I convey danger in my lighting by not using sand bags, overloading my stand, not putting the weight on the tall leg and by using my left hand to tight my gobo head ! Sometime I'll make the stick eye level with no tennis ball if I really feel like it !
I like using dramatic hard lighting and reds/greens to convey danger or urgency. Loved the explanation behind utilizing the book lighting so people moving in front of the source don't interfere as much with the shot! My appreciation for sunroofs just skyrocketed as well! Great video!
defo want to try this for some sort of emotional care scene after a break up or something! but shout to the whole 4mfs team, can really see how much effort goes into videos packed with so many gems, aperture you the goats!
I think the classic way to go in thrillers or horror movies is to add a flickering bulb effect and that way your audience is struggling to see the characters well, which adds to the tension of the scene. Plus you can 'hide' characters or things in the dark bits only to then appear when the bulb flicks back on. A more stylistic choice that I really like but is harder to pull off is a strong red light, which you can justify as realistic for the scene if for example the power is off and the emergency lights kick in (or maybe you don't need to justify it at all). It comes off too strong sometimes, but it does a good job of illustrating an evil character's blood lust, or that someone is about to become a victim etc. It can be used in more subtle ways too, of course but its a stylistic choice that doesn't belong in every movie.
I'd use my lighting to silhouette the danger so the audience can begin to slowly understand but not have the reveal all at once. Colour then takes this to the next level.
I've found that a great way to convey danger is is to use dark parts throughout the frame so the audience focuses on the main source of the danger through light values. Once that is done, stylizing the light hitting the source of the danger is a good way to evoke emotion. I purposefully make sure nothing else is blooming or in the same light values as the main focus of the scene. The highlights should be just above midtones but no so bright that its hitting us over the head. A famous example of this is Indiana Jones in which he switches the sand for the golden idol. The idol is the brightest thing there but it's not so bright as to overpower the frame.
I use chiaroscuro lighting to paint outlines of my subject and the background. That way the audience is fighting through the obscurity. Next I use a primary danger color (red - toxic Green) with a complementary color as a minor accent shade. When the subject is still, I'll add some 3D space movement (vs hue or luminance movement). When subject is moving, I try to keep the lighting still.
doing lowbudget taught me to use my phone for a quick light with different filters, it works in a quick pinch. Also using LED flash lights comes in handy
I generally use a more dramatic lighting ratio, as I think that it adds suspense to the scene, by not having everything be fully visible. Combining that with slower camera movement makes things feel more dangerous, as it makes the audience anticipate something to come, and builds that sense of danger.
First of all I want to feel the audience to "The Color I'm using is mean danger" for that I want to set a two different color tones for antagonist and protagonist that ways we can feel fear when ever see the color antagonist choose!!
INTERIOR DAYLIGHT DANGER LIGHTING : I would start with 'silhouettng' the characters with the window in the background while having a very big diffused light sometimes I study the location and wait for the sun to hit directly into the interior and then use a queen size bed sheet from the outside to diffuse the light .. "cheaper" lol EXTERIOR/INTERIOR NIGHT DANGER LIGHTING : I would use two designs, let's say a car scene and the car is moving I'd use the cyan and reddish sodium color contrast with having the cyan as the night 'moonlight' and the reddish sodium as the street lights with having a two novas mounted to the car while controlling the sodium nova dim to act as the light in the street with trying to convey some "red" lights upon the character from outside if it was the antagonist as moving cars! And I would always try however the scene is to put additional source of light from under the characters to cast some shadows on the face that gives the thrilling vibe!! Wooh
I’ve never filmed for danger, but I would try to emulate (spoiler alert) the scene where Han Solo is killed by Kylo Ren. There’s a sense of light vs dark side with the blues and reds strategically placed in the background. We (the audience) feel Han is talking to his son Ben, but then the scene turns red with even a little of red casted onto the character’s face signaling his shift back to Kylo, where he then kills Han This scene is so beautiful: ua-cam.com/video/hh-zGP-LcQQ/v-deo.html
I think it’s less about using LIGHT to convey danger than about the strategic placement/use of shadow. Really setting the mode and tone by deciding where you can see and where can’t. Then you can subtly accent that with colored pops of light that relate to the mood you want.
