Just use this cinematic schemes to Improve your lighting skills
Summary
TLDRIn this video, the creator discusses a low-budget art film project shot in one day using both natural and artificial lighting. They share simple, fast lighting techniques to achieve cinematic quality, using LED tubes and low-power lights for practical effects. Challenges like cold weather and equipment issues are highlighted, along with solutions found during filming. The creator emphasizes the importance of lighting knowledge over expensive equipment, and invites viewers to learn more about lighting setups and techniques through their workshops and community. The video offers practical tips for aspiring filmmakers.
Takeaways
- 🎥 The goal of the project was to make a low-budget, one-day shoot using simple lighting setups for cinematic quality.
- 💡 Both natural and artificial light sources were used, including LED tubes and small light sources for practical lighting effects.
- ❄️ There were challenges filming in the cold, especially for the night forest scenes, where lighting equipment became unstable.
- 📸 The couple planned the project carefully, choosing simple locations and cutting scenes to fit the one-day shoot limit.
- 🏠 They scouted and selected a flat as the primary filming location, which allowed for creative composition and camera movement.
- 👗 Set and costume design were handled by the team themselves, focusing on color choices to enhance the visual storytelling.
- 🎥 A RED Komodo camera was chosen for its ability to handle RAW footage and provide a natural skin tone and dynamic range.
- 🔧 Simple but effective lighting setups were used, including matching natural daylight with artificial lights to maintain visual balance.
- 🚪 Practical lights like lamps were used to add dynamic lighting to scenes and ensure balance in light composition.
- 📚 The director offers workshops and a learning platform to teach others about lighting techniques and set design.
Q & A
Why did the creator of the video choose to work without extra light sources?
-The creator aimed to make an inexpensive project and had limited time for lighting setups, so they opted for a simple and fast approach using minimal lighting.
What kind of light sources were used in the project?
-Both natural and artificial light sources were used, including LED tubes and small, low-power light sources to simulate practical light within the frame.
What issue did the team face during the night forest scene?
-The light sources became unstable due to cold temperatures, making it difficult to achieve the desired lighting setup.
How did the creator plan the shooting to be done in one day?
-They cut extra scenes, limited the shoot to 5-6 scenes, and carefully scouted locations to ensure they could film everything efficiently.
What camera did the creator use, and why did they choose it?
-The creator used a Red Komodo camera because they love the look of RED RAW, especially the skin tones and color gamma, and find it easy to work with in post-production.
What was the lighting approach for the interior scene (Set #1)?
-The natural light from the window was intensified with two additional Godox M600 Bi lights, and a backlight was created from the window side, with bounce light added for the character.
How did the creator achieve a balance between bright and dark areas in the hallway scene (Set #3)?
-They used the window as a key light source and lit the Godox light towards the camera and door, while cutting off extra light from the walls to balance the bright and dark areas.
What challenges did the creator face with the night forest scene’s lighting?
-Cold temperatures caused the light sources to stop working, but they solved the issue by warming the power panel inside a vehicle.
How did the creator achieve a fire flickering effect in the lamp during the night forest scene?
-They used a Godox C5R light source set to a warm temperature and activated the 'candle mode' to simulate fire flickering inside the lamp.
What did the creator emphasize about the importance of lighting, regardless of the camera used?
-The creator stressed that no matter the camera, the full potential of the equipment and location is only realized with solid knowledge of how to work with lighting.
Outlines
🎥 Simplified Filmmaking with Creative Lighting
The creator explains the goal of making a low-budget, one-day shoot without complex lighting setups. They introduce simple, efficient lighting techniques that can be easily replicated by viewers, enabling them to achieve cinematic quality with minimal resources. Both natural and artificial lights, including LED tubes and low-power sources, were used creatively to compensate for the lack of time and equipment, especially when filming in challenging conditions such as cold temperatures.
🏠 Location Scouting and Production Setup
The filming was done with careful planning, as the creator scouted a flat that allowed for flexibility in shooting with various camera techniques. The large space enabled creative decisions regarding camera movements and focal lengths. During scouting, the creator took photos and rehearsed camera movements to plan the visual composition. They also handled set and costume designs, determining color palettes based on the story and renting appropriate costumes for the shoot.
