Dedolight Competition 2020: Lightstream tutorial
Summary
TLDRThis video tutorial introduces the innovative lighting technique using the Light Stream system, which relies on indirect and reflected light for enhanced control in challenging spaces. The presenters, Hem and Lena, demonstrate how to use near-parallel light sources and reflectors to create soft, natural lighting in a variety of scenes, including a living room and a small bathroom. With precise light shaping tools and clever setups, the tutorial highlights how to manipulate light creatively in confined spaces, offering an inspiring approach to lighting that complements traditional methods.
Takeaways
- 💡 The tutorial focuses on using the Lightstream system, a technique involving indirect lighting with reflectors.
- 🏠 The demonstration takes place in two different scenes: a living room and a bathroom, both with challenging lighting conditions.
- 🌞 The system relies on near-parallel light sources and reflectors to manipulate light, minimizing the need for direct light sources.
- 🔧 The Lightstream system consists of four different reflectors, each providing varying levels of diffusion (from mirror-like to soft).
- 📏 Using parallel beams and reflectors allows for better control over light fall-off, which is less affected by distance compared to soft sources.
- 🏠 In the living room setup, backlight is achieved by reflecting light through glass panes, simulating natural light from outside.
- ⚙️ Key light, backlight, and scratch light are created by carefully positioning reflectors and taking advantage of existing architectural features.
- 🛁 The bathroom scene showcases the ability to light confined spaces using indirect light without hard shadows or intrusive light placement.
- 🎥 The system offers flexibility in camera movement, as reflectors can be placed in out-of-view areas, avoiding unwanted reflections in mirrors or shiny surfaces.
- 🔄 The approach is presented as a complement to traditional lighting methods, offering more finesse and control, especially in smaller, challenging spaces.
Q & A
What is the main technique demonstrated in the tutorial?
-The tutorial demonstrates the use of indirect lighting with the Light Stream system, focusing on reflected and near-parallel light beams to illuminate a scene without direct light sources.
What are the two main locations used in the tutorial?
-The tutorial uses a living room and a bathroom to showcase the use of reflected light, with the bathroom scene highlighting the challenges of working in small, confined spaces.
What is the Light Stream system, and how does it work?
-The Light Stream system consists of a near-parallel light source and a set of reflectors that redirect and shape the light. It uses reflectors numbered 1 to 4, with each providing a different level of diffusion.
What is the purpose of using reflectors in the Light Stream system?
-Reflectors in the Light Stream system help redirect and shape the light, allowing for indirect lighting setups. The reflectors range from almost mirror-like surfaces (number 1) to softer bounces (number 4), giving the user flexibility in light diffusion and redirection.
How does the tutorial handle lighting in a scene with strong backlight from a large window?
-The tutorial recommends closing most of the curtains to block out strong backlight from the window and leaving only a small portion open. This helps control the lighting while still allowing some natural light to shape the scene.
What are the different light sources used in the living room scene?
-In the living room scene, three main light sources are used: a key light with a soft bounce from a number 4 reflector, a backlight from a parallel beam pointing upwards through a glass floor, and a scratch light provided by redirecting light with a number 3 reflector.
How is the bathroom scene lit given the limited space and reflective surfaces?
-The bathroom scene uses a Dedo 7 light with a parallel beam attachment placed on the floor to avoid reflections. Reflectors are used to bounce light off surfaces without creating direct reflections in the mirror or tiles, ensuring soft, even lighting.
Why is reflected light particularly effective in small spaces like the bathroom?
-Reflected light is effective in small spaces because it can be carefully directed and controlled without the need for large equipment or direct light sources, which might create harsh shadows or unwanted reflections in mirrors and other reflective surfaces.
How does the use of parallel light beams benefit the lighting setup?
-Parallel light beams reduce light dispersion, minimizing the effects of the inverse square law. This allows light to travel farther without significant falloff, making it useful for bouncing and reflecting light over long distances.
What are the advantages of using indirect lighting in film or photography scenes?
