The look is very nice. I like this diffused and soft light. Seeing the before and after and following you step by step is instructive. To get a soft effect I often use bouncing the light. Congratulations also to the model who is really spot on for this type of spot (face, gestures, colors). Brava Valentina, very good!
I tend to light a lot of POC. Our skin absorbs some of the light and when lighting POC indoors, one of my favorite techniques is to use some sort of moisturizer or oil (preferably coconut oil) paired with small soft LEDs to add a bounce or reflection off of their skin and create depth to the shot.
@@TinLeadHammer we like being called by our names or by referred to by our cultural groups as a whole BUT to make it easier for others since it seems to be difficult to give us that, here we are with "POC" 👍🏾
Love this! People always focus on dramatic scenes, not enough focus on high-key lighting, thanks Valentina! One of my favourite techniques for interior daylight scenes is to shoot on an overcast day. That way you get a nice even soft light coming in from outside, that is consistent throughout the day, making you less worried about things like the position of the sun, but still able to use natural light to motivate your scene.
Just last week I got the most basic, oddly flat looking shot when I was aiming to get a cinematic look. This is super useful, hope I can create more depth in my next try. This UA-cam channel teaches me more than the actual film school
My favorite is the either the good old clamp light with a 300w bulb inside for those very dramatic nighttime shots, or a collapsible lantern softbox for high key situations.
She's amazing, but I would like to see her do videos where she uses less, powerful lights. She used about, what, 5 powerful LED pro lights in this video? That gives you a lot of options. Sometimes less is more.
@@bluefilmsltd I have videos on this channel where I use lights that total less than $400 (beauty lighting on any budget, fashion cinematography) and a video where I use no lights at all (natural lighting, lighting for reflections). There's a lot of variety for every budget.
I personally really like the more moody (early) daylight interior scenes where you use some haze, imitating the sun with COB lights or LED panels outside the window and then you just use some light curtains to diffuse the light a little bit. And use negative fill on the other side to make it a bit more dramatic.
I'm a HUGE fan of backlighting. Big soft source behind (echo/mimic a large window behind as the possible source), and a large bounce back to the actor (just a large reflective surface - bleached muslin, or even large foamcore - whatever you've got that is a large even surface so that it's soft). In general, I like lighting "spaces, not faces" but this looks SO good to me when it's a more intimate setting rather than a big open space. Add lighting for the room as desired - this isn't an interview, so we obviously need to appropriately see the surroundings as well.
This is so amazing, and so so sooo helpful! Valentina, you inspire me so much! You're insanely talented and know the craft so well, thank you for sharing all this information. Side note to the editor - I love your editing style so much and loove the small little details like the "Striking" text, you make the episode so much fun to watch! Keep up the incredible content A team!
Great tips! I always like to blast light into the white ceilings to make a massive bounce source. Helps lift the total exposure of the room when needed.
Completely agree, had the same thought. Spending the time hanging a light in a white ceiling with a softbox does seem a little counter-intuitive... A fresnel on on a turtle base on the floor into the ceiling would give even more control!
@@thelightpainters very true, I like that method when you are working with low ceilings that dont have a place to mount lights to. The trade off is you lose the light intensity when you bounce out off the ceiling and it becomes harder to control the spread. But this kind of problem solving is part if what I love about the whole thing!
@@jeffbrass2351 very true, in this instance the softbox wasn't gridded so there wasn't a huge amount of control, a couple of pieces of strategically taped pieces of cine foil on the ceiling would have rendered a very similar result without needing to rig an entire light :)
So believable the final product. Had I been an extra on set, I'd have gotten fired within minutes after reaching through the window for that cake. Great tutorial. One thing I enjoy about these vids is how you break them down showing why you did something which helps answer questions in my head.
I'm really into natural or motivated lights for indoors. There's an almost magic quality when you see a scene play out in an interior and you get lost in the scene, in the moment and you're not thinking about the lights because they've gone through great lengths to remove any feeling of artifice. Think Joker, The Farewell, Prisoners. Allowing theme to dictate the location and the location to dictate the lighting and trickling that down. I was floored particularly by Roger Deakin's self-made rigs for lighting the Bond Bar scene in Skyfall, and then just a super scaled up version of the same DIY rig for lighting fire in the exterior. Just impressive work all around!
This is what I love seeing. Most people who are just starting off feel limited to putting lights on stands. They aren’t used to studio spaces & mounting lights to the ceiling.
