Join Jem Schofield for an in-depth discussion in this video Looking for problem areas, part of Cinematic Video Lighting.
- Alright, Greg and I are here. - Yep. - Wow. By the way we're doing another scout, and we're in another space and I'm actually looking at this space with Greg and trying to figure out where we're going to shoot two interviews. But before we do that, just quickly, I guess acknowledge a few of the things that we've been noticing? - Right. - First of all, if we weren't shooting interviews for two people from a brewery, there's some nice elements inside of this space that we could use. I'm seeing some really beautiful light coming through that garage door which is this frosted glass. - [Greg] Yeah. - We could definitely do a nice set up for, you know, you see all those reality shows with people who work on bikes, you know.
Custom bikes, custom cars, we could do something really cool, set a car outside of there, we could see the silhouette of the car and then shoot an interview or something like that. - Sure. - I also see some pictures up on the walls, they don't necessarily say Topa Topa, so we could shoot something for an entirely different project. So we're just talking about the fact that even though we have a specific goal for these two interviews, we can use this space and, and not necessarily make it read it's a brewery by just looking in other directions or you'll find those elements in other spaces.
- Sure. - Yeah. Lots of mixed lighting, what do you think we should do with that? - Well our sun is moving pretty quickly here. And with the mixed lighting that we have here, it's not really punchy enough to read in camera. As we were looking in camera just earlier, you know, the little spots are reading as sort of just general washes, but we can really bring those out with our own lighting. And so, I think we might be better to control the light in here because we don't know how long we're going to be in here or when exactly we're doing the interviews.
- They're also very toppy, and so they may not be throwing light in exactly the places we want depending on where we frame up for these things. - Sure. - For Jack, who is one of the owners, we want to shoot an interview, you and I have discussed this already, kind of going down the bar. - Yeah. - We think that works well. I want to make this blackboard, you know, with their different beers an element there and if we just take a walk down there quickly, we can take a look at what we were looking at earlier on. We've got a light which is doing the job of putting some light down here, but it's not necessarily going to be the color tempurature that we want, it doesn't allow us to sort of control how much light is coming out. - Right.
- So, I think like you were saying, we rig something, you think? - Yeah, we can just put a small little pepper up there and just allow it to, we can even adjust the color temperature on there to focus it... - Or maybe even something like that lowcaster which is a little bit more of a wash and we can just dial in the color temperature, just depending. I guess we'll figure that out when we film it. - That sounds good, yeah. - And when we do the break down later on, we'll tell you what we wound up with. Let's get into a frame. So I would be looking, yeah, you would be over here potentially, I do want that blackboard to be over one of his shoulders so this could work.
And then we look there, and let's kind of look at what potentially, let's go super wide on the frame just so we can see what happens. And back it off a little, we could do something like this. We've got this little feature with the Topa Topa, I don't know if we'll wind up doing it and maybe if you could just smash right up against the wall over there Greg, so we get even further back. So, that's just a rough frame but we might be able to do something like that and he's looking camera, you know, left. And then we could go in for our tight shot and let's just see what we have and we don't know what lens we're going to be using but we can see that and let's get a little more of the black board over the shoulder, just as an option.
That might be nice, we've got that growler up on that top shelf, we may not even need to move that. So we'll just kind of play around with, you know, our options. But to me, I think this is where we're building this. - I think we're getting dialed in here, yeah. - Yeah, I think I also want to go over some things having to do with playing with color temperatures and if we're going to black out the space, let's go ahead and think about how we want that contrast. Do we want a more warm, do we want a cool warm, do we want a warm cool, and we'll make sure we test that out and figure out where we settle.
I think I'm leaning towards one, but we'll see where we wind up with everything, alright? - Yeah. Sounds good. - If we set our lights the right way and we use bi-color lights that give us that option, then we can just dial that in and we can figure out what we want. So I think that's it, we'll have to figure out if we need any separation but to me it's going to be a key coming from over here. We're going to have a B camera, why don't you swing over for a B camera shot and let's just see a tighter shot and maybe just walk in a little bit closer towards me and let's figure out where that's going to be if I was looking camera left.
So we'll have to kind of play around with this. We might move Jack forwards or backwards along the bar line a little bit to get that B camera angle to look pretty good. But we do have that as a consideration and we do want to make sure that frame looks good, as well. I think we're going to get enough light from this and a litter bit of fill that we probably won't have to add a lot more to get that second camera angle to work, but we'll tweak that and then we'll break that down later. Is that cool? Yeah! Alright! - Sounds good. Yeah. - Number two, somebody behind the bar.
