BIG THANKS
@ 3:35 you "promise" to link how to skin a frame. I don't see the link in the cards or description.
Shoot did it not link?! I definitely did it when I was putting the video together. Let me see if it worked. But here’s the link ua-cam.com/video/GOdRqO7F8Ps/v-deo.htmlsi=CbNFO7-T1H0qMwDM
I saw it.
Thanks alot for making this video
Absolutely! I’m glad you enjoyed it! Let me know if you have any questions!
I hit subscribe around the point your created the edge light from mirror
Hell ya thank you!! Mirror boards are freakin sweet 😂
wow love it
Hey thank you!!! Hope it helped in some way for ya!
Dang, this is good
Broooo thank you so much!!!!
hi josh i really liked this breakdown - would there be any chance for more budget/one man lighting tutorials for those not able to dish out on rentals etc? love the content thought thank you for this
Hey! Thank you I appreciate it!
More then likely there won't be much content like this on my channel. My goal is to take the skills I've learned from these big sets I have been on and simplify them to something that's for smaller crews but still holding a professional level. Also rentals can usually be cheaper then making something janky! Like a 4X4 floppy at my rental house is $3 a day.
Thank you bro. I hope I can still benefit your cinematography in some way.
Thank you for the transparency! All is good, there is still so much value from these videos and from you.
Keep pushing, excited to see more and good luck on your journey! @@joshmillerdp
@@asianboyfly absolutely. I appreciate you still following along! 🔥
thx
Thank you!!!
Thank you for sharing, What brand and model is the "frame" holding the negative fill? thank you
So the 4x4 floppy just comes pre built you don’t have to skin that one. Here’s the link to it on BH
www.bhphotovideo.com/c/product/184869-REG/Matthews_169028T_48x48_Floppy_Cutter.html
what if your character is moving around a lot, or you have a lot of wide shots in your film?
That’s an awesome question! Same principles apply just do different things. For a moving shot you could have a 8x8 frame with diffusion and could have 2 people carrying the frame and walking with the talent. And if it’s just a wider shot just get bigger frame and neg and it’s the same thing
Same approach, but have lighting team also put the lighting setups on wheels, so it can be pushed and moved along.
Or a poor man approach is plan and block your characters very detailed, and know where they will be and what camera angles you want, and light each individually and do multiple takes of the wide shot but with more intention to the lighting etc. (The way I do it since I'm usually working with just 1 other person)
Thanks!
Absolutely! I hope this helped!
I’m a photographer that does some family pictures with OCF. How do you suggest I light them because I wish I had a bit more dimension to each persons face but they are all lighted with the same soft light at 45 degrees
Good question. I would say maybe adding a bit of an edge light possible? Something soft but it would just separate your subject out a bit more from the back ground
Good stuff!
Seriously appreciate it! Let me know if you have any questions!
Great value bro
Thanks bro! Just trying to spread the good word!
new subscriber
Bro thank you 🙏🏼🙏🏼🙏🏼
How do you plan the setup in short winter days? The sun always moves so quick, it seems hard to anticipate.
Very good question. So you can go about that in multiple ways. One way is you would just have to shoot over the course of 2 or 3 days depending on how much you need to film. And just shoot different parts of the scene each time and plan it according to the position if the sun. That would take some serious planning. Another way would be to recreate the sun with something like a ARRI M18 and control the actual sun with flags. Obviously you wouldn’t be able to shoot past a certain time if you’re outside and can see the sky haha you can’t light that up. But really good DP are able to recreate daytime at night in certain environments. That’s some high level stuff
thanks bro
No thank YOU!
And how can i do that with camera movement?
What type of camera movement are you thinking?
Amazing Thank you bro!!
No thank YOU bro! Let me know if you have any questions!
Put your mic track to Mono when editing
🤔
what camera do yo use here ?
Rocking the Sony FX6!
Very informative !
Thank you!!! Let me know if you have any questions!
holy sh*t that's some major difference
Hahahaha oh ya! That’s what lighting is all about!
yes ,be pro
don't listen to him guys! I worked on Netflix movies where we used shower curtains and DIY frames!
Ghetto
How love how people think working on a Netflix project is somehow the pinnacle of achievement and better then everyone else 😂😂😂
I wanted to chime in on a couple of points raised in the video. The idea of "motivated light" often buzzes around among DPs, but let's be real-the audience isn't scrutinizing those technicalities. Ultimately, our craft is about engaging viewers, not impressing industry circles.
Regarding the notion of "don't show up with PVC pipe," I've had a different experience. In my extensive career, clients rarely pay heed to the gear specifics. Whether it's top-notch equipment or something makeshift, what matters is delivering results. Interestingly, high-end clients typically trust the professionals they hire and focus more on the outcome rather than the tools.
Let's remember, our primary aim is to captivate audiences, not just reel in the approval of fellow filmmakers or cater to a gear-centric mindset. Ultimately, it's about the experience we create for those who consume our work.
Hey I appreciate the chime in!
So the point of motivated lighting I extremely disagree with you. Pretty much any movie you watch by a high level DP the light is motivated by something. That is how a DP really brings the viewer into the world of the movie and you feel immersed. I think cinematography is kind of like audio, it should be so good and that you don't even notice it. Like nothing bugs you about it. But ya ive listended to high level DP's that have been doing this for a long time so it's not just a buzz word but they always making that light motivated.
And absolutely the ultimate goal is to make something beautiful. Absolutely there are times when something make shift is totally fine and necessary. But that can only happen and it be ok if 1) you already have a huge reputation and you can do whatever you want because the client knows you're a killer cinematographer when they've never worked with you before. or 2) you've built a relationship with your client and they trust you enough hat if you whip out something janky they have that trust built up to know it's gonna turn out good. Lets not forget though that janky stuff is usually not safe. So to put your cast and crew in any sort of danger that's an immediate disqualification as a "good" DP for me.
I agree that that's the ultimate goal but not if it goes against the point I made above. Especially safety.
Cheers!
@@joshmillerdp I think my point might not have come across as intended regarding "motivated light." What I've observed firsthand is that some DPs tend to prioritize their industry circles and their reels over the immediate story and the audience's experience.
Let's face it: the general audience is quick to notice poor audio quality or when a film is excessively dark. However, whether the light is meticulously motivated or not typically doesn't register with them. It's simply not on their radar. I'm not advocating for abandoning this approach; I'm just highlighting the reality that most viewers, are engaged rather passively when consuming content.
My intent isn't to discredit the significance of thoughtful lighting. Instead, I'm pointing out that while it matters to us in the industry, for the vast majority of viewers, it's not a make-or-break aspect of their viewing experience. Ultimately, the audience's engagement with the story and overall experience takes precedence over technical intricacies like motivated light for most casual viewers.
I found some of your perspectives on makeshift gear a bit peculiar, to be honest. But let's agree to disagree on that front. Whether you're associated with a rental house or own one, your take seemed a bit unconventional to me.
tight video, not as tight as that shirt but still awesome. thanks!
Bro I’m freakin dead 😂😂😂😂😂 I swear it’s a size large! The arms just fill it out 😂😂😂
ha lookn great, i need to get my noodle arms in the gym!
I found some value, but decrease superficiality.
👍🏻