📹 Using the RED Komodo Camera
The RED Komodo camera was chosen for its ability to deliver great color reproduction, especially in skin tones. Although the creator does not claim to be a professional colorist, they highlight the comfort and flexibility offered by RAW files in post-production. They emphasize that understanding lighting is more important than the camera used, encouraging viewers to focus on lighting techniques to unlock the full potential of their equipment, no matter the budget.
💡 Professional Lighting Techniques and Andbery Academy
The creator invites viewers to learn advanced lighting techniques through their Andbery Academy. The academy offers workshops, practical demonstrations, and a Facebook community where members can ask questions, share their work, and receive feedback. The lessons focus on mastering lighting and set design, enabling students to create visually compelling stories and recreate professional lighting setups on their projects.
👩🎨 Behind-the-Scenes Collaboration
The creator worked closely with their wife, who served as both the set designer and director. They used a Hollyland 4K transmitter and Mars M1 monitor to facilitate smooth communication between the team during filming. These tools provided low-latency playback and color accuracy for reviewing shots, ensuring that the director could constantly monitor the frames and make decisions about set design and camera angles.
🎬 Camera Movement and Lens Choices
For dynamic shots, the creator used a Dana Dolly slider with 2 meters of track, enabling smooth camera movement. They also opted for an Atlas anamorphic lens, despite the high rental cost, as part of their ongoing philosophy to gain experience working with various types of lenses. The focus on trying new equipment emphasizes the creator’s commitment to continuously refining their craft.
🌞 Lighting Setup for Interior Scenes
The creator shares their strategy for lighting an interior scene using a mix of natural light from windows and artificial light from Godox M600 Bi LED sources. They explain how they matched the color temperature to natural daylight (6100K) and used strategic light placement to create a balanced dynamic range, with bright highlights and deep shadows. A practical light in the background helped to balance the overall light composition.
🕯 Candlelight and Silhouette Shots
In a scene focused on candlelight, the creator used windows as a large light source for the character’s silhouette while maintaining lighting consistency with previous shots. By adding a backlight and using a flag to control light flow, they enhanced the volume of the frame. Haze was introduced to create additional depth and texture in the background, accentuating the silhouette effect.
🚪 Lighting the Hallway Scene
For the hallway scene, the creator continued using windows as the key light source and reinforced this with Godox lights aimed toward the camera and door. This setup was designed to maintain balance between the bright and dark areas in the frame, ensuring that the contrast was visually engaging without overwhelming the composition.
🏞 Soft Backlighting for Natural Scenes
In a more atmospheric scene, the creator softened the backlighting from a window by diffusing it to create a darker, moodier environment. A T-bone frame with black textile was placed behind the camera to create a vignette effect, adding depth to the scene. Additional lighting was used on the floor to avoid flat, monochromatic tones, bringing texture and contrast into the composition.
💡 Combining Practical and Artificial Lighting
The creator explains how they used both practical light sources, like a floor lamp, and Godox RGB tubes to maintain consistent lighting logic in scenes. By matching the color temperature of the lights (around 3000K) and using backlighting techniques, they created a volumetric effect that enhanced the character’s visual separation from the background. Simple diffusion techniques, such as using paper to soften harsh light, were employed to improve lighting quality.
📺 Advanced Lighting Tools on Set
The creator discusses the benefits of using LED RGB tubes for professional-quality lighting that blends seamlessly with the natural elements of the scene. They emphasize the importance of grip equipment, like C-stands, to avoid shaky lights during filming. A combination of different light intensities was used to create depth, with backlighting providing emphasis on hair and shoulders, and subtle front lighting enhancing eye details.
🌲 Lighting Challenges in the Night Forest Scene
The final scene, shot in a cold night forest, posed challenges when the light sources failed due to freezing temperatures. However, the crew found a solution by warming up the equipment in a car. The creator originally planned for moonlight simulation but had to adapt due to a short power cord, leading to lighting the character at head level. A Lantern Softbox was used for diffusing the light, and the Godox C5R light was employed as a substitute for a failed kerosene lamp.