-Indirect lighting provides soft, even illumination, avoids harsh shadows, and can be controlled more precisely using reflectors. It allows for more natural and subtle lighting effects, especially in tight or complex environments.
Outlines
💡 Lighting Tutorial Overview
The video introduces a lighting tutorial using the Data Light Light Stream system. It features a simple scene with a model performing various activities, all lit with indirect light. No direct light sources or flags were used to control the lighting. The presenters, Hem Co and Lena, aim to demonstrate how to light a scene using reflected and near-parallel light beams, with examples from both a living room and a bathroom.
🔍 The Light Stream System Explained
This section explains the components of the Light Stream system, which uses a near-parallel light source and different types of reflectors. The data lights used are highly precise and can be enhanced with a parallel beam adapter for minimal light dispersion. This reduces the impact of the inverse square law, allowing for better control and redirection of light. The four reflectors in the system vary by the level of diffusion they provide, ranging from mirror-like to soft bounce, and are part of a modular system that allows for easy adjustments and customization.
🏠 Lighting Setup in a Wooden House
The presenters describe the filming location—a wooden house with large southwest-facing windows. The weather, being stormy and cloudy, creates diffused lighting conditions, which they manipulate further by closing curtains and blinds to control the amount of light entering the room. They explain how strategic curtain placement and using natural backlight from the windows help balance the exposure, especially in rooms with challenging light conditions.
✨ Creating Key and Backlights with Reflectors
This part focuses on how the key light and backlight were set up using a Data Light 7 and a number 4 reflector. The key light, though small, produces a soft and beautiful light, especially on the model's cheeks. The backlight is created using a light placed four meters away from the model, cleverly hidden beneath the glass pane of the floor to create a natural-looking effect. The reflectors are strategically positioned to create additional contour and depth, with a number 2 reflector providing a scratch light for subtle contouring.
🛁 Lighting in a Small Bathroom
The tutorial transitions to a small bathroom, showing how to achieve soft, flattering lighting in confined spaces. With minimal room to maneuver, a parallel beam light is placed on the floor to provide general fill, and reflectors are used to control the light. A number 4 reflector serves as a backlight, while a more reflective number 1 reflector bounces light without causing unwanted reflections. The setup avoids harsh shadows and allows for flexible camera movement, even in the tight bathroom space.
📸 Enhancing a Beauty Scene with Reflectors
In this final section, the presenters show how a number 3 reflector is used for soft but focused lighting in a bathroom beauty scene. The reflective surfaces and mirrors in the bathroom pose a challenge, but careful placement of reflectors ensures that light bounces effectively without creating unwanted reflections in the camera lens. The setup allows the camera to move freely, capturing the model while keeping the lighting equipment hidden. The tutorial encourages viewers to rethink their approach to lighting, highlighting the versatility and finesse of using reflectors in small, difficult spaces.
Mindmap
Keywords
💡Light Stream System
💡Indirect Light
💡Reflectors
💡Parallel Beam Adapter
💡Inverse Square Law
💡Key Light
💡Backlight
💡Scratch Light
💡Confined Spaces
💡Reflective Surfaces
Highlights
Introduction of the lighting technique using the Data Light Lightstream system to create indirect light without using flags for control.
Use of reflected light and near-parallel light beams to light scenes in confined spaces, such as living rooms and bathrooms.
Description of the Lightstream system, which uses a near-parallel light source and reflectors, focusing the light for minimal dispersion and control over fall-off.
Explanation of the four types of reflectors (numbered 1-4) in the Lightstream system, each with different levels of diffusion, from mirror-like (1) to soft bounce (4).
Demonstration of using a small opening in the curtains to regulate strong backlight from a large southwest-facing window, creating a diffused texture for the scene.
Step-by-step breakdown of how to build up lighting, starting with a key light, followed by a backlight, and then a subtle scratch light for contouring.
Use of the Data Light 7 light fixture with a parallel beam attachment to create natural-looking backlight from a long distance (4-7 meters).