I use shadows and my depth of field to create danger. Have movement in shadows to show something our subject doesn’t and having things move in the background so you don’t know what it is
My appreciation is that it is far too lit, giving it a look like for TV adventure series work, undestandable that if you wish to advertise lights.. yo need to "light the scene", not bad.. just too lit for my style.
I really wish no one would say gritty when describing lighting. That word should be reserved for production design. I would described the final result as hard and contrasty lighting, but not gritty.
I would definitely use the color red to give the viewer a sense of danger, working high contrast on the characters' faces and complementing very softly with yellow temperatures that subtly fill in the silhouettes. I hope to win the Aputure MC
Well I guess the simple answer would be to use color as a way to convey danger. The obvious being a red light illuminating the killers face or something like that. But personally, I would have most of the lights off. Keep it simple, draw the viewers eye to the one or few things illuminated, and let the danger play in the darkness.
Mind blowing tips
I convey danger in my lighting by not using sand bags, overloading my stand, not putting the weight on the tall leg and by using my left hand to tight my gobo head ! Sometime I'll make the stick eye level with no tennis ball if I really feel like it !
This is the way
Oh, you a bad boy.
I like using dramatic hard lighting and reds/greens to convey danger or urgency. Loved the explanation behind utilizing the book lighting so people moving in front of the source don't interfere as much with the shot! My appreciation for sunroofs just skyrocketed as well! Great video!
I love how lighting on it's own creates such an amazing cinematic space. Took the whole calm location to badass dark themed scene!
This was a fun one to AC!
defo want to try this for some sort of emotional care scene after a break up or something!
but shout to the whole 4mfs team, can really see how much effort goes into videos packed with so many gems, aperture you the goats!
What a great class! 😃👏🏼👏🏼
Recently, it has become more of a 8MFS or 16MFS, but we like it like that !
As always, great video!
Super enrichissant ! Merci et respect de France 🇫🇷 🎥
Awesome Tips!
I needed this tutorial. thanks Vee n team
Nice video! Thank you for sharing lighting breakdowns, we need more of these!
I think the classic way to go in thrillers or horror movies is to add a flickering bulb effect and that way your audience is struggling to see the characters well, which adds to the tension of the scene. Plus you can 'hide' characters or things in the dark bits only to then appear when the bulb flicks back on.
A more stylistic choice that I really like but is harder to pull off is a strong red light, which you can justify as realistic for the scene if for example the power is off and the emergency lights kick in (or maybe you don't need to justify it at all). It comes off too strong sometimes, but it does a good job of illustrating an evil character's blood lust, or that someone is about to become a victim etc.
It can be used in more subtle ways too, of course but its a stylistic choice that doesn't belong in every movie.
I'd use my lighting to silhouette the danger so the audience can begin to slowly understand but not have the reveal all at once. Colour then takes this to the next level.
I've found that a great way to convey danger is is to use dark parts throughout the frame so the audience focuses on the main source of the danger through light values. Once that is done, stylizing the light hitting the source of the danger is a good way to evoke emotion. I purposefully make sure nothing else is blooming or in the same light values as the main focus of the scene. The highlights should be just above midtones but no so bright that its hitting us over the head. A famous example of this is Indiana Jones in which he switches the sand for the golden idol. The idol is the brightest thing there but it's not so bright as to overpower the frame.
I use chiaroscuro lighting to paint outlines of my subject and the background. That way the audience is fighting through the obscurity. Next I use a primary danger color (red - toxic Green) with a complementary color as a minor accent shade. When the subject is still, I'll add some 3D space movement (vs hue or luminance movement). When subject is moving, I try to keep the lighting still.
doing lowbudget taught me to use my phone for a quick light with different filters, it works in a quick pinch. Also using LED flash lights comes in handy
With enough MC's I could make any mood I want with the lighting
Lots of good info from a solid crew 🙌
With love from Bulawayo in Africa
I generally use a more dramatic lighting ratio, as I think that it adds suspense to the scene, by not having everything be fully visible. Combining that with slower camera movement makes things feel more dangerous, as it makes the audience anticipate something to come, and builds that sense of danger.
Green flourascent tube lights were very common lights few years back..
I convey danger through lightings by setting up the appropriate white balance to have a cold feel then add one few minimal lights to compensate
I think the use of dark spaces with slight detail in the shadows piping in and out conveys danger to me.
Fun fact, the colours in the La La Land scene were inspired by a scene in Vertigo
Thanks for this cool fact!
