Lighting for Video: Simple Techniques for Youtubers, Online Courses, Interviews, etc | Dennis Schrader | Skillshare

Lighting for Video: Simple Techniques for Youtubers, Online Courses, Interviews, etc

Dennis Schrader, Freelance Videographer and Creator

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13 Lessons (49m) View My Notes
    • 1. Welcome to Lighting for Videography!

      1:39
    • 2. Introduction to Lighting

      2:47
    • 3. Three Point Lighting

      4:49
    • 4. Key Light

      3:57
    • 5. Fill

      3:35
    • 6. Negative Fill

      2:08
    • 7. Backlight

      1:56
    • 8. Practical Lights

      3:55
    • 9. Live Lighting Pt. 1 (Interviews / Talking Head)

      3:53
    • 10. Live Lighting Pt. 2 (Youtube / Online Courses)

      6:51
    • 11. The Homework!

      1:00
    • 12. The Gear

      12:22
    • 13. Thank you!

      0:34
50 students are watching this class

About This Class

Lighting is probably the single most important technique to master, when you make videos. And it can also be a complex topic. In this class you are going to learn smple, yet powerful techniques to achieve amazing looking results.

  • Learn the importance of Keylight, Fill and Backlight
  • How to position each light for beautiful results
  • How to use the lights that you already own
  • How to get amazing results on a very tight budget
  • Gear Recommendations that bring good results for less than 100$ in total!
  • 2 Live-Lighting situations, where I build up two lighting scenes from scratch with behind the scenes camera angle

If you have any further questions to the topic of lighting, please let me know.