🔥 Overcoming Challenges and Final Thoughts
The creator shares how they used the Godox C5R to simulate firelight in a lamp when the actual flame went out. They reflect on the overall experience of the low-budget project, discussing how, despite the challenges, careful planning and creative problem-solving allowed them to achieve their artistic vision. They end by inviting viewers to visit their website for more tips and insights on achieving cinematic quality in filmmaking.
Mindmap
Keywords
💡Lighting setups
💡Natural light
💡Artificial light
💡Dynamic range
💡Set design
💡RED Komodo
💡Backlighting
💡Godox M600 Bi
💡Volumetric lighting
💡Pre-production planning
Highlights
The project was designed to be inexpensive, using minimal light sources and filming all scenes in one day.
The filmmaker invented simple and fast lighting schemes to achieve cinematic quality under time constraints.
The film worked with both natural and artificial light sources, using LED tubes and low-power lights to simulate practical lighting.
Challenges arose due to cold temperatures, which caused instability in the lighting setup during the night forest scene.
The story was simplified to shoot only 5-6 scenes in one day, and the filmmaker scouted locations in advance.
The filmmaker used a Red Komodo camera for its ability to produce a perfect skin tone and easy post-production work with RED RAW.
Mastery of lighting is more important than the type of camera used for achieving beautiful, cinematic shots.
The filmmaker offers workshops and tutorials at Andbery academy, teaching professional lighting and set design techniques.
The filmmaker used a Dana Dolly slider for smooth camera movement in scenes with a 2-meter track.
The Godox M600 bi-color LED lights were used, allowing adjustable color temperatures to simulate different lighting conditions such as moonlight and daylight.
In the interior scene, natural window light was amplified using Godox M600 Bi, and careful light balancing created a dynamic range from highlights to shadows.
A simple backlight from the window was used to match the natural lighting and enhance the volumetric feel of the scene.
In the hallway scene, the filmmaker used a window as a key light source, balancing bright and dark areas in the frame for depth.
A more complex lighting setup in the final scene involved using RGB tubes and Godox 'C5R' lights to match the temperature of practical light sources.
In the night forest scene, the cold weather caused lighting issues, but the team adapted by warming power panels in the car and using a Lantern Softbox for diffusion.
Transcripts
As with the previous art short film, I wanted to make an inexpensive project without extra
light sources, and the ability to film all the scenes in one day. Anyway, we didn’t
have much time for lighting setups between filming the scenes. Consequently, I’ve invented
very simple and fast lighting schemes for cinematic quality of the images. And for you,
my friends, I want to show all these scenes in this video. You can copy and use these
setups and techniques for your projects. I’m definitely sure, as a result, you will be
able to make the shots at least as good than these.
On this project, we worked both with natural and artificial light sources. We worked with
LED tubes and very small, low-power light sources to simulate artificial, practical
light in the frame. Also, unfortunately we couldn't create what I wanted for the night
forest, as due to the cold temperature, our light sources were unstable. However, we were
able to create something in spite of the cold weather.
With only one day to shoot, my wife and I planned to make
a very simple story with a couple of locations. For the script, I cut all the extra scenes
because of that limit, with the ability to shoot only 5–6 scenes in one day. Having
these limitations, we started to look for locations for every scene, and we did some
scouting. We have found a few places for the video,
and we have chosen this flat. It was quite comfortable for a filming location. Since
it is a large space, we are able to create a lot of things: volume composition, camera
movement via sliders or dolly, and the ability to use any focal lenses (not just wide-angle).
For the scouting, I took a few pictures on my phone, and made a few improvised rehearsal
videos of how the camera will move and how the composition will look.
Since this project is art,
we had been doing some jobs ourselves, such as set and costume designs. We analyzed our
story to determine what colors we wanted to include in the frame. Using this information,
we then chose these looks for the main character, and rented some clothing for filming.
What tools did we use? We had Red Komodo.
You have asked me many times about why I chose Red Komodo on my art projects, and my
answer is - I love RED RAW. I love how skin tone and color gamma look. I think it’s
a really perfect skin tone, without any deviations of skin color. Anyway, I’m not a professional
colorist, and Komodo gives me a comfortable experience of working with RAW materials in
post-production. Also, there is a cool dynamic range which is enough for image contrast.
But, no matter what camera you use.
if you don’t know how to work with lighting, you
will miss the full potential of your camera, light sources and location. The good news
is, you can take beautiful and cinematic shots regardless of your budget and camera, if you
have solid knowledge of how to work with lighting.
