Join Jem Schofield for an in-depth discussion in this video Choosing composition and subject eye line, part of Cinematic Video Lighting.
- So we're scouting, the brewery is in full action here so it's like a normal scout. We're not coming in here and asking people to stop what they're doing, we're just trying to find the places where things are going to happen on the actual shoot. So we're not as concerned about sound right now, we're not as concerned about how the lighting is in the space. What we want to do is find out where our interviews are going to take place and we've landed here for Kyle who's one of the cofounders because from the description on the website and conversations we've had, he's a little bit more of the chemistry kind of guy, I mean there is Casey who's the head brewer who we're also going to interview and he's obviously going to be doing a lot of stuff with all of this but we felt that here in the back of the house where stuff is made would be a great place for Kyle to be interviewed.
So again, we've landed here and what I want to figure out is what direction, camera right or camera left, is Kyle going to be facing. I want to see what our widest and our tightest shots are and once we do all of these things you'll see what happens, all of the other stuff starts to fall into place. Now, I'm little, I'm hobbit size. Kyle, he's tall, like a giant. So I need to get up on something. I always bring, just because I am short, a half apple box and I'm going to actually use this for two purposes, one to be at about the same height as Kyle is going to be for the interview so we can get the right composition and number two, this is what I'm going to stand on when I conduct the interview so my eye line is about the same as Kyle's which is important stuff.
I've got Greg over there, he's got our A and our B cameras set up because when we shoot interviews now, clients expect to have two cameras and what I want to do is I want to look camera right and camera left and I'm going to have Greg look at our widest and our tightest shots and we're going to figure out if this is the place that we want to shoot this interview and if it is, then again, everything will fall into place. So Greg if you don't mind let's go to a camera right and we're going to go to our widest shot, I'm talking good, maybe not quite a cowboy, you know where you're just below, if you had guns, you'd be just below the waist.
But this is feeling pretty comfortable, sort of the hands and I'm looking right now I have a reference for the monitor and it looks nice the frame and let's go ahead and take a look at our tightest shot, we're on actually on the a cam for now so let's just go in the tightest that we can on our a cam and we're on, I think we're on a 24 to 105 right now so is that our tightest Greg? - [Greg] It is. - Okay, great. So I think that's okay, what we might wind up doing is bringing that camera in a little bit closer, going on a longer lens on A because I think I want a slightly tighter shot at a certain point in the interview.
But it does give me an idea and we're shooting at a, what's our F stop right now? - [Greg] Four before lighting. - Okay so we've got a super 35 millimeter censor on there so we're going to get a relatively shallow depth of field especially when we're on the longer end of a zoom lens. 105 or if we put a 70 to 200 on there, we're gonna get a very shallow depth of field so to push this to a 2 8 might be a little bit much because if Kyle likes to move around then he's going to go in and out of focus a lot so I'd say an F4 between F4 and F5.6 would make a lot of sense.
Once you decide what your F stop is though, you lock it in, it doesn't change throughout the interview. So that's our camera right wide and tight and let's go ahead and take a look at a camera left. And I'm not even going to worry about our B camera yet because I want to see kind of what we have so there's our wide okay. And we can actually see a little bit of Ben right there which is okay because we're doing an instructional video so he's a little bit in frame but I get an idea of what we've got and I can see that and that looks pretty nice. I like what's happening here with this and it's giving a little bit of color.
Maybe I'll adjust, let's go in just a little bit tighter for our wide and we might adjust a little bit to get a little bit of this machine out of the frame. But there is something about this that I'm liking a little bit more than the other frame that we had before. So I think I'm actually going to look camera left and look over there and I think that's the way we're going to go. Now this brings up a couple of things. In this space we have a sky light.
So we already have sort of a motivated key light if I'm looking camera right over here. So if I want to shoot in this direction and have talent look camera left, what does that mean? Well it means that I'm almost always going to put my key on the same side that the talent is facing. Camera, interviewer, key light. If I was looking camera right, then it would be camera, interviewer, key light. So I've got to motivated sort of already in place key light over here but I like the frame over here more so we're going to now have to address that with lighting control.
But if I like the frame and I have the time to set it up, then we go with what we want. And that means I'm going to have to block some of the light that's coming in over here. I'm going to have to set a key light over here, so Greg and I will work on that and I think that's the way we're going to set this up so we're actually going to do it and then I'm going to take you through where all of the lights were placed for this interview and then we'll interview Kyle.
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