LIGHT LIKE: Roger Deakins
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- Опубліковано 8 вер 2024
- How to use the beautiful, versatile, soft, cinematic lighting technique known as 'cove lighting'. The cove light made famous by the English cinematographer Roger A. Deakins.
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I'd like to mention two things that seem rather unimportant but make a massive difference. In your example the cove light is below your subject and hence uplighting him slightly. If that's the look or motivation you wanna go for all good. But if it's not the case, make sure to lift up your bounce as seen on the second reference picture you're using. The light source might be low but the bounce source is higher up. In the shots in the office the only light source that is low is the fill while the main light source on the left is coming from the top bouncing down into the cove, which is at eye height with the actors.
If the fill is coming from the floor, it doesn't affect the image in a bad way? Just asking
Thanks for the video! I like that this is a relatively cheap solution. You totally fooled me on the green screen too 👏
Bladerunner 2046 was a good movie, although I much preferred Deakins' work in 1914.
You mean 1917
@@ebubedike2626 whoosh
Sounds like the actors' freedom of movement or wide angle of coverage is the main reason he uses that. Otherwise it's too much heat pouring into the set to make it worthwhile. Particularly if you're on location and not a high-ceilinged studio.
Yeah a bunch of M12's would cook the room very quickly. However, Arri Skypanels and Fresnels would keep the heat to a minimum.
Fry the the Actors..as long as the shot looks good.
Could punch a few Aputure 300Ds into it. Should keep it cooler.
Well this is a set up roger deakins uses many times on many interior sets including skyfall, revolutionary road and hail cesar. if he isnt bouncing off muslin he is shooting through it. And based on previous statements from deakins, he is probubly using incandescent fresnels to keep the light looking natural. Locations better have fans lol
Working on set as an electric is probably the best way to learn lighting. I used to work a lot in the film industry as an electric, working closely with the best boy and Gaffer. I learned a lot over the years working on TV shows and a few feature films. But man, I dont think I can work on big budgeted films as a cinematographer. Id rather do smaller projects, commercials, etc. Where Id have more creative say.
I struggle with the balance of knowing when to stick with what I'm good at and when to push myself.
Thanks for this video! I love how Roger Deacons lights his scenes. It's especially helpful for small, indie productions to light for the space, giving the actors the freedom to move around the set.
I once made the Roger Deacons' ring light to light certain scenes.
I love your lighting videos; I look forward to more!
Thanks! I'm planning a series. Any ideas who else you'd like to see?
cinematographers: more on Roger Deacons, Emmanuel Lubezki, Bradford Young, Steve Yedlin, & Claudio Miranda.
Last weekend, I just recreated the “light wall” from ‘Arrival’ as Far Side Key, with no frontal fill, it was glorious!
(I’m hoping you’ve watched the Steve Yedlin videos on cameras & resolution; it can easily inspire many videos. They are available from his website).
directors: Tarkovsky, Kurosawa, Cohen Brothers.
Bladerunner 2049, not 2046 😄
2046 is a good Wong Kar Wai movie though.
Revolutionary Road, not Revolution Road...
Blade Runner 2049, not Bladerunner 2049
1917 in 2020
And Revolutionary Road, not Revolution Road.
Very interesting since I’ve been working on my lighting lately.
This is great, thanks man, more content like this, straight to the point and good visual example!
Interesting technique I did not know. I'll have to try it someday.
This was so good! Will definitely be trying this out!
Thanks Skully.
hey 2 things
1. you got chocolate on your shirt
2. your forgetting that he dims the light to create that warmth ;)
Great video
lmao
This was extremely helpful. Thanks for sharing!
As Simvid mentioned, it would be best to bring the bounce sources up, and actually have them curve around. Without the curve, you just have to oddly angled bounce sources. Additionally, the lights should decrease in intensity as you follow the curve away from the key side.
