Absolutely 100% next level content. For those of us that “live in this world”, seeing you do this in long form gives great confidence to the “why” and not just the “how”. I could not appreciate your videos more.
It's inspiring ... and intimidating. Matt's eye for detail is incredibly keen. I'm not sure I'd pick up most of those subtle deficits in real time and under pressure. That's the value of experience for you.
Masterclass! I purchased the 300x during Black Friday sale in part because of these videos. It was the best choice for my budget. Really loving your channel 🤌🏾
these are really high quality tutorials. Those little details, like the b-roll when you were adjusting the flags of the 60x, which takes some effort to do since you are a one-man crew, really matters for people who have never used these lights before. Also stuff like blurring out the books and alcohol, these details might be handy when filming in real life. Thanks for all the tuts!
Thank you! This is so detailed and practical for me, right down to the gaffer tape on the MC's. The overall take-away is to think creatively in the moment. That's the fun part of the job, if you go in with that mindset.
Glad it was helpful! And you’re absolutely right- it’s all about thinking creatively, both in how you want the light to look and also how you can practically achieve it!
@@matt-porwollyeah man, I’m no pro cinematographer, but I do shoot video for a living as a journalist and appreciate your knowledge. Lots of stuff I can apply to my interviews. Thanks for putting this out there.
I was just planning on starting a project that requires cinematic lightning level, and you just taught me what I needed to know to begin with the right foot. I can’t thank you enough. Your expertise and will to help is priceless. God bless you buddy.
Great stuff! Love your explanatory style and how you approach lighting the frame. Your process for adding shape and layering to an image is articulated in such a non-daunting, accessible way. Inspiring to see someone make a great image while working solo!
Looks great! Felt like it could use a bit of an edge light on the talent, but that’s just personal preference. Going to check out the rest of the videos in the series.
Thanks! The use of edge light is definitely a personal preference. I’m not a fan, but can be easily implemented in a setup like this! Hope you enjoy the other videos in the series as well.
Another ridiculously valuable tutorial. Thanks, Matt. Have you considered doing a live Q&A? It would be cool to see where a more conversational setting might go. You typically answer 3-4 questions I didn't know I had, but in the process introduce a few new ones! If I can bother you with a few here: 1. How much time do you budget for adjustments once the actual talent is sitting down? 2. Do you use false color (e.g, EL Zone) to dial in skin exposure? 3. Are you using removable velcro for those MCs? If so, product suggestion? 4. Do you zone focus or rely on autofocus (I hate auto-focus quivers that show up in the background)?
Hey! Thanks for your suggestion of Live Q&As. I’ll definitely add that to the list for next year! To answer your questions: 1) The time available once talent arrives is very unpredictable and often not able to be dictated by me. So this is another reason I like to add more time for setup. Any time I have leftover can be used for when talent first arrrives. Oftentimes a quick sit-in before hair & makeup or even banter with director to make any final adjustments. More times than not, I’ll work off of what I know from photos of talent. (Do they wear glasses? Hair color? Bald? Etc) 2) Personally, I don’t normally use FC or EL. But this is because I’m used to to working either by eye or waveform. Nothing wrong with either system though! 3) for the MCs, I just use either the Velcro tabs that came with them, or I have a big roll of Velcro that I cut off for all kinds of camera mounting stuff. Lives in the AKS kit. 4) I never use auto-focus. While I hear it’s come a long way, I don’t believe it’ll deliver 100% of the time. And these days, rarely use lenses that have it.
I love it, perhaps due to the medium shot, you could use a smaller key light, such as the SmallRig RC-60B with its diffuser, to achieve darker shadows at the bottom while illuminating the background spill simultaneously
I really appreciate the depth and breadth of these lighting tuts. I do have a question about your choice to use a fully skirted-lantern. Why that accessory as opposed to a mini-light dome or light dome?