My favorite Indoor lighting is when I can put a silk on the window to let in a bit of natural indirect light, add light where I want it with a light dome, and have a couple of practical lights with some color. Sidus link makes that a fun thing to set up.
Awesome Video ! Super thanks to the A Team for making these videos ! When doing a run and gun shoot, I prefer to light interior scenes by bouncing the lights 45- 90degree to a ceiling to emulate everyday lighting. Hiding the light at a good wall intersection and bouncing the lights to a ceiling helps in bringing up the exposure a little bit and evening out shadows. Further more to create depth, cutting out unnecessary lights using a negative fill can really create contrast and add more interest to the shot.
This was very helpful. I am currently in film school and last semester I was lighting a lot with Godox and Mole Richardson lights, but this semester I have been using an Intellitech to emulate sunlight, then using LED panels as the fill and key.
Thanks for the step-by-step instructions, the explanation of gear used, and the segment near the end where we can see the additive contribution of each light. A great final product, as well!
It depends on what I want from the shot and how it relates to the scene/story/etc.. High key lighting like in your example is perfect for anything light-hearted or dreamy, but a chiaroscuro palette is often great for intensifying a moment with just practicals and pools of light. Then of course, anything in between too. A very successful lighting setup that only used two tiny practicals and no other lights (leaving the entire screen completely black with the exception of these two practicals) was in the movie Skin Deep. I don't know if it was Blake Edwards or the recently late great Isidore Mankofsky that came up with this shot, but it was genius. I've never experienced an audience laughing so hard (pun unintended) from a utterly black screen with just two small lights in it. I had to go back and see the movie again since I laughed so hard I missed the subsequent shots.
Great job lighting that scene. That pro mist filter gives it a dream quality that I appreciate. For myself, however, I generally don't like shooting happy scenes. Not that I'm a dour person all the time, but I like moody scenes with soft light, negative fill to give the subject shape and a lot of practicals.
Helpful lighting technique for cinematic look. Thanks! My favorite technique for lighting interior daylight scene would be: 1. light one big main source using aputure lighting behind a person to create morning light. 2. Bouncing off of an aputure lighting to ceiling to create ambience light, 3. diffused light to create soft and 3d effect for side light . 4. Put green plants to create shadow using aputure lighting.
I like a bit of warmth to compliment the cool daylight tones. So I like having warm practicals inside. Sometimes I'll ND my exposure down to where the practicals aren't blowing out too.
My fav technique right now is to just utilize as much natural light as I can. Adding less of the artificial ones. Btw you guys have really amazing quality of videos
I use much of the natural sunlight (also because of budget) and many reflectors. Most of the time I add some hard lights for rim light. Great video, thank you so much!
Thanks Valentina and crew this was extremely helpful. I usually have some astra tubes rigged to the ceiling, a 300dii with a dome for key light, 300d with a light dome for fill and I always have my trusty Philip hue light bulbs for practicals in the background 🙂
The best technique for indoor is maybe the negative fill/flags/floppies. The indoors atmospheres can be so different, the range is huge. But the windows and bounce of light on anything in the room can change the expected look.
Motivate everything by the windows (light through windows with some kind of diffusion). If there's not enough light inside « Push » the light by adding sources in a corner or over the frame. Sculpt the other side with negative fill (the closer , the better). Use a bounce to wrap the light on the front the face to add up to your key light. To finish it up add haze to give some texture to the image and voila. You got something pretty moody.
All of these techniques are far too advanced for me but in every video, I learn at least one little thing that is useful. Thank you so much Valentina, looking good! For indoor lighting, I love to use my Almaran M9 as a backlight.
A nice and simple setup. I like those. I often use big soft sources for this high key look, but try to keep some directionality to it with grids and flags to create more depth. Very similar to this setup.
Great video! Quality education and great walkthrough. Not to be that person, but just reminders for all of us grips: 9:21 Knuckles on the RIGHT, and don't have your gobo arm sticking out like that guy set it. There are ways to adjust stand and arm so its out of body and eye level; or tennis ball it.
Amazingly great tutorials, thanks for sharing these real life instances on how we can be able to work to achieve cinematic results with affordable gear. Valentina I love the way you present the task and how to solve it meticulously. I have been using the sun light to bounce off the mirror board, as the natural light travels through the window and diffused by silk on to the set where I wrapped unbleached muslin to the left of the camera and to the right a negative fill with mover's black blanket to give the set contrast. Sure I would love to own any of those lights to add to my gear which will help me achieve better results when lighting a set.
