DIY Studio Set up + Camera Rigging | Mike Schreurs | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (34m)
    • 1. Introduction

    • 2. Project Overview

    • 3. Research and Planning

    • 4. Lighting Basics

    • 5. Backdrops and Backgrounds

    • 6. Building Your Light Kit

    • 7. Audio Basics

    • 8. Basic Camera Rigging

    • 9. Class Project - Interview

    • 10. Video Editing

    • 11. Final Thoughts

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this class Students will learn how to create a video studio on a budget. Students will learn the basic elements of a studio, ideas on everyday items that can be used and how to setup the studio for an interview.

Students will complete a :30 second interview using  the DIY studio setup skills learned in this course.

Students should take this course if they want to shoot an interview, will work as a social media manager for a company or cause or have an interest in becoming a videographer.

This class is geared towards beginners working in video. Basic knowledge of a video editing program with basic audio knowledge.


Meet Your Teacher

Teacher Profile Image

Mike Schreurs

Videographer, made a 1M+ views viral video once.


Mike Schreurs went from a boy doodling rocket pencils on notebooks to the Founder and Creative Director of Rocket Pencil Productions. RPP was established in July 2012 to provide companies with a creative and effective way to reach their clients. Mike has spent years fine tuning his style and skills. Part of his journey was earning his Bachelors in Digital Film & Video Production from Art Institute of Salt Lake City. Because of his degree and on the job experience he has been sought after by companies like Heidi Swapp for film production, studio builds and production editing consulting. Rocket Pencil Productions combines creativity, artistic skill, technology and customer service to ensure our customers have great production experience.