Another great video! I find that I use lanterns less and less these days. Just like your process within this video, I end up flagging so much, that I find myself thinking, “I should have used a softbox.” 🤪
I hear you! I love my lantern for “scenes” in docs when I might need to lift the ambience and generally use my larger diffusions for interviews. So I haven’t bought a softbox. It would certainly be an easier way to accomplish what I did, but at the same time, it’s one more piece of kit to buy and carry around, so the 1 extra step using the lantern was worth it :)
@@matt-porwoll I do love the broad application of a lantern. You can shape and craft it much more than a softbox. If I could only have one, I’d have a lantern with a skirt and lots of flags. Love your stuff, and always look forward to the next one.
Just wondering what's the benefit of using a lantern instead of a normal soft box on the 300x? Especially when you end up using the skirt which makes it a normal octa softbox? Just to give more light to the background? I'm excited about the next little Series! This channel is extremely helpful :)
The only reason I’m using the lantern is because I don’t own a softbox for my Aputures, except a 5’ Octabank. As you point out, the effect would be the same, so you can you either, based on what you have. But this also shows that you don’t need every available attachment for your gear. There are a few things that are good to have that can work in a variety of situations without having to lug around a ton of diffusion options.
LOVED this series Matt. As a traveling DP over here, I'm mostly shooting in natural light. But in the future, I may need a portable kit that fits inside a Pelican 1615 (interior is 29.59 L x 15.50 W x 9.38 in H). Given that constraint, what would you take with you to light a sit down interview?
Hi and thanks for another superinteresting video. My empry is not what it used to be and maybe you already mention this in another of the videos on the series (I will review them every now and then, as I learn more about framing and lightning) but what are your thoughts about 3-point lightning?
Thanks so much! In terms of 3-point lighting, I think of it as a great way to start thinking about lighting. But I don’t think it’s as simple as “3-point lighting is the way to do it.” I’m not a big fan of backlights, so I don’t normally do that. Fill is subjective and rarely an additional light source for me. Mainly either a subtle bounce, or more often, negative fill. So it’s less about the 3 points and just how do you want the light to fall on your subject to get the look you want.
Yeah, the Westcott frames are solid for exteriors. What's nice is once you velcro the fabric to the frame, it adds a lot of stability. I would still recommend tying off the frame to sandbags to keep it from blowing over / bagging your stands well.
Great work as always Matt, but I can’t get past the expectation of seeing Frank Sinatra or Dean Martin coming into the frame. The genre of your very nice house screams 50’s and 60’s to me.
Matt - from my side a great series but perhaps a more "Guerilla" style - limited time / minimalist equipment option, episode, would give us the flipside, in terms of ideas. TIA
Thanks for your comment. I think the best approach for a more minimalist approach is taking what I did here and pair it down to make it work with what you have and the amount of time you have to work with. The concepts are all the same, it’s just a matter of scale.
Thanks!! I didn’t do a hair light because I don’t like the look of them. Purely personal preference! But this one out of the three would be the one to do it!
@@matt-porwollI love your look. It reminds me of Ken Burns' interviews on "Baseball." I'll have to go rewatch an episode to see if I'm remembering the look correctly. But your use of mood and shadow is super satisfying.
How much time did it take you to set this specific set up? I love crafting a frame but sometimes I feel weird asking for too much time from client for set up. Love the videos you do and thank you for sharing such professional expertise.
The biggest thing here is planning and repetition. If you go back to the first episode of this series, he talks about scouting out the location and getting a feel for it. He also mentions it at the start of this video that he had already done it. That goes a long way in influencing how you'll set things up. It massively helps to know what look you're going for before you ever set out to your location. This harkens back to know your story before you ever go out to shoot. Obviously, everybody has a plan until they get punched in the face. However, if you know what your overall theme & message is for your piece, you'll have a much better time planning out how you'll setup to accomplish that. For example, if I know I'm capturing a dark, sad story I may go for a more moody look like Matt shows here. If I'm recounting a happy, feel-good story I'll know that I want my scene to be brighter to capture the mood. Finally, repetition. The more you practice your setup skills the faster you'll set everything up. It's simple, but practice really helps in your confidence, knowledge, and speed setting things up. At the end of the day you just have to do it and challenge yourself.
