Photo/Video Lighting on a Shoestring Budget | Marshall Rimmer | Skillshare

Photo/Video Lighting on a Shoestring Budget

Marshall Rimmer, Filmmaker

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10 Lessons (28m)
    • 1. Trailer

      0:37
    • 2. Scouting the Location

      1:06
    • 3. White Balance (bonus lesson)

      3:07
    • 4. Necessary Purchases

      6:42
    • 5. Recommended & Optional Purchases

      3:03
    • 6. Deciding the Look

      0:45
    • 7. Sample Set-Up Walkthrough

      5:52
    • 8. Backdrop & Backlights

      2:48
    • 9. Final Tips

      2:56
    • 10. CLASS TRAILER: Stock Photography

      1:14
40 students are watching this class

About This Class

This class is designed for someone who would like to take their photo/video more seriously without breaking the bank.  Maybe you have a vlog and you wish you didn't have to hire someone else to shoot it.  Maybe you just wrote your first short film and aren't sure how you're going to film it. Maybe you're looking to photograph some clean portraits.

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Hi, my name is Marshall Rimmer and I'm a cinematographer who has learned the craft through working on tiny sets with bare-bones equipment and no budget.  I'm here to teach you how to squeeze the most production value out of a shoestring budget.

Watch a sample of my cinematography here.

Photo/Video Lighting on a Shoestring Budget will not only show you which equipment to purchase, but it will provide you with 14 different professional looks, complete with examples and schematics for how to acheive each look.

This class is only $16! The $65 USD refers to equipment costs. Necessary purchases will be made at Ikea, Home Depot, and Guitar Center (or other similar stores).

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In this course, students will:

  • Create a photo/video studio for under $65
  • Gain access to over a dozen informative PDFs explaining how to acheive professional looks
  • Learn lighting theory

If you're interested in my color grading LUT pack, use the code "ClassDiscount" to receive 60% off all downloads.