I usually don't have much of a budget when I shoot, so I often have to get creative when it comes to lighting. Since many ceilings are painted white, you can get some great results by bouncing a floor light off the ceiling and onto your subject. Makes for a nice diffused light source on a tight budget. However, I don't think this technique would work on the ceiling in the video.
Definitely learned a lot from this video about indoor lighting for daylight scenes! I usually use diffusers and bi-color lights, but I’m thinking about a lot of other factors now. Love the videos thank you 💕
WoWw there are so much to take in from this video. Thank you Aperture and Velentina always love to see your happy face. I wish I could see the final video with the color grading.
Thank you guys for the tips 🙏🏻🙌🏻 Really great 🔥 I often use artificial light to setup daylight scenes because I wanted to take control of the lighting. I would rather eliminate all the natural light and create a fake natural light by blasting light on top of the ceiling and use soft box for the other light.. the main thing i usually does was to create a fake sunlight bouching on (mirror) to create a fake window's shadow on the wall😍 it will gives a texture sort of on the wall (plain wall)
Another great video, Valentina! I use very different lights to yours for indoor lighting out of budget constraints. I recently started shooting lights through large diffusion silks which has been working in dark rooms really well. I as bounce lights off the same silks to get the results I need.
Being a postproduction guy, this time my pinkie feels the urge to turn down a bit the lift wheel, at least a bit... I understand the intention... just a bit... 🥺but also being a postproduction guy I've really appreciated all the onset tips. This is a really great brand channel, representing great products. I think I'll buy some Aputure gear if I would ever get out from the edit bay. 🙂
Please never stop creating these videos. This is so helpful! 🙏🏼
We'll never stop!
@@aputurelighting
the production quality on these videos is WOW!
Am telling you
lol. got ya
The look is very nice. I like this diffused and soft light. Seeing the before and after and following you step by step is instructive. To get a soft effect I often use bouncing the light. Congratulations also to the model who is really spot on for this type of spot (face, gestures, colors). Brava Valentina, very good!
💛
@@anastasiakatina good work Anastasia! 👍
I tend to light a lot of POC. Our skin absorbs some of the light and when lighting POC indoors, one of my favorite techniques is to use some sort of moisturizer or oil (preferably coconut oil) paired with small soft LEDs to add a bounce or reflection off of their skin and create depth to the shot.
Do POC like being called POC? Seems way too bureaucratical to me.
@@TinLeadHammer we like being called by our names or by referred to by our cultural groups as a whole BUT to make it easier for others since it seems to be difficult to give us that, here we are with "POC" 👍🏾
@@TinLeadHammer yea i dont care personally. plus its an easy term to distinguish
are you talking about darker skinned individuals? or even lighter skinned POC including south east asians also absorb light?
another tip is to light them using reflections. Bounce your light off of something onto them. Funny enough it's the same principle with cars.
absolutely fantastic video and information..... THANKS FOR SHARING!!!!!!!
Our pleasure!
Love this! People always focus on dramatic scenes, not enough focus on high-key lighting, thanks Valentina! One of my favourite techniques for interior daylight scenes is to shoot on an overcast day. That way you get a nice even soft light coming in from outside, that is consistent throughout the day, making you less worried about things like the position of the sun, but still able to use natural light to motivate your scene.
Just last week I got the most basic, oddly flat looking shot when I was aiming to get a cinematic look. This is super useful, hope I can create more depth in my next try. This UA-cam channel teaches me more than the actual film school
Always impressed by Valentina's cool composure and fun energy while hosting these segments and working the sets. 👏🏽👏🏽👏🏽
My favorite is the either the good old clamp light with a 300w bulb inside for those very dramatic nighttime shots, or a collapsible lantern softbox for high key situations.
Great budget techniques!
Valentina is a beast! Such a great host and drops so much knowledge. Big fan of this series. Keep ‘en coming.
She's amazing, but I would like to see her do videos where she uses less, powerful lights. She used about, what, 5 powerful LED pro lights in this video? That gives you a lot of options. Sometimes less is more.
@@bluefilmsltd I have videos on this channel where I use lights that total less than $400 (beauty lighting on any budget, fashion cinematography) and a video where I use no lights at all (natural lighting, lighting for reflections). There's a lot of variety for every budget.
I personally really like the more moody (early) daylight interior scenes where you use some haze, imitating the sun with COB lights or LED panels outside the window and then you just use some light curtains to diffuse the light a little bit. And use negative fill on the other side to make it a bit more dramatic.