Thanks so much @candinmuniz3225 for jumping in on this! You’re absolutely correct with all of this. The only addition I would make to that would be oftentimes, you don’t know what you’re walking into. It’s highly advisable to either scout beforehand, or at least get location photos so you can start to plan your approach. But if you can’t, this is where time is vitally important. And I would hope clients understand that. Even if I’ve seen photos of a space, I ask for 3 hours. Do I always get it? Of course not. But what that time gives me is not only load-in and physically building the lighting and camera. But most importantly, it gives me time to properly assess the frame and make the tweaks needed to take it over the edge. I assume our clients want the best possible image, so that can only come with time. And with limited time, practice and experience are the only ways to make it up.
@@candinmuniz3225 I mean... yeah. I got all of that. I was more asking what this light set up took in time and related it to how I would like more time for set up. Often times clients don't understand the set up time so I usually ask for two hours. I will likely start asking for 3 now. That's really what I wanted to know.
Almost every mistake I've made, every less-than-great shot, is because I didn't ask for enough time. I am considerate to a fault, and don't like to intrude into other peoples living space. Technically, I can do a setup in 30 minutes, and I've tried that, but it's inviting disaster. Unfortunately for me I've made that mistake more than once. For me, the biggest step is to get client buy-in to the process and the level of quality desired. I ask them to collaborate with me. "If we are going to do this, let's make something special. And time is the key ingredient. Will you give me that time?" Of course, time and money are directly related, so the money part comes next, but always after they buy in to the process and choose the "great" route rather than the expedient path.
So I know the BTS camera was noisy, but then it got to a point where I couldn't distinguish the noise from your interview footage. My issue with lighting moody is noisy shadows, can you touch on that in a video?
Getting a moody look all comes down to protecting your shadows. You can always light brighter and darken the image with ND / post color. As long as your shadows are clean, you’re good!
For the flags, I didn’t have the knuckle oriented the correct way on the stand. When you’re mounting something off a knuckle on a c-stand, the tightening knob should be on the right with the weight coming over the top of the knuckle. That way, when you add weight, it continues to tighten the knuckle instead of loosening it. But with things that aren’t much weight, it doesn’t make a difference in reality. But good practices are good practices!
@@scotey As Matt states above , I was only joking but there is a definite Knuckle arm police on the inter web re camera video,s .. a close relative to the sand bag police :)
It’s mainly a combination of the smaller size, angle of the light to the face and the height of the key. But it’s always something you have to shake up to find the right spot.
@@matt-porwoll ill often try putting the light where the most bottom part it is 7 feet off the ground and close to 90 degrees to the side and still get tons of reflection. i usually do have too big of a key i guess.
@BarefootMediaTV It’s definitely tough. I usually use a larger key as well - like you see in my 2 other interview lighting videos, and it’s much harder to control the reflections. I guess that’s one positive side effect of a smaller key light.
@@BarefootMediaTV Its also dependent of the lens of the glasses , ie the strength needed for the wearer . Sometimes you get lucky or sometimes you dont . You can ask people if they would be ok taking them off , it's surprising how many times they fine with that . Large sources at least will cover more of lens , and could be a window , especially if you have one in frame on the same side . rather than a small dot thats very obviously a light .IMHO
i dont get you, why use everything in 3200k if everything is 3200k and ur camera is also 3200k, it s just white at the end, why not use daylight lights?
@@matt-porwoll hey.u r here ... thinks for being here. I wondered if everything is at 3200k including the camera. Ehy nit just use everything at daylight balance incl thr camers ? Wdnt it lead to ghe same result ?