Transcripts

1. Welcome to Lighting for Videography!: so like something. Just what's up? I'm so happy that you made it here. My name is Dennis. I'm freelance videographer based out of Germany. And this course you're going to learn all about video lighting and learn some basic techniques that if you amazing images for your agree to learn in this course is the difference between an image like this and an image like this. You don't need fancy gear. You don't need fancy equipment. I'm going to show you how to make it work with the good stuff and also with the cheap stuff so you can create the best looking video that you could possibly do whatever you might record, whether it's YouTube videos, you know, family videos, even interviews for professional work. Maybe you create online courses like I'm doing right now. I'm going to teach you basic techniques that are really easy to understand and easy to use to create beautiful image. For all of these, you're going to learn about three point lighting. You're going to learn all about headlights to fill back lights, practical lights, all of the good stuff and at the very end, even going to get some gear recommendations about some affordable light, some really professional amazing lights that you can get to make your image look more professional and beautiful at the end of the day, whatever kind of video you're recording, you will work with light anyway. And I think the question is not whether we use lighting or not, because we always use lighting the questions. Just Are you using the lighting to achieve the thing that you want a chief or are you just working with the light that just happens to be there? See you in the course? 2. Introduction to Lighting: Alright, Awesome. Here we go. Welcome to this class. Welcome to this. Coarsely before even want to talk about how to achieve professional and also easy to produce good lighting. Let's just talk about why lighting is actually important because you might just think that it's totally okay to not focus on specific lighting. And you don't want to have all the costs for the gear and things like that. And I think the best way to really show you why having a little bit of thought behind your lighting might be useful is to show you the difference between this set up and this set up . So the difference is obvious. It's much darker. But even if we were to just fill the room with some kind of ambient light, like maybe a light bulb would then it would be looking probably something like this. So that means if I did a good job in my lighting, you clearly see the difference and why it might be helpful to just think about it a little bit. All right, so let's switch back to the real one. And one thing that I want to mention right in the beginning is that this is not about buying expensive lights. If not, having a big budget is the main reason you haven't thought about lighting or you haven't invested in some kinds of lights that I will. Surely at the very end of the course, I will give some gear recommendations, and I will even show you how to recreate some of the most popular and common lighting styles without even having to buy any light. Basically, So you know, in this course you will not only learn how to use life that you buy, it's it's more actually about using. The resource is that you have, and this is what a lot of filmmaking is actually about us having to work with. The resource is at hand. You don't always have the perfect light. You don't always have the perfect equipment. It's just important to think about those things. And with a little bit of background knowledge and some tips and tricks here and there, you can achieve amazing results without having to break the bank. Another reason why light and can be really helpful is because you can basically shape the atmosphere and the kind of feeling that you want your video to convey, You know, if you are a beauty youtuber, you do make up tutorials. Your videos probably look a little bit different than from a food youtuber or from a tech YouTuber. Or for someone who creates online courses like I do. Right now, different videos work best with different kinds of looks and again looks. It's not about having the most expensive gear to create those looks, but it's about knowing what actually makes those looks. And this is what you're gonna learn in this class is world and now just one last point before we start with the good stuff. It's not about lighting or not lighting, because if you think about it, you're always lighting. You are always using light to create the image, and the question is only if you use the light to your advantage or you just work with the light that just happens to be as it ISS. And since we have to work with light anyway, you might as well use the best light that you can get or use the light that you have in the best way possible to create the image that you want. Let's get started 3. Three Point Lighting: All right, so now let's get started. So when we say lighting, what do we even mean by that? Isn't just pointing a light in someone's face. So when you talk about lighting in professional video production sense, then it's a lot more than just exposing someone properly or just putting a bright light onto your subjects. There's a lot of thought that can go into lighting, and there's lots of different styles of fighting. But the good news is that there's a lighting style that is actually pretty good and works pretty well for knots of different situations with little tweaks. And that's what we gonna learn today. We're going to learn about three point lighting. Chances are you've probably heard of it before. I just want to give you a quick little explanation of how it works. Three point lighting, like the name says, consists off three different light sources. Light source Number one is the key light. The key light is arguably the one light that you cannot really work without, and three point lighting in a traditional sense on this is the light that is positioned right now, right here, the main job of the key light is to expose your subject, and there are a few things that are important, especially for key light number one. You want the light to be soft. Okay, soft light. It's more flattering than harsh light if you're in the middle of the day and there's bright sunlight sun that shines in your eyes and makes those heart shadows that is harsh lighting . Soft lighting, on the other hand, is created by using something like a soft bugs or to use, you know, different kinds of diffusion that you light that comes out on your subject. It's not so harsh, doesn't create harsh shadows, and to give you a good example of what that looks like, I actually positioned a second camera right there, and we use this kind of wider shot to just give you a basic idea behind the scenes what this really looks like. So the killer is this big thing here. I will give you gear recommendations later, but for now, just remember, it's just a basic led position with a pretty big soft box, which makes the light very, very soft, more about key light later. But for now, just know that that's the key light. The killer is there to