Thank you for the detailed visuals. One favorite technique I find satisfying is book lighting. So soft!
This is SO COOL!!!!! Oh man I can't wait to be in this scene!!!!!!! Less than a year to film school. SO hyped
I'm a HUGE fan of backlighting. Big soft source behind (echo/mimic a large window behind as the possible source), and a large bounce back to the actor (just a large reflective surface - bleached muslin, or even large foamcore - whatever you've got that is a large even surface so that it's soft). In general, I like lighting "spaces, not faces" but this looks SO good to me when it's a more intimate setting rather than a big open space. Add lighting for the room as desired - this isn't an interview, so we obviously need to appropriately see the surroundings as well.
This is so amazing, and so so sooo helpful! Valentina, you inspire me so much! You're insanely talented and know the craft so well, thank you for sharing all this information.
Side note to the editor - I love your editing style so much and loove the small little details like the "Striking" text, you make the episode so much fun to watch! Keep up the incredible content A team!
Thank you!!
Probably the cutest informative video!
Yay! Thank you!
Great tips! I always like to blast light into the white ceilings to make a massive bounce source. Helps lift the total exposure of the room when needed.
Completely agree, had the same thought. Spending the time hanging a light in a white ceiling with a softbox does seem a little counter-intuitive... A fresnel on on a turtle base on the floor into the ceiling would give even more control!
@@thelightpainters very true, I like that method when you are working with low ceilings that dont have a place to mount lights to. The trade off is you lose the light intensity when you bounce out off the ceiling and it becomes harder to control the spread. But this kind of problem solving is part if what I love about the whole thing!
@@BrentHagyVideography Very good points, the spill especially!
@@thelightpainters hard to control spill from a ceiling bounce. And A much less directional light too
@@jeffbrass2351 very true, in this instance the softbox wasn't gridded so there wasn't a huge amount of control, a couple of pieces of strategically taped pieces of cine foil on the ceiling would have rendered a very similar result without needing to rig an entire light :)
So much work to be put just for one camera angle. Imagine resetting everything for another few 🙂 thanks, guys! Great video
We love doing it! Haha
So believable the final product. Had I been an extra on set, I'd have gotten fired within minutes after reaching through the window for that cake. Great tutorial. One thing I enjoy about these vids is how you break them down showing why you did something which helps answer questions in my head.
I'm really into natural or motivated lights for indoors. There's an almost magic quality when you see a scene play out in an interior and you get lost in the scene, in the moment and you're not thinking about the lights because they've gone through great lengths to remove any feeling of artifice. Think Joker, The Farewell, Prisoners. Allowing theme to dictate the location and the location to dictate the lighting and trickling that down. I was floored particularly by Roger Deakin's self-made rigs for lighting the Bond Bar scene in Skyfall, and then just a super scaled up version of the same DIY rig for lighting fire in the exterior. Just impressive work all around!
Very cool, helpful and useful! Many thanks to Valentina and Team! 🙏
I usually blow a bright light up in the seeling, using it as a large diffuser, combined with negative fill. Add some rim light and thats almost it.
Good tips!
I love using china balls to light interiors and use them as practicals too :D
China balls never fail!
This is what I love seeing. Most people who are just starting off feel limited to putting lights on stands. They aren’t used to studio spaces & mounting lights to the ceiling.
Excellent tutorial. Sharing with my Facebook groups. Thank you Valentina!
My favorite Indoor lighting is when I can put a silk on the window to let in a bit of natural indirect light, add light where I want it with a light dome, and have a couple of practical lights with some color. Sidus link makes that a fun thing to set up.
Thank you Valentina and Aputure! This helped me a lot!
Awesome Video ! Super thanks to the A Team for making these videos ! When doing a run and gun shoot, I prefer to light interior scenes by bouncing the lights 45- 90degree to a ceiling to emulate everyday lighting. Hiding the light at a good wall intersection and bouncing the lights to a ceiling helps in bringing up the exposure a little bit and evening out shadows. Further more to create depth, cutting out unnecessary lights using a negative fill can really create contrast and add more interest to the shot.
This was very helpful. I am currently in film school and last semester I was lighting a lot with Godox and Mole Richardson lights, but this semester I have been using an Intellitech to emulate sunlight, then using LED panels as the fill and key.
Great video. Valentina is an excellent teacher!
Thanks for the step-by-step instructions, the explanation of gear used, and the segment near the end where we can see the additive contribution of each light. A great final product, as well!