Sure, you can set everything to 5600K as well, but if the goal is to have a tungsten look, it’s better to start with what you want so you can dial things up or down a little to achieve exactly the color you want. I don’t think there’s any reason to reverse-engineer the whole process to achieve the same result.
@@matt-porwoll i got you now. So you are aiming for a yellow look. And set everything correctly 3200 then you drop the camera balance to taste . Thats a nice way to do it.
The level of detail deserves a round of applause 👏🏾
Amazing, thank you!
Matt thank you for making these. I really appreciate how generous this all is to provide for free, you are the man.
I appreciate that!
Not me sitting here with my 2 Neewer LED panels thinking I've got everything I need to film an interview lol
Absolutely 100% next level content. For those of us that “live in this world”, seeing you do this in long form gives great confidence to the “why” and not just the “how”. I could not appreciate your videos more.
plus 1.
Using the flag to focus the attention toward the face is such a good call that I’ve never considered. Thanks for another great video Matt!
Thanks!
Your attention to those details is encouraging me to take my work to the next level. Thanks!
It's inspiring ... and intimidating. Matt's eye for detail is incredibly keen. I'm not sure I'd pick up most of those subtle deficits in real time and under pressure. That's the value of experience for you.
awesome series! thank you, Matt!
Thank you!!
Masterclass! I purchased the 300x during Black Friday sale in part because of these videos. It was the best choice for my budget. Really loving your channel 🤌🏾
Awesome, glad you're liking the content! Enjoy that 300x!
These are amazing
Thanks for putting so much time and detail in this series. I'm looking forward to what comes next.
Glad you enjoy it!
these are really high quality tutorials. Those little details, like the b-roll when you were adjusting the flags of the 60x, which takes some effort to do since you are a one-man crew, really matters for people who have never used these lights before. Also stuff like blurring out the books and alcohol, these details might be handy when filming in real life.
Thanks for all the tuts!
Thanks! Glad you found the details helpful. That’s what really helps elevate your shots when you take the time to make those small adjustments.
I judged a lot, but ultimately you were correct at the end result
Thank you! This is so detailed and practical for me, right down to the gaffer tape on the MC's. The overall take-away is to think creatively in the moment. That's the fun part of the job, if you go in with that mindset.
Glad it was helpful! And you’re absolutely right- it’s all about thinking creatively, both in how you want the light to look and also how you can practically achieve it!
damn this was such an aesthetic,cinematographic moody lighting
Thank you!
You are the first person for whom I have actually pressed the bell icon. DP here. I do this for a living.
That’s awesome, thank you!
@@matt-porwollyeah man, I’m no pro cinematographer, but I do shoot video for a living as a journalist and appreciate your knowledge. Lots of stuff I can apply to my interviews. Thanks for putting this out there.
Moody light is my favorite. Bests regards from a Venezuelan follower!
Great series if videos, I've learnt a lot, thank you. Subscribed :)
I was just planning on starting a project that requires cinematic lightning level, and you just taught me what I needed to know to begin with the right foot. I can’t thank you enough. Your expertise and will to help is priceless. God bless you buddy.
That’s great to hear! Thank you!
Awesome video!
Great stuff! Love your explanatory style and how you approach lighting the frame. Your process for adding shape and layering to an image is articulated in such a non-daunting, accessible way. Inspiring to see someone make a great image while working solo!
Thank you very much!
Great vids. Thanks for doing this.
My pleasure!
Looks great! Felt like it could use a bit of an edge light on the talent, but that’s just personal preference. Going to check out the rest of the videos in the series.
Thanks! The use of edge light is definitely a personal preference. I’m not a fan, but can be easily implemented in a setup like this! Hope you enjoy the other videos in the series as well.