illuminate the subject and to give you soft lighting so everything looks pretty flattering. The light source Number two is the Phil, and there's a reason I don't say fill light because Phil actually doesn't necessarily need to be a light. And often it's not. And in this case, also, it's not because the job off the Phil is basically to reduce the amount of shadow that is created by the key light. So, for example, if the key light comes from here, even if it's not harsh lighting and will create some kind of shadow on this side of my face because the light is only coming from this side, and if there's nothing to to, you know, fill in the light from this side, it will create a more dramatic look, a more contrast in look, which can be something that you want to go for more on that later. But basically part of the three point lightings, also a Phil, and in this case I'm using some kind of reflector as you can see her again in the white Shot. This thing, here's super cheap reflector from Amazon. It has It is basically a bunch of different kinds of science with different colors, as you can see her now, there's a golden decide if you want to reflect maybe more warm lighting. But the basic idea is that the key light shines on me. But it also you know the light is not only focused directly on me, it goes in this direction, and as it goes here, it bounces back from the from the from the reflector back on the other side of my face, which basically creates this look that there's not too much shadow on the side. So Michaela is not super bright. The balance is not super strong, so there's still some kind of shadow on the side, as you can see. But that's generally what three point lighting consists off. But there's one missing and light source. Number three is the backlight, so the backlight has a bunch of jobs. But the number one job of the backlight is, as the name suggests, again to be behind your subject and illuminated from the bag. So there's one specific reason why that makes sense. You might ask, Why would you want the back off the subject to be illuminated because that's not in the frame, right? That's true. But there's one cool thing that happens if you eliminate your subject from the bank and that IHS it creates a hard edge on the sites of the subject here that separates it from the background. So especially in different cars, we learn that death is one of the things that make images look really good. But regardless, if you have a lot of depth or little depth, you always want your subject to be separated from the background. It makes it look more three dimensional and just adds another little touch that makes the image really look more professional. I just basically, in this case, and you can use organ different kinds of lightings. But in this case, I used the very same led panel that I have for this just without the South Bucks and appointed into the general direction of my back. Just looking like this. If you look, it's eliminating my back, also the top wall. But it's basically giving me the backlight that I need, all right, that's it. Just a short explanation about what three point lighting is Now. Let's get into the details and talk about the key light first 4. Key Light: All right, let's get going. Let's talk about the details. We are going to talk about the key light first, because that's the most important one. And that's the 1st 1 And then we're gonna build up the lighting seen as we go. So I thought, the best way to show you how the key light it works and how you use it The best way is to zoom out a little bit and give you a little bit of a better idea how the killer actually works. So the key light needs to be positioned in a very specific way for it to have the best effect. And usually the way you do it is you position your subject first, right? So I'm on the subject now, and I'm standing in the position that I want to stand to record the video. And then the way you position it is, you go to a 45 degree angle. Okay, toe either side left or right, 45 degrees. This is 90. This is 40. And that's exactly where the key lettuce and then you position the key light not only 45 degrees to the side, but you also want a light from the top down onto your subject equally in a 45 degree angle . This is not I think this is not quite 45 degrees. You have some wiggling room, so to speak, to create different kinds of looks. But the basic idea is that you have very flattering shadow that makes the the human face usually appear a little bit more slim, which I'm thankfully using to my advantage right here. And the way we get that is by positioning in it by positioning in that way. So the light comes here and drops the shadow, the so called drop shadow on this side of my face. You know, you could maybe you could maybe see it right here. Could see it here if I don't. I don't know if you can see it with a beard, but that's basically how you position the key light in this case. I mentioned already before that it's very important that the light sources very soft actually ensure you may be the difference off how that looks soft or not soft. By taking off the diffusion off the soft box, let me zoom in again so you can see. So this is what it looks like with soft lighting, the soft boxes there, the diffusion is on it. That's what it looks like. I'm gonna take the self books off now. I actually got a close my eyes because that night it's really, really bread. So there we go a little bit brighter. Just took off the diffusion hood here, as you can see in the other camera. But yeah, you can see much more bright, much more powerful, extremely harsh. And now, even by using my hand, you can see the kind of shadows that are created much more hard here on the side of my nose . You can see it, you know. So that's why obviously in this case, why soft light this way? More flattering looks better, looks more, more, more. Everything just looks much better. That's why we want soft lighting. Fix that back on here. Also another reason to yourself lighting So your subject doesn't get blind because I feel like I don't see anything anymore. So let's just imagine you don't have a huge self bucks and professional video light like this. There's lots of ways to get this kind of diffusion to make the light a little bit softer. Very basic example is a shower curtain. You know, a basic white shower curtain for my Kia. Position it in some way in front of you light, and that's gonna make it more soft. You can use bed sheets that are white. You can use close if you have to. You can use curtains, you know, be creative. You do not need to have professional, you know, soft boxes to get soft light. I understand that if you're in a client job or something, you probably wanted to look someone professional. But if you're recording online courses at home, YouTube videos, cooking videos, whatever you want to record, you know there's so much and so much cool, creative stuff that you can do with the camera recording videos. You do not need a professional self bucks. That's pretty much all I have to say about key light. Let me recap quickly. 