Creative use of architectural features, such as a glass-paneled floor, to position and hide lighting fixtures while still providing effective backlighting.
Utilization of reflector number 2 to create a soft backlight and reflector number 3 for a scratch light, redirecting small portions of the light for precise effects.
Challenges of lighting in a small, reflective bathroom space, including avoiding reflections in tiles and mirrors while maintaining soft, flattering light.
Strategic placement of a Data Light 7 fixture on the bathroom floor, pointing straight up to provide soft fill lighting and a controlled bounce.
Use of reflector number 4 for soft backlighting and reflector number 1 for bouncing light into confined areas, such as the bathroom stall.
Effective use of rigging with a mini Carleen clamp and gobo head to position reflectors in tight spaces without obstructing camera movement.
Discussion on how the lighting approach with reflectors and indirect light allows for more flexibility in camera movement, enabling dynamic shots even in small spaces.
Encouragement to rethink traditional lighting techniques and consider using the Lightstream system as an additional method for finesse and subtle effects.
Transcripts
[Music]
today we have a lighting tutorial for
you using a very special technique with
the data light light stream system to
demonstrate we have a simple scene with
our model walking down some stairs
taking a swing on some rings and cutting
some vegetables at our end position now
what is so interesting about wisin is
that all of the light here is indirect
light so we have no light sources
directly hitting our mouth and on top of
that we didn't have to use any flags to
shape or control that light
[Music]
hi my name is hem co and this is Lena
and today we want to show you how to
light exede using reflected light and
near parallel light beams so what we
have today is two different scenes one
is here in the living room and another
in a bathroom and the reason we want to
show you this bathroom is because
reflected light really shines in this
confined and challenging spaces
what are we using for this tutorial well
we're using the light stream system
what's a light stream system it is
comprised of a near parallel light
source and reflectors now these things
work in conjunction with each other
we're using data lights and these are
very precise focusing instruments we can
even improve on their performance by
adding a parallel beam adapter what it
does is it focuses the light and we get
a light source with minimal dispersion
this is very useful because parallel
light is much less affected by the
inverse square law in other words and
the fall-off we see with for example
soft sources and we can use this to your
a great advantage if we are able to play
and redirect with the light we do that
using reflectors and there are four
different reflectors in the light screen
system they are numbered one two three
and four and they differ by the amount
of diffusion they generate number one is
a almost mirror like surface and it is
best used for redirecting light from
your light source and the four is really
a soft bounce a system is based around a
sliding plate and a adapter and a simple
lollipop system lollipop system is quite
useful you can change the direction as
well as turn it around so really quite a
lot of freedom there's a ring here which
you can loosen and it allows you to
slide the plate you can use that to
change the position so for fine tuning
and you can also completely take it off
now you can swap it out for a different
reflector but what you can also do is
simply keep the clamp mounted
and take my whole thing off
a bit about the location we're here in a
building that's completely made out of
wood and the architects that design is
put in quite a few interesting features
the most dominating feature is viz large
window here it's facing the southwest
and today it's very stormy and very
cloudy which is actually a little bit to
our advantage because we don't have any
direct sunlight coming in still it's a
lot of light to deal with as you can see
the back light from the window is really
quite strong and we can't beat that so
better idea is to close the curtains we
can just leave a small piece of it open
about this or even less depending on how
much light is coming in so that's a good
way of regulating it in the opposite
northeast side of the room we've closed
the blinds on the kitchen windows but we
deliberately let the window at the top
of the stairs open because it gives us
very diffused texture to the room and
provides us with the exposure we need
for the background
[Music]
now let's take a look at the build up of
our lights first we have our key
followed by our backlight and then a
nice and subtle scratch let's go over
how we created each of those sources
what we have here is a key light and
it's just a regular deal at 7:00 and
it's potted in to a reflector and this
is a number for reflector this is
providing a very nice very soft key
light on our model what I really like
about the quality of the light is before
off
it's very gradual even though it's quite
a small source especially on the cheeks
the fall-off is really quite beautiful
and the second thing we have is a