Another ridiculously valuable tutorial. Thanks, Matt. Have you considered doing a live Q&A? It would be cool to see where a more conversational setting might go. You typically answer 3-4 questions I didn't know I had, but in the process introduce a few new ones! If I can bother you with a few here:
1. How much time do you budget for adjustments once the actual talent is sitting down?
2. Do you use false color (e.g, EL Zone) to dial in skin exposure?
3. Are you using removable velcro for those MCs? If so, product suggestion?
4. Do you zone focus or rely on autofocus (I hate auto-focus quivers that show up in the background)?
Hey! Thanks for your suggestion of Live Q&As. I’ll definitely add that to the list for next year!
To answer your questions:
1) The time available once talent arrives is very unpredictable and often not able to be dictated by me. So this is another reason I like to add more time for setup. Any time I have leftover can be used for when talent first arrrives. Oftentimes a quick sit-in before hair & makeup or even banter with director to make any final adjustments. More times than not, I’ll work off of what I know from photos of talent. (Do they wear glasses? Hair color? Bald? Etc)
2) Personally, I don’t normally use FC or EL. But this is because I’m used to to working either by eye or waveform. Nothing wrong with either system though!
3) for the MCs, I just use either the Velcro tabs that came with them, or I have a big roll of Velcro that I cut off for all kinds of camera mounting stuff. Lives in the AKS kit.
4) I never use auto-focus. While I hear it’s come a long way, I don’t believe it’ll deliver 100% of the time. And these days, rarely use lenses that have it.
@@matt-porwollThank you, Matt. I deeply appreciate these detailed and thoughtful answers. I'm learning so much. Thank you!
I love it, perhaps due to the medium shot, you could use a smaller key light, such as the SmallRig RC-60B with its diffuser, to achieve darker shadows at the bottom while illuminating the background spill simultaneously
Totally. There are a million ways to approach it. Its all about what you have and how to make it work for what you're after.
This has been great to watch, learned a lot of small details. Thanks.
Thanks!
I've learned a lot from this series. Thanks so much for your hard work.......wish I had that dp kit!! 😊
Hopefully you can pick one up at some point!
I really appreciate the depth and breadth of these lighting tuts. I do have a question about your choice to use a fully skirted-lantern. Why that accessory as opposed to a mini-light dome or light dome?
Keep it up. You’re onto something.
Thank you!
love your channel. thanks✌
I appreciate that!
LOVE that panelling on the wall Matt! Such great video bro it always seems easy until I have to actually set up the lights
Thanks!
great vid. Appreciate you
Appreciate it!
Another great video! I find that I use lanterns less and less these days. Just like your process within this video, I end up flagging so much, that I find myself thinking, “I should have used a softbox.” 🤪
I hear you! I love my lantern for “scenes” in docs when I might need to lift the ambience and generally use my larger diffusions for interviews. So I haven’t bought a softbox. It would certainly be an easier way to accomplish what I did, but at the same time, it’s one more piece of kit to buy and carry around, so the 1 extra step using the lantern was worth it :)
@@matt-porwoll I do love the broad application of a lantern. You can shape and craft it much more than a softbox. If I could only have one, I’d have a lantern with a skirt and lots of flags.
Love your stuff, and always look forward to the next one.
Yeah that was my thought too.
Great series of videos!
Greetings from Uruguay!
Glad you like them!
Just wondering what's the benefit of using a lantern instead of a normal soft box on the 300x? Especially when you end up using the skirt which makes it a normal octa softbox? Just to give more light to the background?
I'm excited about the next little Series! This channel is extremely helpful :)
The only reason I’m using the lantern is because I don’t own a softbox for my Aputures, except a 5’ Octabank. As you point out, the effect would be the same, so you can you either, based on what you have. But this also shows that you don’t need every available attachment for your gear. There are a few things that are good to have that can work in a variety of situations without having to lug around a ton of diffusion options.
LOVED this series Matt. As a traveling DP over here, I'm mostly shooting in natural light. But in the future, I may need a portable kit that fits inside a Pelican 1615 (interior is 29.59 L x 15.50 W x 9.38 in H). Given that constraint, what would you take with you to light a sit down interview?
Super helpful, excellent work, thank you!
Glad it’s helpful!
Amazing video!