45 degrees to the left, 45 degrees up. Soft light source. Key light is the most important light because that's what's basically making your subject visible. And that's that. Let's go on to the Phil 5. Fill: all right, so let's start with Phil. We're still in the same image like before. We only have the key light. So now we're going to use to fill. As I said before, I'm going to zoom out again. We used this bounce as a fill. The reason is because A I don't want that much feel for the kind of image that I want be. It's very easy fuse, flexible. It's very affordable. You can find it on Amazon for, I think, less than 15 bucks, probably depending on where you live. And the cool thing about it is you have different kinds of light sources that different kinds of reflectors on each side that create different kinds of images. So, for example, if you want your fill to be someone warm, you can use that. You know, that gives a warmer image on. That's also something you could use when you take photographs or you shoot outside and you want to bounce the sunlight back onto your subject. Great way to do that. The other side is just white, and then when you also can do is you can open that up right here and take out a different layer and you couldn't even exchange. For example, we had that we would have the option to have silver lighting. We even have the option to have a black surface, which is something that I'm going to talk about one in one of the next lessons. That's called negative, Phil, because you can only bounce light back, but you can also absorb light. I know it sounds weird, but you can actually reduce the light that's coming from a certain direction by making it black. And you can have this inside thing, which is basically kind of see through, which is one option. Another option, another cheap option to create diffusion because this inside here is kind of the same thing , like the diffusion that's on the South Bucks. So if you wanted to, you could probably hold this before the South Bucks make it even more soft. Or just use this as the only diffusion you have again really cheap, very versatile. I really recommend you get one of those. So, um, let's just go ahead and pop that right up here on the stand that we have here to create the film for this video and all we do is position it kind of on the opposite side, off the off the key light. So we have the key light right here. We have to fill right here, and you have to make sure that it doesn't like, wiggle around too much so it can properly bounce the light back onto the other side off the subject. So, like like so yeah, bouncing from here, bouncing there, maybe even a little bit back. And that should create a little bit more off balance image. Less dramatic. Last contrast. The less, you know, maybe even cinematic if you want to say so, although I don't really like to use that term, but that's how you use Phil. One thing that I want to say is that Phil is optional, depending on the look you want. If you don't want the super clean bright, you know, beauty, video style. Look, you can definitely just pop that out. Don't use it even at all, because you know it's it's optional. It's just changing the look. It depends on what you want. Remember what I said before? You always use Phil because even if there is no Phil, it's more about levels than about existence of it. You know, like you have levels off light because this, like this reflected here, gives back a certain fill. If it were black, then the field could be even negative. If you don't have any Phil, then that's also a level, so to speak, that comes back. You know you because you always have a wall. You always have. You know, either whitewall or doctor wall. So all those things matter and there is something going to come back. And the important thing is that you just are aware of what's coming back and use it to your advantage. 6. Negative Fill: all right, quickly. Thing that I mentioned in the last video is that there's also such a thing as negative film . And I just wanted to play with it a little bit to show you how that's gonna look if you look at the different camera again, I'm gonna put down, take down the fill the bounce and take out or let's say, rivers it, reverse it so that we have the black side on the outside and just see what the effect is gonna be. Those things are sometimes a little bit hard to handle. So, like this, like So So now pay attention to how the image looks right now again, this is kind of what it looks like with Phil, and you can even see it like without with Okay, this is now the silver side, even a little bit more effective. Now I'm gonna put up the black side, and you will see what that does with the image. All right. You can instantly see that the shadow on this side, it's way stronger, you know, And that's only because this black thing here it's absorbing the key light, and it makes the bounce that comes back negative. There's not even a little bit light coming back. It's absorbing the light. So it kind of takes away from what would even naturally come from this side. So that's what I mean by negative fill. You can definitely use that to your advantage because that's a specific look that you might want to go for. And I personally, for example, think it looks very nice. I like this kind of contrast. Look, this kind of more maybe a little bit dramatic look at somebody might say. But you know, now you have another thing at your disposal for creating the light that you want just with this beautiful little I'm gonna make sure that I Lincoln is somewhere that you know how to find it. But yeah, that's it. That's it. With negative film 7. Backlight: Okay, so next up, we have our key light. We have our Phil. Now let's talk about the back light. The back light is this little led panel that I have here in the back. That's the same kind of panel like the one that I use for the key light. And you don't need such a strong panel like this one here. That's just what I have right now at hand, and that's why I use it. So the basic idea for the backlight is for the subject to be separated from the background , okay, Especially if you don't have the chance to have blurry background. Like right now, it's not super blurry. I think you can see that this is a white wall, right? Especially in cases like this. And even if you have a very shallow depth of focus, then you want the backlight to give this kind of beautiful edge to your subject so that it's separated from the background. I just right now put it as you can see right here, directly behind the subject directly behind me. There craze, the best edge around the contours. I don't know if that's how you say the Contras off the subject, right? So let's see what that does first. This is what it looks like with the backlight and this what it looks like without the backlight, right? Maybe some would say it's not such big of a difference, but I can assure you that it does make a difference and you can see it. And it's almost like the subliminal thing off professional look, right, it's It's a very pleasing thing to look at because it almost takes kind of shallow depth of field in some sense, because it creates this harsh edge on the very, very