backlight but where do we put our stands
an interesting feature about the house
were in it it has a glass pane in floor
it's meant to provide some daylight to
the hallway below it but in this case
we're gonna use it to send some light in
the other direction so one of the cool
things you can do with these near
parallel light sources you can hide them
in all sorts of places here we actually
managed to get the whole light fixture
outside of her room we're shooting it
you basically just have a deal at 7:00
with a parallel beam attachment and
pointing right up there and it's coming
all the way from below which is a
distance of about 4 meters and then we
have it maybe three meters more to our
model that's quite a long distance and
what this does is it provides a really
nice natural looking backlight and it's
almost as if it's coming from outside
the motivation for it is actually pretty
good as well because we already have the
light coming in from sky here and we're
just pretending that it is falling on
our model as well now we can use the
stairs to rig a reflector - now before
I'm going to put the reflector in place
I'm gonna attach a safety because it's
overhead I've placed my reflector into
the light stream which is the first step
and
and I can orient it now I want to use it
directly as a backlight I'm not going to
bounce it any further so I'm just
orienting it I'm quite pleased with a
position now I've get a little bit of
light on the cutting board and surface
of the table but I also am creating a
nice little backlight on our model so
here we're using the number two and I
think it works quite well
especially because we have some distance
to cover and this just carries more
punch but we are actually using the very
same light source to provide the scratch
on our model now how do we do that
we take some of a light that's traveling
up and you'll see that we have a
reflector here very close to the ground
out of sight and and we're taking some
of the light out and and what you'll
notice is that not everything of this
panel is being lit because we don't use
all the light otherwise there would be
no light they can travel upwards towards
our backlight so just taking a small bit
and reflecting it right there we're even
using the same stand that we used for
our key light and we're redirecting that
lights using a number free reflective
mr. Murphy of a sector is actually
providing our scratch light and it's
just providing some contouring on our
model
[Music]
but let's take a look at another scene
in a bathroom since this is sort of a
beauty scene we don't want any hard
shadows on the face so you'll see but we
have a really nice and soft key but then
we create some energy in the scene with
this nice backlight now if this seems
like a small bathroom
that's because it is it even sounds
small still we got this looking pretty
nice even though there's hardly any
place to put a light so how did we do
that
so we need a key light but it's very
difficult to place a light right next to
the cameraman you need some space to
move around and frame the shots there's
not a lot of places we can put it
because not only is it's more we also
have these reflective tiling in there as
well as a mirror both of which can give
reflections and give away the position
of our life so we have to think about
this now one place where we can put our
light safely is on the floor and that's
what we did we put a single deal at 7
with a parallel beam attachment pointing
straight up the first thing it does is
provide some fill to the room which is
nice because we don't want a very
contrasting scene still we want to have
a little bit more control than just a
general bounce up into the ceiling and
that's where the reflectors come in will
you see two reflectors the first one is
sort of dull looking one is number four
that's providing our backlight on our
model on Lena but there's a second
reflector which is a number one which is
the most mirror-like reflector and it is
bouncing some of the light forever into
the bathroom actually if I just step
inside the bathroom stall here you can
see that we have a reflector here right
near the wall and it's a number three
reflector so it's fairly soft but not
completely soft and we've just rigged it
with a mini Carleen clamp and some gobo
head and it's right up here
reflecting the light that's coming from
the number one reflector there and what
is nice to see is that there's not a lot
of spill light here so the camera can
get right up in here without getting any
sort of reflection in the lens etc and
what I really like is that we still have
a lot of freedom to move around and the
camera could actually in fact follow the
model out if we so wanted to the only
thing we would have to change is that we
were to rig the lights to the wall now
we don't have a right grip equipment to
do that but theoretically that's
possible so it's quite a different way
of working and I hope this video
inspires you to rethink the way your
work and incorporate some of this
approach into your everyday lighting
it's not something that totally replaces
the traditional style of lighting it's
really in addition especially for small
touches finessing it's a really really
nice approach
[Music]
[Music]
[Music]
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