First of all I want to feel the audience to "The Color I'm using is mean danger" for that I want to set a two different color tones for antagonist and protagonist that ways we can feel fear when ever see the color antagonist choose!!
Great idea!
INTERIOR DAYLIGHT DANGER LIGHTING : I would start with 'silhouettng' the characters with the window in the background while having a very big diffused light sometimes I study the location and wait for the sun to hit directly into the interior and then use a queen size bed sheet from the outside to diffuse the light .. "cheaper" lol
EXTERIOR/INTERIOR NIGHT DANGER LIGHTING : I would use two designs, let's say a car scene and the car is moving I'd use the cyan and reddish sodium color contrast with having the cyan as the night 'moonlight' and the reddish sodium as the street lights with having a two novas mounted to the car while controlling the sodium nova dim to act as the light in the street with trying to convey some "red" lights upon the character from outside if it was the antagonist as moving cars! And I would always try however the scene is to put additional source of light from under the characters to cast some shadows on the face that gives the thrilling vibe!! Wooh
Yesssss 🔥🔥🔥
Its really helpful 💯🙏
Thank you! Glad you liked the episode.
I like to use flashy red lights to convey danger; sometimes by spotlighting or keying a certain object of importance in a scene.
Yess
I’ve never filmed for danger, but I would try to emulate (spoiler alert) the scene where Han Solo is killed by Kylo Ren. There’s a sense of light vs dark side with the blues and reds strategically placed in the background. We (the audience) feel Han is talking to his son Ben, but then the scene turns red with even a little of red casted onto the character’s face signaling his shift back to Kylo, where he then kills Han
This scene is so beautiful: ua-cam.com/video/hh-zGP-LcQQ/v-deo.html
I think it’s less about using LIGHT to convey danger than about the strategic placement/use of shadow. Really setting the mode and tone by deciding where you can see and where can’t. Then you can subtly accent that with colored pops of light that relate to the mood you want.
genial!!!
Mmm give more of Natalia. That my baby 😍🥰 could lose the mask tho
Like it
This girl is badass.
I use shadows and my depth of field to create danger. Have movement in shadows to show something our subject doesn’t and having things move in the background so you don’t know what it is
Finaly!! :-D
❤️❤️
Nvm about Haze. If you really want to motivate danger in-camera then use A/B Smoke.
The 4 minutes film school is not 4 minutes film school anymore.
Always the red and sodium vapor to convey danger
Totally!
Boujee Grips leveling the entire track on apples, does the US not use Pags?
I use for the feel of danger colurs that were not comen so the audience feel strange because they not familier with that
by using hard contrastfull lighting and backlighting to create silhouettes
❤
Silhouette and underneath lighting or only back lighting the talent...
My appreciation is that it is far too lit, giving it a look like for TV adventure series work, undestandable that if you wish to advertise lights.. yo need to "light the scene", not bad.. just too lit for my style.
I really wish no one would say gritty when describing lighting. That word should be reserved for production design. I would described the final result as hard and contrasty lighting, but not gritty.
Mercury vapor lights are actually green
I would definitely use the color red to give the viewer a sense of danger, working high contrast on the characters' faces and complementing very softly with yellow temperatures that subtly fill in the silhouettes.
I hope to win the Aputure MC
Using a one colour in every shoot that make fell it like orange colour in film godfather when that colour show in the shoot someone death.
Well I guess the simple answer would be to use color as a way to convey danger. The obvious being a red light illuminating the killers face or something like that. But personally, I would have most of the lights off. Keep it simple, draw the viewers eye to the one or few things illuminated, and let the danger play in the darkness.
Darkness can be really effective for this!
@@aputurelighting the key to lighting is knowing when not to, and what not to light
Shadow, shadow, shadow...especially on faces!
If you guys ever need a gear tester, I'd be happy to review and try out whatever you send me :P
Always gotta be careful using gaff tape shooting on location
I made danger by tripping over stuff in my apartment after the lights were turned off.
Why the cars always gotta be wet man
Haze.
How many kelvins???
SUPER
#yuvarajempire
I like to convey danger by flickering the lights in random fashion.
Our "Faulty Bulb" FX is a must.
Resident Evil
Strobe cause there’s a possibility it could kill someone.
Wearing a mask outside says it all really.