If you feel that you want to master a professional light setup, welcome to my Andbery academy.
This is a place where you will acquire a lot of simple, professional techniques which will
help you to tell your story visually by means of lighting and set design. You will be able
to take volume shots, and analyze and recreate references to light setups that you like.
Also, we provide workshops and demonstrations where I show my secret techniques of working
with lighting and set design in any situations and for many shooting types.
Also, we have a Facebook community where we discuss and
analyze the work of our students. In our community, you will be able to ask me any questions,
show your work or ask advice, and I will be happy to help you.
Ok, what other tools did we use? My wife helped me to make a story and set design. Actually,
she worked both as a set designer and director. In this way, as a main member of our crew,
she constantly needs to look at the frames during the shooting day. For this, we used
a split-second Hollyland 4K transmitter and a Mars M1 monitor. We needed a small,
fast monitor for additional playback signal for use with Director. Mars M1 has a beautiful
contrast, nice color gamma and a very good, low-latency signal for Director.
It's a small device which is powered by an NPF battery. And one more cool
thing, this monitor works as a receiver without additional tools.
For the camera movement, I used a Dana Dolly slider with 2 meters of track.
BTW, I bet you noticed that I used Atlas anamorphic.
It was quite expensive to rent, but I wanted to try this lens anyway, and it was on my
wish list. My philosophy is, I try to get experience in working with various types
of lenses.
For lighting, I used two bi-color 600W LED light sources by Godox. The new Godox M600
bi-color version has the ability to give me a powerful flow with changeable color temperature
range from 2800K to 6500K. It is really helpful if I want to make moonlight, daylight or sunset,
because these all have different color temperatures.
Set #1 - Interior scene Ok, now I’m going to show you a few light
setups. The first one is in the interior scene, where I worked with natural light from the
window side, and intensified it to make a volume image by means of two additional light
sources. For this task, I used Godox M600 Bi. In the first stage, I matched the color
temperature of outdoor natural lighting with the Godox light via color temperature control.
It was a winter morning, and the light temperature was quite cold. Consequently, I matched daylight
with Godox, setting the light source temperature to 6100K. These were approximate numbers,
as I didn't use any color meter tools, I just relied on my eyes.
Before filming, I had to plan how to light this scene. I wanted to make a simple backlight
scheme from the window, since the side daylight from the windows was quite soft, but bright
exposure area outside the window allowed me to show the same bright tone of light inside
the scene. It helps to show an interesting dynamic range in the scene, from high light
to shadows. I set the first light source above the window as a backlight, and as a motivation
from the daylight. We used “junior boom” with heavy stands and sandbags for safety.
The second light source was used as a bounce light from the floor, for additional side
lighting for the character. It made her just a little bit brighter from the window side.
Do you still remember my idea to make the scenes volumetric and with a big dynamic range?
Here, I made a harsh backlight, since we already had a soft side light from a window. Remember
my plan - for deep shadows, I needed a negative fill. For this, I used a black piece of cloth
with an 8x8-ft stand. Now, I bet you’ve noticed the practical
light in the background, and it's not there by chance. If I add a harsh, bright light
in the scene, I try to disperse it to the whole frame. I mean to add just one more bright
spot in the frame, since we already have one on the character. In my opinion, it means
that light composition is balanced. Before, the floor lamp was very bright. We have fixed
this by just wrapping the LED lamp to white paper.
Set #2
As I said before, I try to have a strategy with a predictable production process. I don't
like to choose an interesting place for shooting on the set during production, as it can waste
a lot of time. I had a pre-production plan and angles of shooting before I started to
film. On the next scene, I used these windows as a large light source for the silhouette
of the character. Since I've added a backlight on the previous shot, I should keep the same
logic of lighting in this scene too.
For the storytelling, I had to show the candle in the scene. The foreground space was dark,
but we lit it with Godox. To make the shot look more volumetric, without flat and direct
light, we just splinted the light flow by means of a flag. A haze on the background
provides an additional volume level to the frame due to smoke that is quite visible
if it backlit. These big windows worked like a backlight source.
Set #3
For the hallway scene, I continued the idea of using the window as the key light source.
