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Ok so we talked about what exactly 2

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lights are and what they are technically 3

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and what the are capable of doing. So I'm going 4

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to tell you the three different lighting setups. 5

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First, being an interview lighting setup. 6

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This is the basis for everything this is 7

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going to be a basic interview lighting 8

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setup that you should be able to grasp 9

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walk into any interview and be able to 10

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set up very quickly and we'll get you 11

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through almost anything. Two: I'm gonna 12

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take you through sort of a romantic 13

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warm narrative sort of setting where it'll 14

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be kind of narrative and I'll be like a 15

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nice like just natural place in like an 16

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evening sort of room. And then Three: I'm 17

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gonna put you in like a very scary dark 18

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contrasting moody kind of feeling like. 19

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So what we are gonna do is I'm going to have Phil 20

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to come in here in a second and then have him 21

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sit down. I'm going to explain the 22

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situation, light him up you are gonna 23

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see me kind of running around doing 24

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light. I'll stop, explain what I did, show 25

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you the different lights and then we'll 26

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do the next one into the next one. So the 27

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first thing I would do is I would come 28

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in here and I would look at this room 29

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and I'll set the white balance to what 30

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we are gonna do. I'm gonna use tungsten 31

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balancing here I probably gonna turn off 32

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these gross fluorescent lights that you can 33

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see right now and just figure out what 34

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to do next, but first we are gonna set up 35

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the lights. You'll see me go dark and you'll 36

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started see me turn lights on in our little 37

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time lapse I will just go from there, 38

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So you ready Phil? 39

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So this is what I would use for a 40

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three-point lighting system. A basic 41

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interview here on Phil now I do have one 42

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little light back there so technically 43

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it's 4 lights but you can kinda see 44

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the difference between what. This room 45

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used to be like and what this room looks 46

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like now so it's gonna run with you 47

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really quick what I did. So what I did 48

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here was my have my system over here 49

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turn off this late this is a Phil light. 50

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Get it Phil light. So if you just push 51

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the button to turn it off you can see 52

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that all it really is just feeling in 53

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the shadows here from our key light. I 54

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started with the key light. So If I turn 55

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this one off. So you can see this is 56

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going to be really where a main light is 57

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coming from and this is what we call the 58

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key light. So turn the key light on, so 59

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he's light right? but now you can see 60

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over here on Phil's right side it's a little 61

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shady and it's a little more menacing 62

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than we wanted to be. So we are gonna do is 63

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to turn on our Phil light, our Phil light is 64

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filling in for Phil, the shade on the 65

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side so it's little more even typically 66

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at that light is usually have a stop to 67

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a stop to two stops less than the stops 68

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coming from this light. So we got a key we 69

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gotta Phil, now let's look at the back 70

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light. You see my shadow and it right now 71

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and you can see the light itself in the 72

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white shade here but in our normal shot 73

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let's turn it off and on and on and you 74

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can see out it's giving him just a little 75

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bit of an edge when it's on and it's 76

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separate from the background so get on 77

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and off on off on off and you should 78

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really difference. The thing I like about 79

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the backlight is that it's able to 80

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separate them from the background 81

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depending on what your background is and 82

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it just adds a nice little dynamic pop 83

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to the subject. You can see I did at one 84

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light over here and I can unplug and plug it in 85

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it's more of an accent lamp for the 86

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background because we are shooting in 87

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such a crappy background but you can see if 88

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I take it out, it's just plain back there 89

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and it's just black and shadowy by adding 90

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this as a little bit more dimension with 91

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that kind of accent light. So it's nice to 92

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kinda have one of the three lights but 93

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you can get away with just three lights 94

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if you need them, 95

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you never know what situation you are in 96

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in an interview. Ok so let's move on to a little bit 97

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more romantic, warm, nice kind of move lighting. 98

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So here we have a more 99

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warmer, natural kind of movie lighting 100

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here we've got going on Phil, it's a 101

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little bit different than the interview 102

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lighting although not totally 103

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dramatically different what I do is I moved 104

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the key light around over to here, so now you 105

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have this nice key light coming from this 106

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side, I did it down a little bit because 107

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our lights that we have a dimmable, I 108

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then took our Phil light and actually 109

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pointed it down in front of Phil. So it's 110

