4 Unique Setups for Daylight | Add Style to Your Lighting

[Music] as a dp daylight interiors are one of the most commonly shot scenes in all of movie making you got overcast afternoon morning time you even got blue hour so today we're going to look at that we're going to deep dive what all of daylight looks like and what mood we're going to fit the story yeah we're going to go through four different looks different times of the day and different emotions of a scene there's a lot more considerations that go into what a daylight scene should look like and that's what you're here for i'm stoked let's experiment [Applause] all right guys i'm with jc falcon aka tiny machine big fan of yours go look him up on instagram i wanted to go for a dramatic look i wanted to darken it all out i wanted there to be a ton of contrast what do we got going today for bringing in this sunlight coming into the room because it's not sunset right now we ended up gelling up the windows with half cto so that when you go inside the world would look warmer on the ceiling we have this queen which is trash bag material to darken the top a lot of people don't realize you get a lot of ambient spill from the ceiling because it's a white ceiling for most parts harder light is usually what you're getting with sunset because the sun's lower things are more directional so that's kind of what we wanted we wanted two point sources that will just bring in the shadows and then we can cut it off the top with a little bit of a two by three solid usually when you're working with point sources you wanna have a flag around so you can create that shape this afternoon sun is low but i also wanted to see those rays i like those dramatic sun beams coming in when we have haze in the room you always want to use the light as a backlight and that's when you see the rays we're getting that downward slash really helped us jc is the man i just met him today i'm a big fan bro we're gonna be working together we're gonna be working together again man [Music] so now transitioning from our afternoon sunset look to now our daytime high noon look we took the cto off so now we're getting general daylight and that automatically gave us a fully different mood the second thing i did was i opened up the left window by opening it we have given another source of light essentially these shears aren't the most diffusion you've ever seen but they are adding a little bit more softness to the overall room and giving us just a little bit more spread we replaced our hard light with a panel light in fact we have two panel lights in a double yoke just to give us a little bit of ambiance if you look down here on the bottom left of the frame we've got exposure on this wood floor adding a lot of dimension to the room i did find that it was a little too bright and so what i did in camera was i lowered my iso down from 500 down to 250 so that brought down the overall ambiance while keeping the sources hot it's really subtle subtle changes thing i like to call you guys know it let me hear it let me hear it cut the toy [Music] now we're moving on to our overcast it's kind of sad a little bit more somber we opened the venetian blinds up completely to bring more ambient light in another change we made was we took the window to the left and we closed and sealed that off completely i wanted to be really muted cognizant of a overcast gate [Applause] [Music] what we got going on underside this setup uh 12 by ultra bounce as the back tent on the window we actually taped up a quarter grid silk on it so the reason why we did this is because any time we're thinking soft light i always think book light what better way to get a soft light than creating a big book light around the window not only is it good for overcast but it's also great for hiding the details outside that you may not want to see in frame the nice thing about this is it's pretty easy if you break it down to you know the basics it's just a white sheet and another white sheet and then a light in between so if you just put it up against the window blow it out on camera it should look pretty good when you go outside and it's overcast it has that kind of muggy foggy type of feel so why not add and enhance our interior scene with adding haze you know i love haze tweed tries to get me to turn that haze off wait i'm turning that haze on no but it fits really well in this scene because it's cloudy outside you know it just gives you the idea we're gonna get our talent in here in just a little bit and make our last looks final and hit record [Music] [Applause] [Music] so for blue hour we didn't really change much with the lighting we almost kept it the same we did add another p 600 seed into ultra bounce pushing light through that left window as well to fill in a little bit we did gels already but i do want to try to change the color of the light fixtures we're going to jump on siduslink and dial in the specific kind of blue we want the other thing we did to really emphasize that blue and to make it really pop is turned on both practicals change those to a very warm 3200 kelvin tungsten i'm a huge fan of practicals and i'm glad we're using them in this scene since it's morning time and it's you know he's just getting up we wanted it to be a little bit more approachable so up here on the fan we literally just put up an empty tube dropping down a nice little tungsten on our talent here on chris we also have a fill board over here returning just a little bit more exposure on chris's face about to get into it that was the last thing i wanted to talk about before we hit record let's do it so that looked great that's a wrap guys that's looking good kevin thank you man credit to the crew we had an amazing crew today man that was a lot of fun daylight daylight who knew it could be so versatile now four different options that you can try out each one has a different emotional quality and now your actor is an environment that is conducive to that emotion that you want to pull from your script i think we got a question right yes we got a comment question and it comes from rodrigo landa romero how would you shoot several scenes when traveling considering the tight schedule just keeping things simple there's no need to over complicate come up with a formula or a theme on how you want to light replicate that formula on every location and scene that you do so you're not trying to recreate the wheel on every location thank you so much for joining i had such a great time today but unfortunately i got to go back in and eat the rest of the crafty you guys don't have to go home but you can't stay here sounds good i love you i love you i love you all right guys see you later see you next time [Applause]

Channel: Aputure

Views: 172,171

Keywords: narrative lighting, aputure lighting, hollywood lighting, filmmaking, cinematography, photography, behind the scenes, cinematic daylight, day interior scenes, window lighting, book light, soft light, key light, film lighting, hollywood look, cinematic lighting on a budget, nova p600c, ls 600d pro, white balance, daylight vs. tungsten, improving video quality, lighting tight spaces

Id: RXD97Rc5P_s

Length: 7min 14sec (434 seconds)

Published: Fri Jul 22 2022