edge off the subject, Right? So it's not like bad effects of harsh lighting, but actually the positive effect apart, lady, because it makes a sharp edge which separates your subject from the background. That's what we want. That's what makes it look good. So I'm gonna keep that keep that on for now, and, uh, yeah, that looks really good. I like on that looks, let's go to the next one 8. Practical Lights: all right. As you can see for the next example, I'm actually sitting down in a chair to explain it. So the next topic is the topic off practical lighting. And what this nebulous term, as I think actually means, is the use off. You know, normal lights. Let's say so. In this case, you can see in the background here there is a land, which is, I think, another like very cheap, like a lamb, which is one example off common lighting that you will find in different kinds of apartments that people usually have at home. You know the little desk lamp, the lamp that's standing right next to your bed, some kind of decorative lighting that might look good in the background of the video because one thing that's cool is that if you position some kind of light source, that is far enough in the background that it's not too distracting, especially if you use them in combination with the blurry background, looks really nice and create a very pleasing image again and lighting. It's about layers, so everything that you can add to your image that makes it look more pleasing is a good thing So in this case, we have this lamp here, but I'm not quite happy with it yet. And that's because there's something that's called Levels, and that's what I'm going to talk about the next lesson. But basically what that means is that the whole overall image is so bright that the lamp doesn't have enough power to really be that notice well in the background. Part of that is especially because that this is a white wall in background and the lighting a swell is basically what it's a warm white, but it's a white. So one way to fix that is to give the light different color. And if you don't have a color changing light bulb, that might appear a little bit difficult. But there's another very affordable little cool trick that you can use for your advantage to shape the light to the degree that you wanted. And those are jails. It's called gels best. You can think about it as a kind of see through colorful plastic foil. I have a little bit of it here. Let's see what we can do with a practical and in the background to make it look a little bit more. A little bit more appealing. All right, we're back. And what I found. It's an old piece of blue jail, a blue, you know, Little oil makes a beautiful sound. What we're trying to do is to re color the light in the background, making blue, which is going to look amazing. I think so. All right, let's see how that looks now like this blue. But there's still two more problems that I'm seeing. Problem number one. It's still not bright enough. And problem number two I wanted to raise a little bit of this a little bit too, too low, so we don't really see it. Let's raise it. And for them, as always, the name off the light is for practical. Let's just actually be practical right here. I'm going to use shoeboxes, one of my favorite filmmaking tools, because they're versatile. Now we have a beautiful little background practical lighting right there, but it's still not bright enough. What can we do it? So? One solution for that is to lower the overall levels off the rest of the lights so we can expose the image a little bit higher and therefore lower the level of the key light, which is gonna make this in comparison because it's all about contrast is about ratios. In contrast, this is gonna look much brighter. All those the same brightness. Obviously. Let's see how that's gonna look. All right, The key light right now. 70%. I'm gonna lower lower it to 20% just to try it out. And I'm going to raise the exposure. Like so. And there we go. This is how we can use practical lights to make our background look more interesting, more beautiful. That will be more examples later in the course. But that's it for now. This is practical lighting. 9. Live Lighting Pt. 1 (Interviews / Talking Head): All right, guys, you've learned all that. You really need to know about three point lighting, and you already know how to use it perfectly. But now, enough of theory. Let's go into some actually life lighting if you want. And let me show you how exactly, like different scenes. So the one that we use all the time kind of explained it already, but I just want to quickly go through it again. Overall, all the elements to show you how you can recreate lighting like this. So again, we use proper, you know, basic three point lighting, and I'm going to zoom out right now so you can see what I'm doing. So basically, what we use here is a key light and 45 degrees to the site and up, which creates a very soft, beautiful life with a little bit of drop shadow on the site on the other side, we have our fill our bounce, which is in this case, this cheap Amazon bounce that he could buy for yourself for just a few bucks. And we have the white side, so just reflects a nice amount of light back onto me. So the shadows are not so harsh. What do we have? A swell. We have the backlight, which is basically pointed directly at me. It also gets a little bit of room Ambien sliding, which is important to keep it realistic and you know the ratios in check. But more importantly, it creates the harsh etch around the contours off my body, which makes me stand out from the background, makes me more three dimensional and generally just look more professional and looks better . And then finally, we have the practical I'd in the background, and that's just one example of a practical light that you can use You can wonderful to use candles, you can use bedroom lights you can use. Yes, glance you can use. You can even use your computer screen with something on it as the as the practical light. Be creative, issued TV, lots of options, and that's basically the set up that we have right now. And what we've learned this well is that the important thing is also the ratios right. We've talked about it before. It's important that the contrast on the lights is also according to what you want, right? It's not. It should be a random level, right? So this key light is as bright as it is because that's what I want. And that's how it looks good in combination with the bounce that we have and the backlight and the key toe and the practical lights. So everything looks like it should look and nothing appears to bright or too low or anything like that. So now you've learned this kind of set up, which is actually a typical interview set up that you can use. And, like I said, the balance and something like this. The field, it's optional. It's always gonna be there. But to use something like this bounce here. It's optional if you don't have time to do it, or if it's not available to you whatever certain states in a certain situation that you're in. But this is a beautiful technique and very also professional and basic and commonly