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belting a little bit off the floor there 111

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and I lowered the intensity so it's not 112

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as intense, you can see it's little bit of shadow 113

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and sound over Phil face and then I took our 114

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backlight and I moved over here I'm 115

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actually bouncing off the wall here 116

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which the little white, it's a white door 117

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bouncing off the wall. Remember I talked 118

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about earlier lights can either be shot 119

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directly at or they can be balanced or 120

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they can be diffused, this one is 121

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actually able to bounce in a kind of a 122

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nice nice bounce. I didn't mention that 123

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are key lights sites are diffuse 124

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with our soft boxes that I talked about 125

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before which kind of makes a softer 126

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light. I then adjusted the backlight 127

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here, you can see not a back door, but the 128

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accent light in the back to kinda close 129

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down and I lower the intensity and I change 130

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the color temperature just a little bit 131

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because I can and that makes it look a 132

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little bit more interesting. 133

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The key here is that we make this look 134

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like a nice warm natural scene like he's 135

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in the evening at some room is just 136

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hanging out as opposed to full blown 137

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live interview it's not accent or 138

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anything, it's a natural nice-looking 139

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shot based on the weather is ugly room 140

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used to look like. So let's move on to 141

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something a little bit more dramatic. I'm 142

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gonna light Phil as if he's about to murder 143

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somebody. Basically I want to make him 144

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look really menacing dark, horror, scary 145

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I'm gonna try a couple different things out.You 146

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can see that this narrative stuff takes 147

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me a little bit longer to light than the 148

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interview, the interview stuff is very 149

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cookie cutter very key light 150

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backlight whereas the stuff. I kinda have 151

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to play around and it really is 152

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depending on the structure in the place 153

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you are at, so here we go. 154

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Ok so here's my menacing Phil look. So 155

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really we've gotten some more contrast 156

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more scary a little more dynamic as far 157

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as contrast really more than anything. So 158

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I took the key and it's over here now, 159

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there is no Phil over here I mean 160

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there is Phill but there's no Phil light 161

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over here. You can see that there's just a 162

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dark nice dark shape on the right side. I add 163

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a really intense back light, you can see 164

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if I block it what it's doing, see a wide 165

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shot of us that I'm talking to you can 166

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kind of see it down here below right 167

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here and in the closer shot it's really 168

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just covering in putting a ring around 169

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Phil's head right here as I move my hands 170

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there you kind of probably see what it's 171

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doing. The big thing about that is I like 172

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the ring that pops out from the dark 173

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background a little more scary. This is a 174

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little more contrast, you can see the 175

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contrast affects this mood him just 176

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being scary and upset like he's about to 177

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murder somebody and you can see the effect 178

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right here if I take our key light and I 179

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just did it down and down and up, you can 180

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totally see what it's doing so this is 181

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nothing and you can see that the 182

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backlight is just taking care of everything. 183

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light and dark you came to the details on his 184

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face, as much as I pull this up and started em 185

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up you can see the different attitude of 186

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it, this is really bright. This is probably 187

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about where I had it, so it's a little 188

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more menacing a little more contrasty. 189

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Alternatively I did set up a different 190

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light you may have seen in the time 191

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lapse, when we turn this down and plan it off 192

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and I turn on my lower front light, also 193

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another way to look a little bit more 194

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minus, more scary it's like having that 195

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flashlight at dinner we only see like 196

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the head and if we turned off the 197

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back light, you can see all we see is Phil 198

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just right there in his face and kind of 199

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a tense. Also another way to look a 200

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little bit more minus more scary it's 201

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like having that flashlight at dinner, we 202

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only see like the head and if we turned 203

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off the backlight you can see all we see 204

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is Phil just right there in his face and 205

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kind of a tense. So this is just some 206

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really quick examples of how we can 207

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change light and to use light to affect the 208

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scene there were doing. Using the tools 209

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that we have here. There is infinite ways 210

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to light a scene and depending on what 211

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you are trying to say and what you are 212

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doing away, your composition is there's a 213

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million different ways. Those to me are 214

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some very structurally based ways to 215

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light things and if you can't use that 216

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as like a template or way to start to 217

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look at things, you really need to develop your own 218

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own style, how to light and what you can 219

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do to really use the tools that you have 220

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to make your story come alive.