See full profile

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction: Hi, I'm Mike, and I like to welcome you to my class. We'll show you how to set up a D I Y lighting studio for your interview or video. You may want to take this class because you're starting out as a videographer or you've got a position in a new company where you have to shoot video or you have a product or service that you're looking to make a video for. I'm gonna show you how to build your studio on a D. I Y budget where you don't have to spend thousands of dollars on professional equipment to get the look that you're looking for. The project for this class is going to be to build your own d i Y studio and record a video or interview using your studio. I will also ask you to create a behind the scenes video to show off your lighting set up so other students can see we're gonna cover some P lighting techniques that will let you get that high quality look that you're looking for and a few tips for getting great interviews a little bit about me. I tend to stay on the gig. I love, technology and all things camera. So combining those together was a natural progression for my life making film and video. My first camera was given to me by my Uncle Law. When I was in the military, I took the camera, grabbed my family and friends, and we started making some short films, which allowed me the creative freedom to tell. Some of my little were stories that I had running around my head. Let's get started. 2. Project Overview: project for this class is to build your own D I Y studio for your interview or film. But you're gonna have to know how to do some of the other things to get to that point. What you're gonna learn or what we will learn is how to research your project planet, find locations and determine the necessary equipment that you need to light your project. Now, this project is great because I'm gonna show you how to make your project shine without having to spend a whole bunch of money to do it. So let's get started. 3. Research and Planning: the way, the very first things that you need to do for a successful interview or film is to research and plan on what you're going to be doing. So what does that involve? That's gonna be determined. Your style of lighting it's could determine your location. But the most important thing is you base it on the story. You have to look at the story very first. What does this story talk about? Is it a dark and mysterious thing where you're doing a crime investigation? You don't want to have a bright white light style and a bright white background, So if you're doing something a little bit more dark and mysterious, you wanna have a lighting that matches that type of story. So if I'm doing a crime interview, a TV show and I'm the prosecutor and I'm being interviewed, this would work great. Yes, we did have the evidence, and we decided to prosecute. That works very well. But if you have something like a customer story about a product or service, this may not be the correct type of lighting set up. You know, I hurt my knee and ABC company took care of my knee. And now I can continue being a professional athlete. Not exactly. The right type is set up for you, So I'm gonna go ahead and flip it to something different. I'm gonna show you how this could be mixed up, so welcome to the other side. So in this example, we have Mawr light coming in, so it helps tell a different story. So I've got a light here. I've got natural light of some lights pointed up in the ceiling, and this is a good example for our customer care story where the person's talking about getting their knee repaired and continuing their career. So this would not be a good example for a crime scene investigation with the prosecutor. So the elements around the person are is equally important when telling this story, and that includes your lighting. So now that you have your story, which I hope you do, you're going to start have a better of idea of what type of lighting we're gonna need, but something you need to think about is gonna be backgrounds or backdrops. So, behind me, I have a backdrop. It's just a white piece of paper that you can use for a clean, no distracting type of Phil. Think of Apple and Johnny ive talking about how amazing the iPhone is. So what you can do is you go toe websites like 60 Minutes or other TV shows that you like toe, have interviews and watch what they do and what the elements they have around the other people are. That will give you some ideas of what you can do. So now, on to something a little bit more practical than theoretical. We're talking about backgrounds more specifically on location shooting, so you're going to be filming your subject in an interview and you're using on location so you can see everything around me. This can be complicated, and it can have distracting elements, so you need to keep an eye out for things like pools going through people's heads. That's a big one that you really need to keep an eye out for. Um, so when you're setting up for ah, background or on location, shoot tryingto have ah, aesthetically pleasing type location and remove any distracting elements if at all possible , something that comes down to the more practical side is you need to make sure that you have enough plug for your lights. So if you only have one plug available, you might want to not have 16 lights to try to use. To light your scene, you need to have the right amount of lights and plan for the location that you're gonna be shooting. 