Thanks!
Excellent. I'd love to shadow you if you work on the east coast.
Hi and thanks for another superinteresting video. My empry is not what it used to be and maybe you already mention this in another of the videos on the series (I will review them every now and then, as I learn more about framing and lightning) but what are your thoughts about 3-point lightning?
Thanks so much! In terms of 3-point lighting, I think of it as a great way to start thinking about lighting. But I don’t think it’s as simple as “3-point lighting is the way to do it.” I’m not a big fan of backlights, so I don’t normally do that. Fill is subjective and rarely an additional light source for me. Mainly either a subtle bounce, or more often, negative fill. So it’s less about the 3 points and just how do you want the light to fall on your subject to get the look you want.
Great Tutorial! Everything fits perfectly. One question regarding the Westcott frames. Are they solid enough for Outdoor Production as well? 🙏
Yeah, the Westcott frames are solid for exteriors. What's nice is once you velcro the fabric to the frame, it adds a lot of stability. I would still recommend tying off the frame to sandbags to keep it from blowing over / bagging your stands well.
Great work as always Matt, but I can’t get past the expectation of seeing Frank Sinatra or Dean Martin coming into the frame. The genre of your very nice house screams 50’s and 60’s to me.
Ha! I wish they would make an appearance one day :)
Matt - from my side a great series but perhaps a more "Guerilla" style - limited time / minimalist equipment option, episode, would give us the flipside, in terms of ideas.
TIA
Thanks for your comment. I think the best approach for a more minimalist approach is taking what I did here and pair it down to make it work with what you have and the amount of time you have to work with. The concepts are all the same, it’s just a matter of scale.
@@matt-porwoll well put 🙏
Love the micro adjustments. It really adds up. How long would it take to put up this setup in the field?
Thanks! Take a look at some of the previous comments where I talk about setup time.
👍
Have been loving your videos so far! Just curious: Why did you not use a hair light on this setup?
Thanks!! I didn’t do a hair light because I don’t like the look of them. Purely personal preference! But this one out of the three would be the one to do it!
@@matt-porwollI love your look. It reminds me of Ken Burns' interviews on "Baseball." I'll have to go rewatch an episode to see if I'm remembering the look correctly. But your use of mood and shadow is super satisfying.
✌...
How much time did it take you to set this specific set up? I love crafting a frame but sometimes I feel weird asking for too much time from client for set up. Love the videos you do and thank you for sharing such professional expertise.
The biggest thing here is planning and repetition. If you go back to the first episode of this series, he talks about scouting out the location and getting a feel for it. He also mentions it at the start of this video that he had already done it. That goes a long way in influencing how you'll set things up.
It massively helps to know what look you're going for before you ever set out to your location. This harkens back to know your story before you ever go out to shoot. Obviously, everybody has a plan until they get punched in the face. However, if you know what your overall theme & message is for your piece, you'll have a much better time planning out how you'll setup to accomplish that.
For example, if I know I'm capturing a dark, sad story I may go for a more moody look like Matt shows here. If I'm recounting a happy, feel-good story I'll know that I want my scene to be brighter to capture the mood.
Finally, repetition. The more you practice your setup skills the faster you'll set everything up. It's simple, but practice really helps in your confidence, knowledge, and speed setting things up. At the end of the day you just have to do it and challenge yourself.
Thanks so much @candinmuniz3225 for jumping in on this! You’re absolutely correct with all of this.
The only addition I would make to that would be oftentimes, you don’t know what you’re walking into. It’s highly advisable to either scout beforehand, or at least get location photos so you can start to plan your approach. But if you can’t, this is where time is vitally important. And I would hope clients understand that.
Even if I’ve seen photos of a space, I ask for 3 hours. Do I always get it? Of course not. But what that time gives me is not only load-in and physically building the lighting and camera. But most importantly, it gives me time to properly assess the frame and make the tweaks needed to take it over the edge.
