Join Jem Schofield for an in-depth discussion in this video Working with color temperature, part of Cinematic Video Lighting.
- So, we just finished Jack's interview and we're going to break this one down. It's a different kind of lighting set up. We spent about an hour setting up the room, Greg and I and by the way, I just want to say you need people who are great at gripping and who are great gaffers. He's swinging on this project and doing both of those jobs. If you don't have those people on the set, or one person like Greg, who can do both of them, it can really make the difference between making your day and not. He also has that knowledge to be able to control the light, the way I want to see what's going to be in the frame, so it's really both the director and the DP's best friend on a set.
Let's break this down a little bit. We've got this one by two flex light going into a four by six panel; it's just skinned with a white bounce. That's our key source. We are filling here with this little reflector, it's a silver-gold. We've got a little California sunshine going onto Jack. We're going to talk about color temperatures a lot in this but right now, we're looking at a Tungsten color temperature pretty much all around for the entire set because we've blacked it out. There's a Kino flow over there, which is creating a wash of light.
We've got an L-7 LED fixture which we can change the color temperature on, which is over there, which is creating this (mumbles) light on the bar, and then we do have a low caster light set above the little blackboard. I think that's it in terms of lighting. What I'd like to do is start to audition some things for you with Greg, so you can see what those are. Right now we've got a Tungsten Tungsten. I think what I want to do, is let's just turn off some of the lights to show them what's happening first, before we do the color temperature thing.
Let's turn off the Kino flow and see what that's doing. Okay, so that's really bringing up the ambiance in this space, and if we do it, like that, it's way too moody for a place like this. Let's bring that back up; let's go ahead and kill the L-7, and see what that's doing. I think that that adds a lot of production value. You can see, boom, it all goes dark. Yes, come on. It's definitely feeling a lot nicer when we bring that back up. Let's bring that back up.
It's doing a lot of jobs, but it's bringing this light down here, and it just really kind of brings the whole level up, and I really like the way it's hitting the bar. Here again, there's that fill out, there's that fill coming in and we can adjust it to exactly where we want it to be. Then of course, in the back over there, we have the low caster. We don't need to turn it on and off, I guess. No, it's all right. When we change the color temperature, maybe we'll turn it on and off. Let's do this. Let's take a look at color temperatures, and I'm going to go ahead and change the color temperature of our key source to 5600 kelvin.
Of course, what we need to do then, is we need to change our white balance on our camera. Zach is actually going to change it over to a daylight preset so we can see what that is. What we're now looking at, is something honestly, that I personally don't like very often, it's a very cool-warm contrast. We've got a cool light hitting the talent, and then our entire background and everything that's happening is going to be a warm. What we could do, is let's kill the Kino, because in order to show you that, with daylight, we'd have to change out the bulbs.
Let's go ahead and change the L-7 to daylight, so we can see what that's like. Yeah, let's switch it to daylight, so we match the key. There you go so, now you can see, now we've got a cool-cool together. If we white balance the camera correctly, that's okay but that's really a decision based on your space and what you're trying to do. I love in interior spaces to light with Tungsten color temperature. Then let's go back up on the ladder, and let's change the low caster to daylight.
We might as well just show them, we've seen now a warm-warm. Secondly, we look at a cool-warm. Now we're looking at a cool-cool. Of course you have to change the balance but we were looking at it by changing color temperature. Now we're at daylight, and I think what we're going to do now, is we're going to bring the whole set back to where I'd like it to be, and where we shot Jack's interview which is we're going to take the L-7, we're going to put that back to our Tungsten, right, and we're going to go ahead, and you can see what's happening in this camera, let's just leave it on daylight right now, so we can see all the funkiness.
We're going to bring up the four foot Kino and see what that's doing. Boom, so now we've got our warm light. You can start to see that. Now I'm going to go ahead and change my key. I'm going to put that back to Tungsten, so that's going down to about 3200, and remember that we can white balance instantly. Cameras need to be told where the white balance is going to be, so now Zach's going to switch it back over on our camera, here, to a Tungsten white balance.
This is a little bit different, but what we're looking at now, is pretty much what we wound up with for the interview, which is we've got a warm key, we've got the L-7 warm, we've got the Kino warm, and then we've just changed that low caster up there, to a daylight color temperature. When we white balance the Tungsten and we use a blue light that's not spilling on talent in the background, it's going to read very blue. You get that nice, warm-cool contrast, which I like a lot when I'm shooting things.
A couple of other things that we're doing, we had a little bit of spill here, from the key light, which was hitting over in this area, and it was bringing up the ambiance a little bit too much, so we set a four by floppy, so we've got a four by eight here, which is stopping some of that key light from hitting here and then Greg set the Kino flow to do that job in a much better way over there, and it's doing it really, really well. Again, a little bit more contrasty, I think it works really well, it's a completely different setup.
We can use this in a lot of different production environments. It's just what we chose to do here, for this particular interview. Now we're going to break down this set, and we're going to go set up for an entirely different lighting setup for another interview.
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