It depends on what I want from the shot and how it relates to the scene/story/etc.. High key lighting like in your example is perfect for anything light-hearted or dreamy, but a chiaroscuro palette is often great for intensifying a moment with just practicals and pools of light. Then of course, anything in between too.
A very successful lighting setup that only used two tiny practicals and no other lights (leaving the entire screen completely black with the exception of these two practicals) was in the movie Skin Deep. I don't know if it was Blake Edwards or the recently late great Isidore Mankofsky that came up with this shot, but it was genius. I've never experienced an audience laughing so hard (pun unintended) from a utterly black screen with just two small lights in it. I had to go back and see the movie again since I laughed so hard I missed the subsequent shots.
Very true!
Great job lighting that scene. That pro mist filter gives it a dream quality that I appreciate. For myself, however, I generally don't like shooting happy scenes. Not that I'm a dour person all the time, but I like moody scenes with soft light, negative fill to give the subject shape and a lot of practicals.
So you turn down all the happy jobs
@@queefreak666 I don't turn down any jobs :D I just don't particularly like shooting happy scenes for myself LOL
Wow, that was an amazing tutorial. Thanks!
Helpful lighting technique for cinematic look. Thanks! My favorite technique for lighting interior daylight scene would be: 1. light one big main source using aputure lighting behind a person to create morning light. 2. Bouncing off of an aputure lighting to ceiling to create ambience light, 3. diffused light to create soft and 3d effect for side light . 4. Put green plants to create shadow using aputure lighting.
Keep doing what you are doing!!! BIG THANKS
It would be sooooo sick if you guys offered the files for color grading! And then did contests for gear or something.
I like a bit of warmth to compliment the cool daylight tones. So I like having warm practicals inside. Sometimes I'll ND my exposure down to where the practicals aren't blowing out too.
C70 has build-in NDs on 2,4,6,8 and 10 stops. You may turn it in settings
Always learn a little something from these videos, thank you!
My fav technique right now is to just utilize as much natural light as I can. Adding less of the artificial ones.
Btw you guys have really amazing quality of videos
Love this. Watched it four times so far and learned something more each time
Wow! Thanks for watching!!
I use much of the natural sunlight (also because of budget) and many reflectors. Most of the time I add some hard lights for rim light. Great video, thank you so much!
Thanks Valentina and crew this was extremely helpful. I usually have some astra tubes rigged to the ceiling, a 300dii with a dome for key light, 300d with a light dome for fill and I always have my trusty Philip hue light bulbs for practicals in the background 🙂
The best technique for indoor is maybe the negative fill/flags/floppies. The indoors atmospheres can be so different, the range is huge. But the windows and bounce of light on anything in the room can change the expected look.
creating a beautiful image and a compelling story is such an intentional process - thanks for sharing these insights
Thank you to the team Aputure for making such a detailed video. I learned a lot from it ^^
Motivate everything by the windows (light through windows with some kind of diffusion). If there's not enough light inside « Push » the light by adding sources in a corner or over the frame. Sculpt the other side with negative fill (the closer , the better). Use a bounce to wrap the light on the front the face to add up to your key light. To finish it up add haze to give some texture to the image and voila. You got something pretty moody.
All that beautiful, inSANEly good lighting in a beautiful room… Completely let down by a bad grade.
Small space, huge history, well done!!
Woo you guys nailed the timing on this video for me. I have a shoot like this on Friday!
I love these scene set up videos!
Beautiful video and beautiful tutorial
All of these techniques are far too advanced for me but in every video, I learn at least one little thing that is useful. Thank you so much Valentina, looking good! For indoor lighting, I love to use my Almaran M9 as a backlight.
That's good! We always try to distill these setups down to the basics
I have learned a lot. Thank you for this great content.
A nice and simple setup. I like those. I often use big soft sources for this high key look, but try to keep some directionality to it with grids and flags to create more depth. Very similar to this setup.
Great video! Quality education and great walkthrough.
Not to be that person, but just reminders for all of us grips: 9:21 Knuckles on the RIGHT, and don't have your gobo arm sticking out like that guy set it. There are ways to adjust stand and arm so its out of body and eye level; or tennis ball it.
Awesome! Thanks for sharing.
🙇♂️🙇♂️love watching your videos
Thank you!!
Wow. So detail.. i like this tutorial..👍🏻👍🏻👍🏻
just love it to watch n learning
killer work! thanks so much valentina & co, keep hustling!
