Original subtitles

This is not a course about lighting.

We have another one specifically about that.

But we should briefly

talk about some lighting considerations when planning your shots,

moving shots, or when the camera goes

significantly up or down, presents a whole set of challenges,

especially when shooting exteriors at night.

The light sources need to be positioned outside the shooting angles,

and during the day, the sunlight might need to be diffused.

Using artificial lighting on a wide angle shot

often requires very bright lights.

Light sources for closeups should be easy to diffuse.

Decreasing or increasing our depth of field

will affect the amount of light reaching the sensor or film.

For example, using a very wide aperture to limit the depth of field

will greatly increase the amount of light reaching the sensor.

Since our ISO is generally set to the lowest

possible setting on the camera and we can't really use the shutter speed

with the same flexibility as when we are shooting stills,

we need to add in in the filter neutral density to achieve a proper exposure.

And the filters are designed to decrease the light

reaching the sensor in specific F stops increments.

To illustrate the exact

opposite situation, we shot this nighttime abstract shot

of a tram approaching the camera with car headlights in the background,

purposely adding flare and kinetic energy to an otherwise

steady take.

This footage was captured at the highest acceptable

ISO on the camera somewhere around 6400

in the widest aperture on the lens around 1.8.

Similar abstract shots could be created from scratch using light shapers

filters, specialty lenses, or translucent objects in front of the lens.

But when possible, we try to use what we can find

on each location.

Lighting for closeups

could be its own separate course, as it totally depends on the story genre.

The deepest technical knowledge and the director's personal preferences.

But it is generally desired to catch some light on the actor's eyes

as well as add some light to separate subject from the background.

In craft a more compelling look,

close ups allow for a lot more fine tuning as we can easily

hide the light sources, something that becomes increasingly harder.

The wider we go, Lighting continuity is another important consideration,

especially when shooting over extended periods of time or at different locations.

The same applies when switching from long shots to medium close ups, for example,

when for a number of reasons, matching white and tight shots is not possible.

A simple trick is to make the angles and shot sizes

different enough that the differences can be concealed.

As you can see, the lighting strategy

goes hand in hand with lens selection in planning your shots.