So I'm going to walk behind the bar. - Let's do it. - This is kind of the bartender's domain. They're going to move between the taps. We've got an order sign here, which actually got put up when we walked into this space, this is brand new. This seems to be where people come up and they get, if they're not sitting at the bar and they're going to the patio, this is where they're going to come up and get a beer, right? - Yeah. - So, I kind of feel like it makes a lot of sense, this feels very, if we shoot in this direction, and let's take a look at the frame, you know.
- Yeah. - If we shoot in this direction, it feels pretty sterile. There's not a lot of warmth here and I do want this space to read pretty warm. I don't know if this necessarily is what we're looking for and we're kind of looking for a little bit of warmth, right? - Yeah, if feels very, pretty flat. But with the controlling of the light on all the windows, we can warm it up, cool it up however we need to. - If we're doing a dolly push for like, a Wes Anderson film this could be great if we framed this up the right way and it be a nice shot. - Yeah.
- And we could do that, but I think we want some depth. And we want a little bit of interest there. - Yeah. - So maybe we push over here where we were talking about doing that, and we go down the opposite line. And, again, we can take a look at this, you know, camera right or camera left, let's look at the camera right just to see what'll happen if I'm looking camera right. We kiss the lockers over there and we get the background out of the way, but depending on what f-stop we're going to be shooting at, maybe we, let's see what our camera left looks like.
And, yeah, I kind of like that, I mean we got something to deal with with the fire alarm thing and we might have to deal with that but it we bring the pictures into the frame a little bit more depending on where our talent's going to be situated, I think we're not going to notice that fire alarm thing as much, or we might be able to do something to dress that a little bit. - Definitely. - Don't you think? - Yeah. - What about our B if I'm looking camera left? What would we look in that? So we bring those pictures in.
- Have those pictures in the background, yeah. - But they're going to fall soft especially if we put like a 70-200 on there, right? - Right. - We'll make that a pretty tight shot. - Yeah. - I think that's pretty good, I think we'll play with these frames a little bit but I think those are pretty interesting. We can put a little bit of light on those too. - Yeah. - Just to kind of give them... - What are you thinking of lighting for here, this area? - So for Jack, I'm thinking we either push through a frame or we bounce off of a frame. You and I talked about the fact that the person who's going to be standing here, one of two talent, both female, and it might be a good place to talk about getting into something that is approximating beauty lighting.
It's a little flatter but we've got some nice depth in this space and if we create some ratios because we're blacking out the space and its's just not all one light level, then it won't feel completely high key even though we are using that beauty lighting. I think that'd be cool. - That would be definitely cool. Yeah. - So, probably pushing through a frame and, you know, if we're saying that our A camera's going to be where Ben is right now, then that light is a source that's coming basically from there and a little bit above, could be coming through a skylight or something like that.
- Sure. - And this is a perfect example of why we want to turn this light off, as well. - Right. - Because we want to able to control how that looks. And then the last thing that we need to deal with in this space, and it's a pretty easy one, is the little collective party that's going to happen later on. There's going to be actual patrons here and then there are people who are a part of this collective. We don't want to shoot that outside, we already discussed it. The double doors are going to be open so I'm going to come around from the bar and I'm kind of thinking about doors open, there's going to be warm light in there.
Let's get a China bowl with a bi-color on a stand that's battery operated and maybe you up on sticks with a slider or on a monopod, we'll have to decide. - Yeah. - I think that could work. - That'll work. - One or two people... - There's going to be a lot of people walking around so, the less stuff we have in the way... - Yeah, except that we kill the music and maybe looking out here because we haven't seen much of this frame yet, and somebody standing inside of this space.
So, you know, that would be doors open and then coming into this direction, and then depending on how it feels, we could also find another frame coming down the bar that's slightly different than Jack's but still seeing outside, what do you think? - I think that sounds good. Yeah. - I think that's pretty simple. - Take a look at that frame. - Yeah, let's go ahead and take a look. So those doors will be open and there'll be activity and there will be people and maybe we'll go a little bit wider because we want to make sure that we see that they have a beer in their hand. - Yeah. - We'll kind of figure out, but maybe something that, those, I think we probably go a little bit more at an angle though.
- Sure. - So that we're seeing less of the signage and things like that so maybe something like this. And they're probably going to be, we'll have to decide, they're either going to talk directly to camera, actually they won't because we got all the other ones off camera so maybe we split the difference and we'll do one camera right. - And then one camera left? - And then that'll be now coming off of the other shoulder than it was for Jack. And then, we'll figure out another frame where, you know, we can get out those doors again or figure something else, or even tuck in this corner. - Maybe just even this corner.
- We've got a couple of people talking here and we'll frame it up where we get a little bit of this but that's open so that's a little bit of a challenge but we'll work around it so I think that's basically it. We're going to black out the space, turn off all the lights. We're going to build up our own thing, we've got to set up right now for our first interview. - Right. - Because from what I understand, we've got about half an hour, 45 minutes until Jack comes in so we're going to go do that.
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