used technique to record interviews, right, So if you're some kind of film maker out there, you will record a lot of interviews. That's how you light interviews professionally. If you record just general talking head videos for you to for online courses, for whatever you might use it for. That's also the common way to do it. You can play with more fill or less filled orm or key light, or more or different. Practical is to change the kind of boot that you want to have. You know, of course, on makeup is going to look different than the course on cinematography. I suppose so. That's how you achieve different looks. But the basic set up is always the same. It's always three point lighting. You can do so much with it, and that's why it's so awesome, because pretty easy to learn. Let's switch to a different kind of scene, which is more than, like maybe typical youtuber scene where we involve a desk. We involve a computer set up some you might be screened casting something, and you want to have a second shot of you sitting at the desk. Or maybe just wanna have a tutorial from your desk. Whatever it might be, let's go into the next scene 10. Live Lighting Pt. 2 (Youtube / Online Courses): all right. I'm actually going to leave the camera running and show you in real time what I'm actually doing to change the image. So number one is Obviously we have to change the position of the camera because desk that I'm going to use is this desk right here. So the camera's gonna go from here to right there where I was actually sitting before. Let's take a look. It's gonna make the rough direction first. Kind of like this. The key light generally right here. All right, so take a look at this. Doesn't look too shabby. Let's see how it looks if I'm gonna sit right here. All right? Okay. Not too bad. I'm not happy it. So right now, that's a situation that we're in. So obviously, it's not optimal yet. There's a few things we can do to make this look better on first thing. This to take away my notes from the table. Okay. And this. Well, so awesome. Let's say we used to set up to make some kind of tutorial here. Right at the desk. We want the computer screen to be a little bit visible. Maybe like this. Like this. Like this like this and we are talking towards the camera, All right, so we still have the backlight right there. It's kind of shining tore direction, messing up the image that's first fixed that and put it in the proper place for Baghlan. In this case, can you imagine what might be so backlight like? You know, it's supposed to shine on to you from the back. In this case, As you can see, we don't have all that much space from the desk to the Blue Wall, which is where we should theoretically position the backlight. One way to fix that, which also helps us in a different way, is to take the desk a little bit away from the wall, because then we can have more depth. We have more space for the backlight, and it's gonna result in a more pleasing image. Let's go. All right, that's much better Already. Self Couple of things to note here. So the backlight, actually, in this case, I don't use to point directly at me. I want to do that because I want to tell you that even if you don't have too many lights available, you can still have appeasing look, even if you don't have things like a backlight. So in this case, and pointing it to the blue Wall, I want to blue while to pop a little bit more. Let's see how it would look without the background. A little bit more dark, more blue, dark blue. You can see it's a huge difference and especially blue and skin tones resonates really well . And that's why I'm doing this. Next thing is that the key light is actually positioned in a way that theoretically is not quite perfect, because if you look at it kind of talking like this. So, in my opinion, especially considering where the back like this position, I would much rather have the key light. Be right there because it's gonna create much more interesting shadow because right now it's a little bit too centred. It's not quiet at the 45 degree angle that I want and my body in my general direction of the body. It's much more into this direction, right? So if I have the key like right at this corner, it will look awesome if I if I'm like this and it will also be awesome when I turned like this because it's always somehow gonna be at this 45 degree compared to when it's there and I'm turned like this. It's almost functioning like a little bit of back black. I'm going to try to reposition the key light and see how this is gonna look in comparison. So remember this image. All right, here we go. A little bit more of an interesting look. As I think the key light is on the other side, As you can see right there. That's actually beautiful claim that explains exactly how it works. You can see the 45 degree angle from up to down. You can see the 45 degree angle like this. And this is one example. All right. And now imagine I'm sitting here. Maybe I'm using the microphone on my desk. All right? And I'm gonna have a conversation with you guys. Write like this. I'm gonna have to Tory here. Little bubble up. And this is how it works. Great other example of three point lighting a little bit untraditional because we do not have a fill. In case you didn't notice. We do not have a Phil and we also don't really have a traditional backlight because the background is actually almost working like a mixture between Baghdad and practical because it's illuminating something in the background. But it's not, really, you know, official backlight that actually likes me. But there's two more things that I want to try it. One of them is the difference between this look and how it would look if I would actually use this as a backlight, because one thing that I know this is that if I switch it off, it's more it's It's quite a bit more dark in the background, but it also gives a little bit more contrast between me and background. It still looks good. It's a different look, and that's again, that's what it's all about. In many cases, it's not so much about what's correct and what's not correct. It's more about what's the result that you want to have, because this, in my opinion, looks really nice. I would like something like this, and this is nice as well. It's just it's just a different look, you know. So let's change this. Had the backlight actually behind me, that I'd like to meet the background Now you can see that that we were talking about, and in this case you can see that Directed pointed that meat and you can see no on the side . You can see the edge right here. Maybe it's even a little bit harsh, but basically that's what that's what looked like. One thing that's important is that if you do that, you have to make sure that you're always sitting in front of light because otherwise you're obviously, you know, blending into the frame, which is not what you want. I think this right now is recorded on 50 millimeters, but F 4.5 I'm going to change this to an F 2.8 or even F 1.8 little. That looks because that's gonna blur out the background quite a bit more and might make it look a little bit more professional, cinematic beautiful. Let's check it out. We're back to life F 1.8 on. That's the look, guys, honestly, I really like this a lot. Maybe that's even something I could use for the next course that that's how you get a nice looking scene. The nice looking, you know, kind of image that you can use for YouTube videos, online course creations. I keep saying the same thing. You know what you could use this for, and that concludes the second life lighting. 