Join Jem Schofield for an in-depth discussion in this video Gearing up for B-roll shooting, part of Cinematic Video Lighting.
- Day two, time for some B-roll. Greg, myself and the crew, we're trying to work off of the truck as much as possible. We have about 1/2 ton truck with a bunch of stuff for the shoot but we need to keep our footprints small. This is a working brewery and we don't want to set up a whole bunch of stuff, we don't want to stage stuff in their working spaces so what we've done is built up a cart and we have pretty much all the stuff that we're going to be working with over the next couple of days to shoot all the B-roll, the cutaways, all that kind of stuff, the little insert shots, I'd say number one thing is battery powered as much as possible and that means for cameras and also for lights.
We've got the C100 Mark II, it's built up on the MOVI M5 with a wide lens, great thing about a wide lens is deep depth of fields, we might even stop the camera down, the magic is in flying the camera, it's in the movement, it's in the jib shots, all that stuff, so we don't have to shoot everything super shallow when we're on that. We'll do some other stuff, maybe later on, on a slider, throw a prime lens on there and we can do some nice pushes and then shoot at a shallow depth of field.
That's also ready to go, we can do locked off shots on that slider, as well, because it's on sticks. As far as lighting, some of the fixtures we talked about yesterday, we've got the little Matchbox, battery powered, we've got the Maverick, battery powered, we've got the 1x1 Bi-Color, battery powered, down there on the bottom shelf we'll probably pull out the litepanels 1x1, battery powered. The little space light, probably won't use it over there in the brewery for the brewing process but maybe in here, in the tasting room, tomorrow night.
So that stuff, and then we will plug some lights in and just looking at the space over there, there's a lot of stuff going on in there, there's a lot of ambient light, we've got a big skylight in there, a lot of stuff coming in so I think what will wind up happening is Greg will set up some Jokers. We've got a Joker 200 but I have a feeling we might put a 400 up or maybe an 800 or a combination of both, move them around, those are not going to be battery powered. For what we're doing, though, we could actually battery power a 200 or 400 if we needed to but they do pull quite a bit of juice so I think we'll probably just run stingers for that.
The LoCaster from ARRI, we can change color temperature on that, nice little unit, we can run that off of a battery and run around with it if we need to, we can set it on a stand. Coming back over to the cart, some lenses that we can pull, primes and zooms, and then I've got a couple other tools, here, including light meters, light meters are great for lighting for ratios because we can actually walk into a space and we can actually take meter readings without even having a stand in there and we can make some adjustments.
This is called the SpectroMaster C-700, it's a special color meter from Sekonic and if you've ever used a color meter, older color meters don't really work well with LED and fluorescent fixtures. They're fine for daylight, tungsten units, traditional ones and things like that but this is actually designed to have the sensors and what it needs to tell us when we are using lights like these and fluorescents, which may not have full color spectrum, and so it will show as that and give us what we need to know, and whether or not we need to add magenta, for instance, and all of the good stuff.
It's expensive, but quite honestly I have it in my bag all the time because there are times where I walk into a space where we have to use the light that's there, the practicals, and they have to stay on, and I kind of need to know what's happening with the color temperature and while you'll get an idea and you'll say, oh, that's daylight, or that's tungsten, this will nail it. I think it's very, very valuable and this meter does a lot of things, but it is not a traditional light meter, it's specifically for color information. Again, working off the truck, definitely going to build up a frame or two, at least a 6x6, we may need an 8x8, and Greg and I have talked that out yesterday and how that we want to make sure that we are essentially controlling and softening some of the light that's coming in from outside but at the same time, not seeing traffic passing by all the time.
It's a brewery, we're going to see all that stuff, there's a lot of reflections going on the space and it's going to be a lot nicer if we're not seeing those in the frame. We have ideas, we have specific shots, we need to show this brewing process, today they're brewing a Coffee IPA and Casey's going to walk through with us, where each of these things happen and then we're going to place lights so that we can cover that, and then we've got these battery powered lights so that Greg can follow and make sure that we can lift each of those scenes.
We'll break those down in another part of the video.
This series of tutorials, taught by producer, DP, and educator Jem Schofield of theC47, shows you the equipment and time-tested lighting techniques you need to get cinematic results. Filmed on location at a California brewery—a set with a lot of action and a lot of angles—the course takes you through the process of planning, lighting, and shooting video using largely cinematic (low-key) lighting techniques. Jem uses a conversational style of direction that relies on collaboration with the crew and the clients, but the lessons are flexible enough to apply to productions of many different types and sizes, including corporate video and documentaries. By the end, you'll have the skills you need to go out and create professional lighting setups in the real world.
- Choosing the right video lighting equipment
- Scouting locations with good light and visual interest
- Bouncing light and blocking light
- Cutting light
- Diffusing light
- Recreating natural light
- Modifying color temperature with video lighting
- Shooting B-roll, inserts, and cutaways
- Working outdoors