4. Lighting Basics: Okay, so I'm here and we're going to discuss the fun stuff. Reason you're taking the class actual lighting. So has taken a minute. I just wanted to show you the basics you haven't understanding. So we're gonna talk about this basic three light or three point lights set up. So right now I have a light in front of me, and this is called the key light. This is the main numeral uno light that were gonna set up. Now I refer to This is the light that is going to basically determine your exposure so you can see on my face. Right now I have luscious light, and then I have some shadow right here. Now, you could do this type of life set up if you're doing something a bit more dramatic. But if you want to fill in, there is what's called a fill light. It's the second line that we have. So I'm gonna kick this guy on now. I don't have as much shadow. It's filling in the portion my face, and now it's more usually lit. So now what? If you want to add some definition so there's two type of lights that you can use in a three point light on in the third position, you can have what's called a hair light, or you can have what's called a backlight, or you can use them. You can use them together. So in this instance, I have a light back up here and c were in my apartment. I'm using the lights that are available to me. So I have this like, I'm gonna turn it on and I'm gonna point that kind of at the back of my head now you should see you should see up. But we got it. Okay, so you should see that we have our I have a just like a rim of light around my head and my shoulder That's just adding a little bit of definition, adding a little bit more of just general goodness. It's nice to have ah, hair light back there. It gives somewhere detailed helps the image pop a little bit more. Now, if you have 1/4 light, you can have in the fourth position. I'm going to use this one as an example. If we do have a background, just you could angle it towards us towards the background were somewhere depending where you're standing and add more definition. Uh, add more detailed in back of the person who's did an interview. It's all dependent on personal preference. Um, if if you don't like what's back there, then don't use it. But so those are just examples. So I'm gonna go ahead, turn that often, seek kind of start to see it go back off, and you get an idea. You're also filling. So now I'm gonna show you one of my preferred methods to light an area were seen very quickly. It involves. I have my key light still, but I'm gonna use to other lights to bounce light up into the ceilings and you're going to see this nice, soft, luscious light. Now, keep in mind that if you're in a location that has very high ceiling, like a warehouse, this might not work as well. So I'm gonna go ahead and show you. Now, I am going to start with this one light right here, and I'm gonna kick it on. And there you go. I'm bouncing light up into the ceiling. Now I can kind of moving around, played around and see what kind of, ah, shadows. I'm getting here, but notice I have a nice, long, shallow along here Soon as I kick it on, then it really is nice and even along now I can add another light in. I'm gonna kick that on. And now, if I have shadows on this side, it's adding more light in here, so I should be pretty even on this side and this side. So what I have here is called a china ball in industry. Basically what it is is it's a paper lantern that you put a bold into the inside and then you kick on your life. When you light it up, you can see the paper material adds. A nice diffusion creates a nice soft lighting is pretty luscious. I love using these things. Now you can get ah, get large or small or in different shapes. You can add different wattage bulbs into these, and ADM or light around you're seeing an area. Now. I've only been able to find these locally in one area, and that's a Nike A. They have tons of different shapes and options that you can go to. You can try other hardware stores, other lighting stores and see if you can find them. But I recommend having a couple of these handy. They create great, wonderful light. So now I'm gonna talk to you about shadows in diffusion. What is a shadow? It's basic. Uber less light is going so you can see on my face. Right now there is a shadow coming on this side and on this side is more lit. Now, this is because I have a one light set up and the bulb is exposed going directly onto my face. Now for this type of lighting, you might like this if you're doing that China dramatic, gritty type fill. But if you want to have saw, if you want to have softer shadows warm or in light, you can add diffusion like so. So now you can see my face is a little bit more evenly lit, the shadows air. If you look at the shape of the shadow, it's a little bit mawr. Softer is not a sharp. So what I'm using to do this is this is the center of a reflector and this is some diffusion, uh, screen. What it's doing is is breaking up the light and making it nice. And even now you can find this commonly, like on a soft box. Now, since this is a D I Y class, you can go. You don't have to buy one of these. You can go to a fabric store and find a piece of cloth that does the same type of thing. Where, let's light through now. Quick discussion about safety lights are hot. If you get this too close to a light, eventually it's gonna lie on fire, and you don't want to do that. So make sure that when you get your claws, you want to keep it a little bit farther away and make sure that's not getting too hot and catch on fire. So with this, I'm able, since that's white. And if you remember back in your physics class, why it reflects light in black absorbs light. So what I could do is having this light shine light crossed. I could take the white board and put it up inside my face and his coasters. I'm and as I move it closer to my face, I can add some white light or reflection to this side and get rid of some of that shadow. So if you want to increase that contrast that I have on my face right now, you could use your blackboard added in, and then you can start to see Mawr. Contrast is at it to my face. Now with lights come electricity, and with electricity comes danger. Passing through these bulbs law of electricity and that's going to give up give off a lot of heat, so I recommend having a pair of gloves on set and handy. Sometimes you set up your light and you need to be able to move it using your bare hands very dangerous, and it can hurt and probably stop filming. And you don't want that to happen. So I recommend that you have a pair of gloves. Try to have a pair of gloves with leather like leather. Work clubs work really well if you start