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In the previous movies, we've been showing you how to select lighting clips that best complement your original underlying footage. In the next few movies, we're going to show you how to further fine-tune those lighting clips through the use of transformation such as Scale and Rotate, through Color Correction, through improving contrast and using other effects such as Blur. Let's start with the transformations. Here's an alternate shot of our trumpet player from the previous movie. Again, we have a strong diagonal orientation from the upper-right to the lower-left and maybe we'd like to have the lighting effect match that orientation.
Here's a lighting layer we're considering using. It has a nice, strong linear element to it. However, it's coming from in the upper-left corner, not the upper-right corner. So let's see what we can do about that. We'll select it and we'll put it in Add mode for now to add the light to the underlying scene, and let's play around a little bit. We need that light source to come from the other side. You can play around with scaling or you can take advantage of a filter called Flop. Distortion > Flop. That moves it to come from the other side. You do have other choices on how you flip it vertically, or flip it from both dimensions, but the default Horizontal gives us exactly what we need. The light is coming from the upper-right.
Okay, good start but the angle of the rays does not match the angle of trumpet. Let's go ahead and grab it and start rotating it until the angle of the rays better aligns with the trumpet, maybe somewhere around there. I love the real-time preview in Motion so you can see what's going on. Problem is, my footage no longer covers the entire scene. Well, that's okay. We'll just go ahead and tug it out until it does. Since this is just a background lighting layer and not my main focus of attention, I can go ahead and scale it and not worry so much about image degradation.
What I'm really worried about is the quality of the underlying image, not the quality of my lighting layer. So now you can see I have lights coming from the upper-right corner, matching line up of the trumpet. It looks like you had a world class lighting director on this shot, when you really need to spend a little bit of time in post in Motion.
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