Join Jem Schofield for an in-depth discussion in this video Handheld accent lighting, part of Cinematic Video Lighting.
- So, here we are in the back of the house, the brewery itself, and we want to figure out what we're going to do as far as all that B-roll coverage, those inserts, the cutaways and all of the stuff that I'm talking right now about can be applied to other places. But what we needed to figure out for what we were going to shoot in this space was where did they make the beer. They make it right here. This is command central. This is the bridge.
This is on the Millennium Falcon, the cockpit. And I would say that about 80 to 90 percent of making beer is all happening up here. So, this is where a lot of our shots were going to take place. So, Greg and I came in. We walked the space. We were talking to Casey. We're finding about all of this stuff, and we had to figure out how we were going to light this, but do it in a quick, fast way because everybody's working and we don't want to get in their way.
So, the first thing that we did was we actually addressed these windows because that was going to be a big problem. And we actually did it for two reasons. One, for the b-roll and two for an interview with Casey, the head brewer. We've got a six by six and an eight by eight out there. We put a six by six there first. It wasn't covering enough of the windows. So, Greg built an eight by eight and put that up, and that is doing a lot of work for us. Over there, we did set an 800 Joker-Bug outside, and it's a great way to get light into a space and have a footprint that doesn't come into the space that people are working in.
He put diffusion in front of it. It did a little bit of something for one of the shots, but in the end, it got turned off after that. And we actually wound up working with lights inside this space from that point on. So what did we use? We had a Joker-Bug 400 over here, and maybe you don't need a light that's this bright. Maybe the Q-1000 would work for a light, and you can dial it up and down. It doesn't have to be just sort of a fixed output.
Or you might have a Joker 200 in the smaller space. We wanted to simulate daylight because that was the overriding color temperature in here. So, that's what we went with with our lights. And this did a lot of work today. Right now, we actually have it gelled a little bit so it's a little warmer because we were using it for an interview, but we didn't have that gel on it earlier on. It just read as daylight. HMIs do a great job of that. And Greg just sort of moved this down this line on this side of the room depending on what we were shooting over here, and it does a lot to bring up what's happening in the space.
What else did we use? Over here, this came into play a lot. One by one. Incredibly light weight. It's not the only fixture out there that does what this light does, but it's battery powered. It's dimmable. We can just go from place to place. They make bi-color versions of this, so if you want to dial in specific color temperatures, those little flex lights could work on a frame. I mean you've got that flexibility as well. But these are great for walking around and just getting light into places and throwing light.
This particular one is a spot version. So, it's great because it concentrates the light. It has a little bit more of a directional light to it as opposed to the flood versions which in my opinion, aren't as good for this type of stuff. We also used the Maverick in a similar way. And we were able to move around with that or just create a little bit of a rim on people. Again, a 5600 Kelvin color temperature panel in there. And then the little low caster. This was used in different ways. This is color temperature changeable.
We have this turned on, and for instance, over here on this panel, we did a shot and Greg held this over the panel, and it just gave us a little bit of a warm light and he's just getting that light into a particular place where we're looking. He might be using it for a little bit of rim to just create some separation, and it just is putting light in certain places so that we can highlight certain sections. So it doesn't feel as flat. In fact, can you do me a favor Greg? Can you pan this Joker so that we can see it actually working and not.
At the beginning of the video obviously it wasn't on, but let's just pan it to the right. And you can see that even though we've got all of this stuff bouncing around that when we bring in a light, and let's bring that back in, it just completely changes a scene. And let's go ahead and pan to that one more time, and I'll turn this on again, and you can see if I just point this light up here, this is just a one by one, and it's on this flux capacitor. You can see that it's doing some stuff. Obviously he was moving around depending on the movement of the talent.
Over here is where they boil stuff. So, again, we can put light on there. So just this idea of moving around, being able to dial it up and down to get the right light level, create visual interest, add production value.
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