to get some of the plastic or synthetic materials . If you get too close to the bulb and actually touch it, then it could start to melt it, and that's not doing his job to protect you. Another thing that you want to do with lighting when it comes to safety is These lights are hot, so you want to make sure that they're not close to something that is flammable. Mainly, I'm thinking about curtains or any type of fabrics. They're gonna be close to them. They get too close to catch fire. That's going to put a quick end to your shoot. Um, also, you want to make sure that your lights are properly mounted on top of your stands or on top of your chair. You don't want thes falling off because it could do a couple things that can hurt your talent. It can taken break, and that will stop you from filming. Also breaking. They could become a fire hazard again. So you don't want to do that something that's always attached. The lights are going to be the cables down here. I have a cable to one of the lights, and I have a rule of gaffer's tape. Gaffer's tape is a specialized Tate that they use in theater, and in film it's a cotton blend. It's sticky, it's resistant. Toe catching fire doesn't mean it can't, but it's very resistant. When you have your cable, just go ahead and lay down a piece of this and cover the cables. Now it's not gonna be a tripped over people. Just walk over it and it's not gonna yank and pull the light down. Now, obviously, with this cable, you're gonna want to try to do as much as possible. In the instance, I'm just showing you as an example Most important thing is to keep yourself others and other things safe around your set. 5. Backdrops and Backgrounds: Ah, I have a background set up right behind me. This is a white piece of paper roll that you could buy at a local photography store. This with eyes about $25 depending where you go and then you can get roles as wide as 100 9 inches. But what's great about a paper backdrop is it's seamless. There's no distractions on there. Part of the problem with these, though, are that you can have elements like If you're not careful, you can bend. Decrease your paper, and that's going to create a little bit big radiation or Assam shadow. Where for? Not careful. You can get these marked, so make sure that you're careful that way. These comment A multitude of colors. You could get neutral colors. You can get anything like green screen if you want to, so that depends on what you're looking for also, and I don't have one with me is you can get a piece of cloth, or you can get a specific cloth background to add up on here. Those air great because sometimes they're relatively inexpensive if you can actually buy cloth from your local craft store, but depending on how you transfer transport it. It could become very wrinkled. So you can carry an iron with you and iron on set. Or just be careful when you iron and fold it up. If not, you're gonna have some weird creases and you're gonna start having some of the same issues that you do here. Now I have this sitting up kind of on 1/2 do it yourself half professional, set up. But I have going through the middle and holding up. Holding up the paper role is some PVC pipe so you can buy this at your local hardware store . And in this instance, what I did is I drilled a hole on one end of a p a piece and I drilled another hole on the other end. I just take these, link it together, and then you put it through the center of the paper roll and mounted on top of your tripods . Now, are you tripods? Your light stands now, if you don't have access light stands, you can use things like shelving units or, uh, something is stackable that is high, that a sturdy to get it high enough that your subject is completely, uh, covered by that. Something that you have to consider, though, is when you do get that high again. Safety is a major concern. Make sure that if you are using light stands, get some gaffer's tape or duct tape and secure it down, so it's not going to go ahead and roll off another thing. If you have the ability, go to your local photography store and buy some sandbags. They're just backers. You put actual sand into, and they add weight. So this isn't gonna roll around and knock over. You can also go to your local hardware store, buy some backs, put sand in and achieve the same type of thing. 6. Building Your Light Kit: Theo. So the whole time I've been using professional lights to light up this scene as I describe all the lighting basics to you. But what about actually stuff that you can go buy at a hardware store? So here in front of me, I have an example. I call it the hardware store special. Have this little lamps that you can buy, has a reflective surface on inside and just has a common bulb that you can buy your hardware store. Um, one had put that in, and then this has a little clamp that you can use to attach some to something. So the lamp was something like six or $7. The bull was 4 to $5. So that's versus my light that you can spend, you know, 170 to close to $200 on. Okay, now what you can do, I know what you can do is I'm gonna go ahead and turn this on as an example, and you can see it provides a lot of light compared to that right there. So it's a little bit less light, but you could definitely use this to light your scene and conduct an interview. Now I was talking about the little clip on the bottom and my finger stuck. There we go. Uh, this clip is is handy because some of these stands can cost a pretty penny. They could be something like, you know, $6200 for one stand. Now you can use a chair, which is not that expensive. And you could take your lamp, stick it on and point your lamp up and you could do the tight, same type of thing where if I turn off this light, move this lamp over, you can start to get somewhat a similar type of lighting, and then you could replace this light with the same type of set up, and you can start to build your own lighting kit with how having to spend a whole bunch of money. And then, of course, you can be more directional if you're trying to go for that more dramatic type. Look. So light