For intensifying this light, we lit the Godox towards the camera and door and cut an extra
light flow from the walls, as I am still trying to have a balance between bright and
dark areas in the frame.
Set #4
While my wife prepared a scene for the next takes, the crew team and I made a new light
setup. I chose a shooting angle where we see a window in the frame. It is the best way
to match the additional light sources with natural light. We put the Godox on the balcony
and turned it to the character area. The first light source worked as an additional backlight
from the window, but I preferred to diffuse it, as I wanted to create a slightly different
atmosphere from the previous scene. I wanted this scene to be softer and darker.
For the dark area, we put a T-bone frame with black textile behind the camera. This made
an interesting vignette and dark area between camera and character, and it worked well as
a technique for the frame volume. The second light source was needed for a texture
of the light on the floor. The floor takes up quite a lot of space in the frame, and
without additional lighting, it had monochromatic and dull light tone. Furthermore, the soft
backlight from the window side was not enough for the contrasting texture of the light.
We turned on an additional light source and directed it towards the floor through the
tulle. We were also using a haze for additional volume, but to be honest, I don’t like how
the texture of the smoke looks. I would get rid of this if I could fix it now.
Set #5
For the next shot, we used a more complicated light setup, but still using what was available
and small light sources. There were RGB tubes and “C5R” by Godox. All of these tools
have an ability to control a colour, effects and temperature by means of the same mobile
app that I used for M600 bi Godox. For this composition, I decided to keep the logic of
the previous scene light setup. We had two major sources of lighting in the frame: the
window and floor lamp. We used the floor lamp as the key source for lighting. I added a
backlight from the floor lamp side. For what reason? For the volume, of course! I matched
the “C5R” temperature with the floor lamp temperature. It was roughly 3000 K.
When creating a light setup like this, don't be lazy to use a grip, C-stands and extensions.
I know that many of my students aren't always eager to transport a few C-stands to the set,
because these are so heavy. But if you ask someone on the set to hold the light source,
you will have shaking light in the frame while recording a scene.
Working with backlight, I used two light sources, not one, just because
I like it to highlight her hair and shoulder, separating them from the background. I added
another source to show a glow in the eyes. A direct light from a short distance looks
too harsh, but a simple, white paper can resolve this problem by diffusing the light flow.
The power of these lights differed. The direct lighting for the eyes worked at 10% power,
and the backlight at 50-60%. I just judge and control the power using my eyesight.
Set #6
An LED tube is a really cool tool for filmmaking. If you want to have the best quality lighting
disguised as native practical light of the scene - which only a professional viewer can
identify - use RGB tubes as a practical light source inside the scene. For this scene, we
used only two Godox RGB tubes.
Set #7
The last part of our schedule was a shooting session in the night forest and mountains.
Before filming a few weeks ago, we scouted the mountains to find a few interesting points
for shooting, and we found several good locations. We were inspired, as this place looked incredible
in the frame, especially during sunset.
But, a lot of snow fell the day before the shooting.
This forest was near the mountains, and we took the final shots here. During light setup,
we noticed that the temperature was getting lower and lower. I made a big mistake to leave
the light sources outside the car, on set. As a result, the light sources didn't turn
on because of the cold.
Anyway, the 1st AC had a vehicle with studded tires, and he offered to drive up to the stand
with the light source and put the power panel into the trunk. After this, the power panel
warmed up a little and started working -- we had a light.
Speaking of the lights, I originally wanted to raise the light source above the character
to simulate the moonlight, but the cord from the power panel was too short.
As a result, we did this scene with lighting at the head level. For diffusion light, we
used a Lantern Softbox. It helped us to strew the light flow to the forest area in the frame.
The color temperature of the light was 6000K.
Also, we quickly used up all the kerosene in the lamp, and we could not relight the
fire inside the lamp. Godox "C5R" saved this shot. We just put it
into the glass and set it to a warm temperature. In the middle shot, you may notice a fire
flickering. It is from a candle mode on the light source.
So, this low budget art project was a challenging experience for us, even though we tried to
prepare. Anyway, don't forget - check my website if you want to know more about how to acquire
the skills to make cinematic shots.
I hope you picked up some tips for your work from this video.
Thanks for watching, bye!
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