To add some additional thoughts, I believe the only reason Deakins had the bounces on the floor in your first reference photo is because Leo has his face angled down towards the women in a chair, and the camera is a waist height. - In effect, the bounce is compensating for the very specific angle of the shot.
The second reference image is a much more traditional use of the cove lighting technique. E.g. cove wraps around the top, much like a key light would generally being higher than the actor it is lighting.
Wow that green screen was a good surprise! I’m digging those light cannon pros too. Great vid 👍
great overview! and fun insider secret with the green screen! as always, appreciate the introduction to new gear (lights).
This is so great rubidium!!!
Thanks Ed! Coming from a pro that's a big compliment!
Good video. Raise the unbleached and point the source higher so it's not lighting under the chin so much. Look at kitchen scene how high Deakins has his point source bouncing.
after reading Deakins website he mentioned using a hotter light on the bouncing material, in this case the unbleached muslin, for the actors short side to create a more distinctive rim light and more pleasing gradient
I did not realize that was green screen until the end.
I've been setting up that trick since 2015 :)
@@Crimsonengine well played. fooled me
very cool
I enjoyed this man. New sub here. Roger is a legend and I see why He uses this method. You explained really well and I'll be trying it out.
This explains so much. Thank you.
Two things, that’s not a cove light. That’s two bounces. You have two options you could increase the amount of bounces and curve it a little better, I mostly use about 5 curving gradually however nothing beats an actual curved piece of bounce. No real best way of doing it you could try some piping or cut a curve in a piece of wood. Two, you get the best results when you gradually dim the lamps (not sure if you did it in the video) if you did it still wasn’t ‘good’. The idea is that you can almost clip the lighting behind the subject acting as a kicker than gradually dim the light to wrap around the subject. This also gives the shadows a warmer feel which is nice. You can even do the same thing with adding CTB on the lights gradually making the shadows ‘bluer’. Overall the main issue was the fact you used two bounces.
Also while I’m being pretentious and annoying.
The way you were doing it. It’d save time and effort to just get 5 sky panels and place them in a curve around your subject. It’s easier... less rigging also it won’t turn your room into a sauna. The only time you really need to use Fresnels is when your really trying to control the spill onto the rest of the room even still in my experience one time I bounced 3 redheads and 2 blondes into a curved sheet of unbleached muslin and I didn’t like the spill hitting the roof so I hanged the bounce onto 5 floppies which just cut the top spill.
Great result, thanks for sharing :)
You need to make sure your 3 lights "overlap" on the unbleached muslin, and therefor become ONE light source, otherwise if not, you will have 3 shadows because it would be 3 light sources.
What about cov-id light? Nice video thanks
You'd have to mask it off!! LOL
Its a really easy technique and it works really well. Have you tried lighting a subjetct with lights on floor pointing up to a top ultrabounce in the exterior at night? does that give more freedom to the actors move ? and what do you think about the light that it gives ?
I think you're missing on the placement on the cove light. If it is lower to the ground, then the bounced coved light isn't that flattering anymore than lighting someone from a low angle would be, a al Blair Witch flashlight, I'm so scared. In the example from Deakins, the bounce sheet is up high, which would be much more flattering. Personally, I think this type of lighting would be for a more commercial or clinical feeling, perhaps softened a bit with the warmth of the unbleached sheet.
Blade runner 2046? Is that a prequel to the sequel? ;)
Wong Kar Wei's Remake :)
@@Crimsonengine Wong Kar Wei is Wong Kar Wai's brother? smh
Easy there....
great video - do you happen to know how many rolls of the muslin you bought for the test? merci.
It was about 30 ft by 6 ft roll.
@@Crimsonengine thanks Crimson. Great job on all your videos!