I assume our clients want the best possible image, so that can only come with time. And with limited time, practice and experience are the only ways to make it up.
@@candinmuniz3225 I mean... yeah. I got all of that. I was more asking what this light set up took in time and related it to how I would like more time for set up. Often times clients don't understand the set up time so I usually ask for two hours. I will likely start asking for 3 now. That's really what I wanted to know.
Almost every mistake I've made, every less-than-great shot, is because I didn't ask for enough time. I am considerate to a fault, and don't like to intrude into other peoples living space. Technically, I can do a setup in 30 minutes, and I've tried that, but it's inviting disaster. Unfortunately for me I've made that mistake more than once.
For me, the biggest step is to get client buy-in to the process and the level of quality desired. I ask them to collaborate with me. "If we are going to do this, let's make something special. And time is the key ingredient. Will you give me that time?" Of course, time and money are directly related, so the money part comes next, but always after they buy in to the process and choose the "great" route rather than the expedient path.
Love this answer @@PelicanNorth
So I know the BTS camera was noisy, but then it got to a point where I couldn't distinguish the noise from your interview footage. My issue with lighting moody is noisy shadows, can you touch on that in a video?
Getting a moody look all comes down to protecting your shadows. You can always light brighter and darken the image with ND / post color. As long as your shadows are clean, you’re good!
Copy that! Thank you sir. @@matt-porwoll
watch out ,the knuckle arm police will be on your case ..
Oh, I'm sure they will. They always are! But if they want to pick a fight over my knuckle orientation for a 2x3 flag, let em have it :)
What was Matt's crime here? I'm largely inexperienced in the grip arts.
For the flags, I didn’t have the knuckle oriented the correct way on the stand. When you’re mounting something off a knuckle on a c-stand, the tightening knob should be on the right with the weight coming over the top of the knuckle. That way, when you add weight, it continues to tighten the knuckle instead of loosening it. But with things that aren’t much weight, it doesn’t make a difference in reality. But good practices are good practices!
@@scotey As Matt states above , I was only joking but there is a definite Knuckle arm police on the inter web re camera video,s .. a close relative to the sand bag police :)
@@robinprobyn1971 Ha, I get it. Both those groups sound ruthless!
Great work! You definitely get a sub from me
i dont understand how there is 0 reflection in the glasses.
It’s mainly a combination of the smaller size, angle of the light to the face and the height of the key. But it’s always something you have to shake up to find the right spot.
@@matt-porwoll ill often try putting the light where the most bottom part it is 7 feet off the ground and close to 90 degrees to the side and still get tons of reflection. i usually do have too big of a key i guess.
@BarefootMediaTV It’s definitely tough. I usually use a larger key as well - like you see in my 2 other interview lighting videos, and it’s much harder to control the reflections. I guess that’s one positive side effect of a smaller key light.
@@BarefootMediaTV Its also dependent of the lens of the glasses , ie the strength needed for the wearer . Sometimes you get lucky or sometimes you dont . You can ask people if they would be ok taking them off , it's surprising how many times they fine with that . Large sources at least will cover more of lens , and could be a window , especially if you have one in frame on the same side . rather than a small dot thats very obviously a light .IMHO
i dont get you, why use everything in 3200k if everything is 3200k and ur camera is also 3200k, it s just white at the end, why not use daylight lights?
So why not use 3200K??
@@matt-porwoll hey.u r here ... thinks for being here. I wondered if everything is at 3200k including the camera. Ehy nit just use everything at daylight balance incl thr camers ? Wdnt it lead to ghe same result ?
Sure, you can set everything to 5600K as well, but if the goal is to have a tungsten look, it’s better to start with what you want so you can dial things up or down a little to achieve exactly the color you want. I don’t think there’s any reason to reverse-engineer the whole process to achieve the same result.
@@matt-porwoll i got you now. So you are aiming for a yellow look. And set everything correctly 3200 then you drop the camera balance to taste . Thats a nice way to do it.