Hi, my name is Steve Nelson and you are watching Four Minute Film School. Today we are going to be covering contrast, lighting positions, outdoor shooting and manipulating light for desired look. Because this is advance lighting part two. Start the clock.
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Contrast is the difference between your brightest and your darkest spots.
To achieve a high contrast image you need some harsh lighting. For instance, we have this one key light, focused in on diffuse on our subject Andrea over here. Now, if goes blind, it will be alright cause we have insurance, and it will be covered financially. But you probably do not. So, you have to be very careful with your lights because they are extremely hot and they are really bright, and they can cause a lot of damage and they are very dangerous to water. [Laughing]
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Now you heard me talk about the key light before and since this is advance lighting, you should probably know about three point lighting by now. The other lights are your fill and your back lights. It is really be four point lighting because the back light should light actor from behind and the background light, should light your background. And your fill light which is usually be diffuse is added to our once high contrast image, and now her face has become a lot more soft. It is now low contrast image. Light your background with the background light and turn on the back light to separate the subject from the background. Let us see if we can say that ten times fast.
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Four member Miss Super Natural says, “Remember you can not effectively lighten shot and pose, but you can darken it.” So if you need to choose between having an over exposed sky or under exposed subject, go with the over exposed sky. Because you can work some editing magic to darken just the sky, through compositing like, we did in a 3D episode or you could always just light your subjects with day light bulbs. But that might be difficult at an outdoor shoot. If you want to shoot outside at day time for a scene that takes place at night white bounce to warm color or to the indoor lighting setting and turn the brightness down on editing.
Now lighting in is ho you go about painting your movies except no painter I have ever heard of—had to worry heat resistant gloves, which you better do.
But that is neither here nor there. You can go about painting-in your movies by adding gels to your lights. Now sure they serve a practical purpose but they also serve an artistic purpose. Try mixing up different color gels on different lights. In this shot we threw some wild blue gels on top of our back light and then a nice green gel on top of our key light, that shines right on Angie. And not only this only look cool and artistic, but it also creates depth between Angie and the background, which is good, if you like depth, and you should, like depth.
Remember the film noir episode when we put blinds in front of the lights. We can experiment with different things to scatter your light. According to four member Uncle Al, using a cookie AKA “cookielouris” or “gobo,” the thorough regular shadows on background can give an impression of unusual depth or just as unusualness to a set. So, if you want to get Indy Films, that is absurd, just get some movies made with great lighting. Always make sure to have these things on hand, gaffer tape or if you are poor, duct tape, C47,clothes pins, extension cords, diffusion papers, china balls, colored gels and a regular old surge protector. Well that is the end of advance lighting part dos. I am Steve Nelson and I hope you guys learned a lot, if you did not then I am going to murder you and your entire family. Have a good day.
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