bulbs and color temperature and their specific characteristics are not something that people are gonna think about when they're building their like it. But it is really something important. So I have my little light here, and I have my bulb inside here. And when I turned it on, it's almost as bright. Is that now I know that this light, the professional one that I have is a 250 watt bulb. One inside is 150 watt bulb. What does that mean? The wattage is normally attributed to how bright light ISS, but it's actually just the amount of electricity being used. You can measure this inside lumens, so I'm gonna turn this guy off. And I'm initially this bold that I have for another piece of my kit. This lamp is a 250 watt bulb, and this is 300. So technically, this light should be a little bit brighter than this one. But we measure brightness in in what's called lumens. This bulb has a lumens of 4650. This light is approximately 6000 lumens. So what I'm China say is that you can buy these lights and be almost as bright as a professional lighting kit. Now this light has a color temperature of 3200 k 3200 kelvin, and this light has 2715 Calvin. Why is that important? As you go through a new build your kid and you buy multiple lamps you want tohave. Your bulbs match in color temperature. What exactly is the color temperature? Well, at 27 15 K you're a pair you're approaching. Having a warm type light so more warm is more warms. It's like a typical household light. The higher that you go up, it's going to get cool orm or blue. So if you have one light, it's blue. One light. It's orange. It's gonna look. We're on camera. So it's important that when you're going through and buying bulbs that you look at the color temperature on the box and find out what the color temperature is. And make sure that all your bulbs are matching. So something important to consider when you're purchasing your lamps is to consider the wattage or the type of bold that it can accept So inside of here I have ah, bulb that is 150 watts. This lamp is rated at 150 watt bulbs or less, so if I try to take a 300 many would not work at May. But it's better to stick to the recommendations of the lamp itself. Now that I've covered lighting basics, I encourage you to go out and start piecing together your lighting kit. Once you have your kit together, go ahead and create a small behind the scenes video showing off your lighting kit for the other students. 7. Audio Basics: so one of the important aspects of your interview is going to be audio. Now this is an audio class we're talking about lighting, but I think it's important enough to quickly talk about when you record your interview. Now you can hear I have my air conditioning going, and this is a typical thing that happens when you're on set recording an interview. So when you go to your area, go ahead and listen for things that might be a problem. When it comes to audio, like air conditioning, turn it off. You may be in a location, has a refrigerator, or you could have kids or an airplane outside because of issues trying to work around that and get the best possible audio a couple options that you get for audio. You can have your camera, which has built in microphones. You can use that to record your audio. Audio levels are gonna be on your screen, is going to show us a little bars as you move across, or they have the person start talking. The levels will move across and bounce up. If they get too high, they're gonna start showing red. The red is bad it means that's what's called peaking. If you go beyond that, it's starts to sound really bad audio. You could start to hear it bounces around. It's not good. So try to keep an eye on your camera and wash those levels. Now, if you want good audio, you can go with what's called a lot of little kit. And that's what I'm wearing right here, right now. Now what's good about this is is very close to the chest, picks up a lot of base, and it sounds like you're really right next to me and my voice sounds good. So these were some of the considerations and things that you want to do for recording audio in your interview. 8. Basic Camera Rigging: way we're gonna talk about camera breaking basics. These were some of the things that you can add your camera to make your life a little bit easier and help you get a better interview. The first thing that we have it's gonna be pretty critical is a tripod. So I have to try a pas in front of me. They're holding different size, different size cameras, and they have different kind of options. Now, what's important about these, uh, is they have little lashes that you can use to adjust and adjust the height of the camera. This is good because you want to have the camera pretty level with your talent when you're injured interviewing them. Also down here I have. What's important is the sandbag. It's great to have a sandbag on your cameras on your tripods, so if somebody bumps into it, it's not gonna knock it over and you're not gonna damage a camera. Next. We have, uh, I have a cheese plate. Cheese plate is basically this chunk of metal that's been machined, and I have different hole sizes inside here with different threads. Now I have the thread rate or a school right here that's attaching my cheese plate to my tripod. Attach our built into this specific cheese plate is this adapter where I can attach these carbon fiber rods for rod support system. What's cool about this is I haven't adapter from Bedrock Micro that I can attached to the bottom of my camera, and it has these receptacles where I can attach right to the rods. Screw down and it's tightened. What's great about this is I can quickly remove my camera off the tripod, yet it's quite secure. If you have multiple these, you have multiples of the system on different pieces of gear, and you can quickly change in, in and out something else important that I have very low tech gaffer's tape Gaffer's tape is important because you have all these different cables. When you start adding different type of accessories, you don't want tohave cables running around loose, where they could be able