All language subtitles for Recreating natural light

we just wrapped the interview with Kyle

and actually

the ambient light levels have changed a little bit

we were fine for the entire interview

but I do wanna talk to you about how Greg and I

set everything up and the decisions that we made

so even though this seems minor

this is sort of one big change

which was when Kyle came in to stand in

we were standing in sort of you know

I'm on the apple box

Ben was in here

Greg was in here

but when Kyle passed

we had him stand here

and he said

you know we usually have a barrel in the brewery

it's kind of a thing

would it be cool if I had

you know my beer on here

and I love the idea

so that got rolled in

we have that on

basically the equivalent of two full apple boxes

we got a couple of halfs in the full

and we have that up here

that gives us a little bit of height

um we knew the beer was gonna be here

and then I was talking it out with him and Jack

and they mentioned the growler why not

so growler gets set here

so we have a little bit of production design

and that's also important

is something that people forget you know

even in a small project

you need to think about the entire set

and so this was just sort of an addition to something

you didn't see earlier on

now from a key standpoint

I'm actually gonna have Greg come in

we have that Q1000 from Felix

which is sort of a harder frenelled light source

that we have bouncing into a 4 by 4 frame

into the DP kit off of white um

let's audition that on and off

just so that people can see it and again

the ambient light levels have changed a little

but the key is basically doing

if I was looking camera left

what we wanted to do

so we're just gonna turn that off

going off yep

and let's go ahead and bring that back up

back up good okay

that's our key light

and it's working

and it's creating a nice soft source

and the whole goal here is natural

we don't wanna make it feel like it's lit

we just wanna make it feel like we have natural light

coming into the space yeah

we did some negative fill behind

and we actually brought in a small white fill card

just to give you a little bit back right

um so to keep the sunlight from

anything that was coming in on the left side of frame

and then but then also

fill back in from our key source yeah

so it's kind of doing two jobs here

this 4 by 4

it is doing two jobs

it's blocking the light

or the light that we had earlier on

coming in through that skylight right

and it is creating a little negative fill

by the nature of it

but then we felt

that we wanted to get a little bit more light

you often see that when you're shooting interviews

and you're doing a setup like this

sometimes you'll find that there's this little

dark part right here

and Kyle had a little bit of that going on

he was also wearing glasses

so we brought this in to just give a little fill

and let's take a look

at what it looks like when it's out

okay and then we bring it in again

and you can just see how that's

poking in there a little bit

some people don't need that at all

we might wanna fill

but we don't necessarily need it for that job

but it just helps get into that little place

and I think that that's really important to look out

for when you're shooting

there have been many times in history

that I've regretted not setting up that little fill

and then I look in there and it just seems

really dark in that little spot on the fill side

um of course

our a and B cameras are shooting into the fill sides

they're not on the key side

cause we don't want things to look flat

we already talked about that a little bit

I'm looking camera left

we have an a camera there

and that's our setup

and so I will be looking to Abby

who was conducting the interview

she was standing on the stairway over there

and then we have our B camera

also on the Phil side

and that's going in

and we have it on just a slightly different angle

a tighter shot for this particular interview

and we're looking into all of this and again

ambient light levels have changed a little bit

but it's a really nice shot

and you can see it from the interview footage

and you can see what that camera is doing

we shot it at a NEF 4

that's what we settled on

we also did a little bit of adjustment

we moved that key in just a little bit

so we could bring our ISO

down a little bit on the camera

and I tend to lean towards overexposing a little bit

one shooting log

because I find that when we get into post

and we start to adjust that exposure

that if you underexpose it

especially on the Cinema EOS cameras

you tend to see noise introduced in the shadows

so we'll definitely lift that up a little bit

and the end result is we're pushing the mids

especially the shadows down

and that's what we wanna do

if we lift too much the image

then we're gonna see a lot of noise in the shadows

I don't like that

so just a couple of other things

I've got my mic here

it's coming off of a stand

and the way Kyle

was positioned

we were basically positioning it

so we were recording in the lobe

not the axis of the mic

so if you moved around a little bit

we wouldn't have a drop in sound levels

that's really important when you have small cruise

and you don't have a sound recorder

so you've got to think about where it is

if you put the axis of the mic

pointed right at the person's mouth

when they turn right or left

they're gonna go off axis

and then the recording levels are gonna dip

and then come back up and dip and then come back up

but if you use the lobe

which is broader

pointed around here

or down here

then when they move around

they're inside of the lobe

and you're gonna be

getting more consistent recording levels

so just another little tip

even though it's not lighting related

back there we have the Maverick

the remote phosphor light

it has a 50

6 hundred k phosphor panel in it

and I'm just gonna have Greg turn that off or just

you know pan it

and we can see the difference

and let's bring that back in

and you can see it gives a little bit of a lift here

it's gonna give a little bit of

you know separation

we don't always need that

but it worked well for this

and I'm just gonna have you dim it

and then bring it back up

and we can see

what happens

keep it in position

and let's just bring it up a little bit

and I'm not looking at the frame right now

but I just wanna bring it up enough

that it's doing a little bit

but I don't wanna feel

like it's lit

and that's for me

the goal at least

for this particular setup

and what we're doing

because of the time of day that we have now

as opposed to when we shot it with Kyle

if I was doing the interview at this time

I think that Greg

and I would have set up a background light

to do some of what was happening naturally

when we shot the interview with Kyle

and that would have been probably a broad source

sometimes we like spotty sources in certain spaces

and harder light

but just something to create more of the highlights

and things that were going on in the space

we might have bounced it off of a big

silver 4 by 4

which we've done really nice things in this space

or maybe just directly

depending on the light source that we use

but this is what we wound up with

and I think

if you take a look at the interview footage

you'll see it look good