11. The Homework!: all right. You already know what's coming. It's homework time. As you already know, my courses are all about participation. So you guys have the chance to earn the participation medal right now, I want you to create your very own version off. Three point lighting used the technique secular today to create the image that you like with the basics of three point lighting, you can use different light ratios, different kinds of lights, different kinds of diffusion and end up with a screen shot off the actual shot that you created that you light it for, like, this one right now. And then I want you to create also one behind the scenes shot that tells us how you lighted the whole thing. You know, Do it with two photos, upload them, tell us a little bit about the process If you want how you did it. I'm super excited to see your work. As always, I want an answer to every single project that you show and then you upload and yeah, that's a go at it. It's your turn. Get to work. See you in the next one. 12. The Gear: alright guys. So, like a promise at the very end of the cast. I want to talk about gear because I know that for some of you may be for many of you, the reason you haven't thought about lighting so much. Or maybe the reason you haven't used lighting to your advantage so much is because you think it's too expensive to have great lighting. I was the same and I started out with very, very cheap gear, and I'm still not using very expensive gear. So let's get started right away on. I want to start with Talking About the Headlight. The headline is probably the most important 91 a half, and I'm going to start with what I use right now, which it's the take that off. So there's just the bare, the bare minimum, the body, so to speak, which is the go Ducks s l 60 w. On This is a great little led light. It's very, very bright. It's not actually that little. You probably have heard of the more famous counterpart from Temperature, which is the editor 1 20 d and to me, I have not found a reason yet. Why the aperture 1 20 is better than this in any practical way, right? This thing here costs 100 bucks each 100 bucks for something for one of those, the temperature temperature 1 20 d In the newest version, I think it's about 800 bucks. So go figure eight times the price, basically same functionality. The only thing that I notice is that this thing has a fan that turns on as soon as you switch on the light, which is, you know, it's kind of cannot allowed. Maybe, but I have never really had a problem with this because I never film with a microphone that close with the light that you would hear it. Um, you use it by plugging directly into the into the outlet. It's a nice and long cable. You can change the intensity, want to tend 10 200% by 1% steps on, that's it. And that's a great light. I really love it, and I use it for all kinds of things. In this case right now, even it's my key light right there. If used during the course to to use the key light, I also used the other one for the backlight. Very versatile. Very, very high quality light. I really like it. It's 5600 Calvin. I believe that there is also one that is tungsten balanced, which would be 303,500. Calvin and uh, Yeah, that's the goal. Ducks s l 60 w for the key light. All right, so I quickly already mentioned the aperture 1 20 D. If you have too much money laying around or you need something specific that I maybe don't know about, maybe you want to check out the 1 20 d I really don't need it. I don't see why I would possibly invest that kind of money into this light when I get the same functionality with this one for eighth off the price, another light that you can use, which is a great option, which is what I actually started up with. And it's even cheaper than the go ducks Is any kind of generic cheap, constant light video soft bucks. So if you could just go over to Amazon, for example, and search for video soft box, you would get lots of different brands probably produced in China very cheaply produces not the highest quality, but you will get for 50 bucks about two lights. I think two soft boxes which will produce a soft light and will be enough for most uses off a key light. So it's not gonna be a Sprite is that God is not even remotely. Actually, it's not gonna be the highest quality of life is not going to be the most color accurate, so to speak. For most of you who start out if you start out with videography or light something like an online course or an interview on a non professional basis, all that stuff doesn't really matter. To be honest, like color, accuracy and light quality is not something you worry about. I frankly, don't even really worry about that that much with the work I do because most of the time you just don't notice those things right before you talk about those things, there's tons of other things that you want to take care off. So those cheap flights are actually great option. Gonna blend in the picture right now so you can see what they look like again. 50 bucks for two of them can probably get you know one for 25 or something I don't know on . That's a great option. And that actually brings me directly to the topic of light stands because obviously, to put your light where you wanna have it unique, some kind off stand for things like lights, Freedom. Call those tripods. We call them light stands, and there's different kinds of lights. Dance for bigger lights who might need heavier and more durable light stance like C Stand, which is the industry classic and the industry standard, but especially for lights like the go ducks. Even even if I put a big self books or the cheaper Amazon self boxes, you can use something like this, which is a loon aluminum light stand. They are do like this. They are, they're extendable like this. They get pretty long, honestly, so I didn't ever measured this, but it's probably well above two meters 2 50 maybe two meters 50. I don't know how much that is in feet, you American guys. I'm sorry, and those costs about, I think, 20 bucks per piece on Amazon. But if you buy those south boxes, there is sets on Amazon where you can buy I think, actually, I bought a set back in the day for something like 50 or 60 bucks, which already included to light stands and the very same light stands you can use with lots of other things to you Can you know you can use them for audio recording if you want toe basically, if you just wanna put something up, for example, the reflector that I'm going to talk about in a second I also put up with the stand like this so those that you cannot have enough of them uprooted like six or seven of those. Yeah, it's something you need. And so it's a very, very