to be yanked away from the camera, damaging your accessories or, more importantly, damaging their camera. Expensive repair Bill Teoh fix just these little different ports, then on this camera, have what's called an articulating arm. Now you can pick up one of these, and you can mount multiple accessories to them, depending on the threat size on this one I just attached to the tripod head, and then I attached my monitor to it. Now you can attach like audio recorder or even sometimes a microphone, depending on your uses. Now, what's great about these is you can move. You're objects or your excuse me, your accessories around, and you can put them wherever is comfortable for you. While you're filming Attash. I have a monitor from Marshall. Now, this is great because it gives you more screen real estate of the images you're seeing so you can check Jake your image, your exposure. And then sometimes they also include additional features like focus peaking were false color, which will help you keep your subject in focus and keep your image properly exposed, Theo. 9. Class Project - Interview: Theo. Now that you're ready to film your interview, I'm going to share a few tips that I've learned hard fought in one in the field. As you interview your interviewee, you'll want to run through all the questions at least once. Then when you're done, start over again and do it a second time. The reason being is when a person first sits down in front of the camera, they're gonna be nervous, jittery. They're not sure what to expect. After you've gone through the questions one time when you start the second time, they're going to be more relaxed and they're not gonna pay attention or even noticed that the cameras that are anymore as you do this or the reason you do this is because of received a more natural response from the interviewee winner interviewing. Make sure you always keep the camera rolling. You might be able to catch a golden nugget or acquit from the person in between a take or in between, a question that wasn't prompted. These are the type of moments that you could take and put inside your film or your interview. That might be the most resonant emotional clip that you have another great tip that you have is when you ask a question to the person you're interviewing, instruct them to give a 1 to 2 second pause in between the answer and the question. The reason is that this creates a small gap in time that the editor or yourself can use to create a natural editing or a cut Sony a seven. So the important thing that you should do when you're interviewing is instruct the person to rephrase the question before they give their answer. The reason is it allows the viewer to understand what the question actually Waas. And then the person goes into the answer. So do you like lighting? So do I like lighting? Yeah, I think it's a pretty cool field that I like. Teoh I like to work in something nobody ever thinks about is the other people inside of the room while they're interviewing that I or the human the human being? Naturally, when they see another I they want to look at it, and that could be distracting off camera, wider doing interview. So if you have other people standing around trying to make it where they're not, look giving an eye line to the person so they stop and they look at them because I could be distracting and take the person or the audience out of the moment. This one's important, depending on the subject. Other interview Remember, try to have fun. Having fun will relax everybody and you'll get more natural responses and just looks better . 10. Video Editing: Now that you've finished filming your interview, the natural next step is gonna be video editing. Now, this class is not gonna go into in depth editing of your project, but I can give you a few options, let you know where to go next. You can use consumer grade software like Apple I movie or they'll be premier elements to edit your project. If you have the budget, you can use Adobe Premiere CC Final Cut Pro seven and 10 for the Mac or avid media composer or Sony Vegas. If you don't have the time or the knowledge to edit your own video, you can hire somebody professionally who can edit your video for you. If you do have the time, you can go to skill share dot com and look up classes on how to edit your video. Using some of these programs I mentioned 11. Final Thoughts: well, we made it. I hope you have enjoyed the class, learned how to be innovative and had fun filming your interview. I look forward to seeing your lighting examples how you have filmed your interview before I leave you. I want to leave you with a few key tips on lighting and using your studio. Make sure you use story to help decide your lighting and your background choices. Remember your three point lighting set up key, Phil and backlight. Or you can try using my ambient method, where you point the lights into the ceiling to create a natural room filled of life. Remember to keep yourself and those around you safe while filming on set. Listen to your environment around you. Listen for things that can cause audio problems like refrigerators. Kids were. Air conditioning also is a good idea to have a pair of headphones on you so you can listen to the audio that's going through the camera. Be inventive. Try different things to achieve that look or style that you're going. For all the things described in this class or not, law, you can try different things, and if it looks good on camera, That's great. Be creative and have fun. You have the chance to create something and that is the best thing in the world. I encourage you to complete the class project, share it with the rest of the class inside the Project gallery and show us what you have done. Also, if you can create a behind the scenes video showing us your lighting set up in the process of being made and used, you could take things and resource is around you and use them to create beautiful wife. Use that light to tell stories about yourself, someone else, your product or a cause. Use a light around you to enlighten someone else. Thank you and cheers.