Great video Valentina . Excellent tutorial. I love using cove lighting which gives such a beautiful look for interviews.
my favorite technique is the Neg Fill.
Love how you explain everything. You're awesome
Thanks!!
love this video full of usfull information and not about one specific sunject
That does look very Disney! Can’t believe I used to think high key lighting was easy to do 🤯
Damn I want Valentina to direct one of my videos 🥺
It could be easy when u have the gear ...
Awesome tips 👌 Valentina u r bubbly look was good 👍
Was it intentional for the final result to have such a flat and desaturated grade? Kinda looks like the Canon's log
Right? It kinda went from very flat to just flat
Are we talking about how white it looks? It kind of bugs me but overall the filming of it came out great.
Maybe it's because they just show the cinematographer's role, before the color granding and such.
Beyond amazing work Valentina and the crew!!! What a high level product you guys put out. 👌🏽📽🎞👏🏼
VERY PROFESSIONAL & INFORMATIC ..
Wonderfully made video Valentina. You explain everything so well. You are the best
The best asset of this channel is "valentina veeeeeee" ☺
My favorite is chiaroscuro lighting!
The actress is awesome
She stays in her mark all the time.
@@hansmatoscamac7109 So impressed with her . . . standing there.
My favorite lighting technique is the Deakin's Cove lighting. If I had the needed space and light resources for it I'd use it all the time.
Such beautiful soft light 😍
I love that you used THAT clip from Mandy for colored lighting. For interior day lighting I love using shadow to create depth.
This becomes my new favorite bts series on how to shot. Thanks so much for this. Great presentation. I absolutely love to watch this
well made, great descriptions
Sweet, thanks sharing
Amazingly great tutorials, thanks for sharing these real life instances on how we can be able to work to achieve cinematic results with affordable gear. Valentina I love the way you present the task and how to solve it meticulously. I have been using the sun light to bounce off the mirror board, as the natural light travels through the window and diffused by silk on to the set where I wrapped unbleached muslin to the left of the camera and to the right a negative fill with mover's black blanket to give the set contrast. Sure I would love to own any of those lights to add to my gear which will help me achieve better results when lighting a set.
These videos are great and really helpful
Valentina you are awesome, super smooth and gold content. BWNC
Thank you!!
I usually don't have much of a budget when I shoot, so I often have to get creative when it comes to lighting. Since many ceilings are painted white, you can get some great results by bouncing a floor light off the ceiling and onto your subject. Makes for a nice diffused light source on a tight budget.
However, I don't think this technique would work on the ceiling in the video.
Good technique!
Great tutorial
Good lesson..thank you
Definitely learned a lot from this video about indoor lighting for daylight scenes! I usually use diffusers and bi-color lights, but I’m thinking about a lot of other factors now. Love the videos thank you 💕
Absolutely love these videos, keep making them!
WoWw there are so much to take in from this video. Thank you Aperture and Velentina always love to see your happy face. I wish I could see the final video with the color grading.
Ilike your defferent hair style
Thank you guys for the tips 🙏🏻🙌🏻 Really great 🔥
I often use artificial light to setup daylight scenes because I wanted to take control of the lighting. I would rather eliminate all the natural light and create a fake natural light by blasting light on top of the ceiling and use soft box for the other light.. the main thing i usually does was to create a fake sunlight bouching on (mirror) to create a fake window's shadow on the wall😍 it will gives a texture sort of on the wall (plain wall)
Awesome, thanks!
Thanks so much, Valentina you are so dang inspiring and super helpful!!!
Another great video, Valentina! I use very different lights to yours for indoor lighting out of budget constraints. I recently started shooting lights through large diffusion silks which has been working in dark rooms really well. I as bounce lights off the same silks to get the results I need.
Being a postproduction guy, this time my pinkie feels the urge to turn down a bit the lift wheel, at least a bit... I understand the intention... just a bit... 🥺but also being a postproduction guy I've really appreciated all the onset tips. This is a really great brand channel, representing great products. I think I'll buy some Aputure gear if I would ever get out from the edit bay. 🙂
You're being too kind. The final shots look so flat and desaturated I thought they forgot to grade them.
@@Cameronpov I believe its ungraded
@@asyrafjalil3506 It isn't ungraded
This is really great. I liked everything was well described and really helped get your ideas accross.
It's phenomenal nd very useful 😍
Thanks for the tips!
love these videos!
So good Vee!!! 🙌🏽
Very nice one