With Fresnel on those HMI heads, it's too easy to shift to the cliche " HORROR " lighting ( Low angle key lights ) if the stage doesn't have a reflective ceiling. This lighting technique works if, HDMI(s) are far enough from the wrap around reflector surface to spread enough, the hot- spots that HMI(s) create on the wrap-around must be at the talents' eye level if the set doesn't have a reflective ceiling. Even with a reflective ceiling the key and fill should be very close - unless of course the idea is horror lighting or we are mimicking some practical light ( computer screen etc )
I think you mean HMI
@@mikkelwarrer4531 lol, you made me laugh.
@@mikkelwarrer4531 G'DMN auto correct ... . Also that " incidental light "should be practical light. Thank you for correction
Nice technique, but you have to be aware of your blacks, contrast nailing the negative fill and blocking the spills!
yes
hi I wanna know what is different with one soft light in 45 degree?
Chingón
Will this type of lighting work without the Light Cannon Pro? It looks really nice and would love to try it out, but I don't know if I can get access to those specific lights.
Deakins uses tungsten 800s or HMI jokers. You need something sufficiently bright.
@@Crimsonengine Hmm, something sufficiently bright...looks like I'll have to do some research! Thank you very much for the help, love your content!!
In the case of q computer screen I think Roger deakins will have used another source…
Great Technique and nice Video but it triggers me incredible, that he says "Blade Runner 2046" instead of "Blade Runner 2049".
This is a really great and efficient way to light a scene but the lighting power required is the bottleneck in that idea for most of us mere mortals. Also the footprint is substantial yea OK no C-Stands but from what I could see, there was significant space required to make that work. I have a couple of really great halogens but they'd burn the place down. 😂
You wish you could be roger Deakins
💯
i don't like this look of having the lights low. I would much rather put the lights high up and bounce them into faces. It looks better, more natural to how we see lights in everyday life.
So there is such thing as a director of photography.
In language and convention, yes. In Philosophical terms, not in my option.
@@Crimsonengine Fair enough. So you mean through problem solving and understanding of the production or in old philosophical terms of true knowledge. Sorry mate I'm just a bit of a stickler.
@@popcorndreamsmedia I mean that everyone uses the term, because 'cinematographer' takes too long to say. On a ship, you don't have Captain of Engineering, Captain of Navigation or Captain of Communications. The idea of multiple captains in charge is an oxymoron - the same with multiple directors.
This cove technique seems kind of cumbersome and would require a lot of high powered lights. Do you think you will ever really use it in an actual shoot?
You bring up a really good point. It is that much harder and takes that much longer, and it doesn't look THAT much different that a standard 4x4. I think its all the small differences that seperate Deakins work - there is no one thing he does, but there are lots of little 'extras' he does and the cumulative effect over a whole film is powerful.
Couldn’t have said it better myself. Sometimes - most of the time - film making is supposed to be “cumbersome”. It’s what we sign up for as film makers =)
It's really not that cumbersome, and you can adapt it a room however you want. I typically use an M18 bounced into a couple 4x4 ultrabounce floppies for wide shots on commercial interior scenes. You can also use it on a small scale just by quickly taping up some muslin. With all the high powered LEDs that are out nowadays, you can easily key a small to medium room with this method and avoid it getting too hot.
I think it's also of somewhat limited use. On a set, where you want to make the entire wall (or multiple walls) into your source, it would work nicely. But we're talking about a huge loss of lumens from the input to the output stage. Muslin isn't bead board, and you're going to struggle to fill a single 8'x10' wall evenly with enough intensity to get a deep focus shot.
Home Depot has some for $20 each.
Thanks my kind of price :)
204.....6?
Since, he has won a second time for "1917".
Why use unbleached muslin but not bleached? Isn't it going to such some of the light?
Unbleached is a warmer color, and gives off a warmer light. I would guess he uses it because it will create a subtle color contrast with daylight.
You can't light like Roger Deakins. I've tried, it's too hard.
Great Video but... Spot on the chest
Affordable lights 😂😂😂
beyond meh information
Zero fact-checking on this one.
Are you freaking kidding me! It's blade runner 2049
Your shirt is dirty
Bla-bla-bla