affordable. All right, so now we talked about the key light. We talked about the stands. So now let's talk about the fill. So I've mentioned it a second ago, which is the reflector. So, as you know, in the class right now, I refused not an actual light as a fill. But if used a reflector is a film and those reflectors also very, very affordable in Amazon, I think 10 bucks 10 euros or 10 U. S. Dollars for whatever. It's extremely cheap on a great value for this piece of equipment because you can pack it up like this. It's very small. And then pay attention. Okay, That just went right onto my nose. They pick up nice and small, and then what you can do is you can unfold them. You've got to be careful that you don't hit it in your face. But and like we said before in the video, they have different kinds of surfaces that you can you can use. This is the white one. On the other hand, we have the golden one. There's another black one in there, and if you take everything away, you just have a piece of diffusion that you can actually use to make your light softer. So those are 10 bucks. This is perfect use for something like Phil. You should definitely, you know, put your money into one of those. The next thing is the backlight. But the set up that I told you in the class, we used another go darks sl 60 w for the back minus one. And this is very powerful light, and especially for back like, you don't necessarily need a powerful light like this. You can also just invest in one of the smaller led panels that you can find on Amazon as well. I'm sure you want on the screen right now. Those are anywhere between I don't know. It's pretty. Starts in like 25 bucks up to, you know, whatever up to 200 bucks or something. Those combined with the light stand are well enough to function as a back light. The great thing about those this actually you can use them way more flexible than something like the go ducks, because you can put them anywhere you know, you can put them behind things. You can create nice ambient lighting with them. You can set some kind of light details in the background, which I'm going to come to in a second, and they are really affordable. And you definitely want to have one of those. That's really anything you need for a back black. All right, so now let's talk about practical lighting. Practical lighting. You most likely already have something that you can use for practical lighting. Like I mentioned in the course, you can use something like the desk lamp or the little lamp that you have. Maybe on the table next to your bed or any kind off lighting that you can move and looks good, right? You don't want to use the most ugly lamp. You can also very much use candles. You can definitely use something like a string off lights. So think about those things that you put in your Christmas tree. You can buy lots of different versions of this. You can use those backyards, Dia lamps. I'm gonna put it. Put it on the screen right there. That worked beautifully to put in the background. Especially if they're blurred out. Can you? Something like I'm using. When I didn't even know if you can, You see it very well. But I have led, like, chain back here, super affordable. I think those were, like 10 or 15 bucks an Amazon there, like, five meters long. And I can even change the color. You get this cute little remote and then you can make it red. What is it read? Or blue or green? You can make a little party, right? So Okay, this is very distracting when I just put it back to white. And yet that's something that you can definitely play with and honestly practical are where you can bring most of your style. You know you can like your for example, if you use this in the desk set up that I use before you put it beyond the monitor can make it look real nice and spend some time figuring out the scene that you like, depending on what you're recording. Right? And I have talked about budget in the beginning of this video. And if we collect all those things together and assume that you know you don't have the biggest budget, you want to go for the most affordable options, then we would be at barely over 100 bucks. So you look at about 50 to 60 bucks for self boxes with lights dance. OK, that's an amazing deal. Then you go 30 bucks with a little L D panel, then you. Then we have 90 and then you have 10 bucks for the bounce, and then you have pretty much everything you need to do professional looking, three point lighting. That's 100 bucks. Ah, 100 bucks. And honestly, if that's still too expensive for you, for some reason, I respect that. You know, I I don't know what's your story, but at the end of the day, you can even use daylight like you can literally imagine the window being the soft bucks right and position yourself according to that, obviously, you don't have the flexibility to move the window or to move the sun. But you know, if you don't have money on budget, then you need to get creative, which is the beautiful part of it, really. Eso position yourself 45 degree to the window. Use maybe something honestly like Look, I have right here. It's actually painting the background back off a painting, right? And that's why it you can even use this as a bounce, right? Like if you really need to get creative, you can buy a piece of cardboard that's white and use that as a bounce to maybe direct sunlight to give you either the backlight or to fill whatever you want to do. At the end of the day, you can get creative and make it work. And the good thing about the cameras that you don't see what's out of frame right? You don't know what's happening around here. You don't see the huge south box right there. You don't see the table that I put out of the frame right there. You don't see all that because I I kind of engineered the scene that you're seeing, and that's what you can do as well. So whatever you're filming, right, whether it's an online course, YouTube videos, cooking, cooking show on YouTube, I don't know. But figure out the framing that you want to try to make the best lighting that you can with whatever you have at your disposal. You know, whether that's $50 light boxes or $800 lights, it doesn't really matter at the end of the day, because it's all about working with what we have in creating the best image, every care. That being said, I've talked way too long already. I hope this information was valuable to you. If you have any questions, please don't hesitate to text me. I'm gonna put the email address right here and that all being said, I see you guys in the next class. Bye bye. 13. Thank you!: All right, guys. And here we are at the end of the course. As always, I really hope you gain a lot of value from this. I hope you learn a lot. Let me know in the comments and the review. Tell me what you liked about it. And more importantly, tell me what else you would like me to make a course about. I appreciate every single review. It doesn't need to be five stars. I really don't care. I want an honest review from you. If you like to give me five. Didn't give you three. Whatever it might be. I'm very, very appreciative. And see you guys in the next course.