Transcripts

2. Scouting the Location: - thank you guys for taking this course. - I really hope that it's been official and video, - blog's and basic video production and just kind of quick and fast cheap filming before we - jump into it. - The first thing that you need to do is kind of scout your location. - Go to the room that the production will be taking place in and take note of a few things. - Take note of any available light coming through windows. - Take note of lamps that are being used, - lights that are being used and kind of get a feel if the room has mawr of, - ah, - more outside light coming in or if it's more of the kind of the inside overhead and lamp - feel to it. - This will be important when we're actually picking out what lights to buy, - as different lights have different colors and you have to buy the ones that kind of mawr - match the location that you're shooting. - Also, - you need to look at the electoral plugs and see how many of those there are if there's not - too many of probably gonna have to buy some power strips as well. - So the two things to really look at it. - The location is the lights and the electrical plugs, - also including another lecture in the section from another course that I teach on video - production. - This will really get in depth in that color temperature that I was talking about, - and we'll give you a deeper understanding of what's the difference between daylight and - indoor lights, - so that's pretty much it jumped in the next video. 3. White Balance (bonus lesson): - so one of the most important things to do. - Once you begin shooting with your camera before you actually shoot anything, - you want to look at the white balance. - White balance is a term that, - basically, - first to the fact that all whites produce different colors inside lights are actually a - little bit more yellow than daylight. - Fluorescent lights or somewhere in between. - You know, - light it sunsets gonna be different as well. - So basically, - our human, - I just colors for us and we don't really think about it. - But we have to go inside the Cameron, - actually, - just how it reads the color of the light so it can properly read an image. - So right now you're seeing something at proper white balance, - and this is at an improper white balance. - Sometimes you grab the camera, - you're ready to shoot everything's kind of blue or yellow, - and you're not sure why. - That's because you haven't adjusted to a proper white balance. - So the traditional way of why balancing is toe hold up something white, - zoom in on it so it takes up the whole frame of your camera and then press the white - balance button. - This will adjust within your camera, - and it will do it automatically. - Cameras are always different, - so the white balance, - but it is not always in the same place, - so that's the automatic way of doing it. - I've shared a pdf with you guys, - and the additional resource is that kind has a list of all the important numbers. - White balance is on a Kelvin scale and the important numbers to remember our thirty two - hundred four in sidelights, - incandescent tungsten and 5600 for outdoors during the middle of the day. - Basically, - the way that I think about it is the higher the Kelvin number, - the mawr yellow that your infusing in your image. - So if you think about inside lights or yellow outside, - the sunlight is actually bluer when it comes in. - These are things that if you haven't thought about this before, - it will sound strange. - But if you start kind of going throughout your day and looking at the difference between - inside and outside, - you'll understand. - So because the light outside is a little bluer, - we wanna up our Calvin to infuse more yellow in the image. - If it's an overcast day, - it's gonna feel a little bit more blue outside, - so we need to adjust the white balance, - even Mawr, - to put in more of that yellow in the image. - It's a little bit complicated when you first start out, - but once you do it a few times, - you'll kind of get a feel for it. - Another thing to note is that fluorescents are kind of halfway between indoor lights and - outdoor lights, - and there's no uniform fluorescent, - which is really frustrating. - There's somewhere between 8000 so you always kind of have to adjust. - Some of the DSLR is a really nice where they come with preset white bounce for sun indoors - , - shade overcast. - I know the cannons come without. - I believe that Nikon has something similar as well. - But basically, - if you remember those two numbers 3200 and 5600 those were the key numbers for white - balance. - Some cameras allow you set that manually. - Others will force you to do the zoom in on a white piece of paper. - Either way is fine. - In the big picture is a little better to know those numbers, - but starting out it's totally fine to do the white paper and balancing to that So for each - of these classes, - I want you to go out and shoot some test footage using what we just learned. - And hopefully we'll take that test footage and later on, - we'll put it in the final project montage. - So by the time you've done the whole class, - there won't be too much work left. - So for the white balance test footage, - I basically want you to shoot something indoors and shoot something outdoors properly. - White balance Both should be fairly easy. 4. Necessary Purchases: - All right, - so we're ready to grab our equipment. - I've broken down the equipment into three sections. - The necessary the recommended and the optional The necessary is just that. - It's the necessary equipment that you need. - This is right here. - This lighting set up is using on Lee the necessary. - The optional on the recommended are both kind of icing on the cake. - The recommended is heavily recommended, - but not necessary. - Obviously, - on the optional again is just kind of going that extra mile, - especially if you're looking to pursue production in the future. - I kind of get you started there, - and also all the equipment is divided up into basically 3 to 4 locations. - Eso go through the list all three of those, - and see which equipment you think that you'll be getting. - Which of the recommended an optional. - That way, - you don't have to go to Home Depot seven times, - so look it over. - There's really only four locations, - so let's get to it. - So the first thing on the list is the China ball. - The China ball is this guy. - You buy him at Kia and basically opens up and you put the bold down inside and Then the - light comes out. - It's very soft and diffused. - It's a nice soft light that I'm actually getting from this front light right here. - So there's no harsh shadows on my face. - It's just kind of a nice, - soft, - pretty light. - So you might the China ball, - and then you'll buy the fixture with the core that hangs in the the China ball as well. - So those are the two things for my key out of the necessary list. - I recommend they get to those. - It just comes in handy. - It's not necessary. - Right now. - I'm only using one, - but it's something that's depending on your location. - If you think that you'll be changing places, - it's good to have two of those with the size of the China ball. - It doesn't really matter. - I always get something kind of mid range when the really large it takes up a lot of space - and it's just kind of cumbersome. - But when the really small feel like they don't get the effect that they want, - so somewhere just kind of in the middle is fine, - which everyone you buy, - we find them all right. - So off the Home Depot at home Depot. - You want to buy clamp lights? - They're also called heat lights. - They look like this. - They got the aluminum cone cable kind of fixture. - But what's really important is that they have this clamp that comes with them. - Aziz. - Well, - he's a really versatile lights and these air what I'm using for my two back lights right - now, - um, - they definitely come in handy, - and the clamp really allows you to put them kind of anywhere you want, - which is really nice. - It's necessary to get to these. - I recommend getting three just toe have around. - They're always useful, - but like I said to is the necessary. - So once you get the clamp, - lights need the bulbs to actually go inside. - I recommend 100 watt those air fairly bright, - and they're really cost effective. - Anything over 100 starts to get really bright, - which is great, - but they start to get really expensive as well. - So the 100 watts usually do the trick, - especially if you're shooting in a room with a lot of daylight coming in at Home Depot that - classify them outdoors, - bright white or soft white. - If you're shooting in a room with a lot of sunlight coming in with windows and things like - that. - Get the outdoor pool. - It's good to match the color with the actual life coming in. - If you're shooting in a room with a lot of lamps and a lot of overheads and kind of a more - yellow warm feel, - you probably want the bright white. - It's necessary to get four bulbs of 100 watt at either outdoor or bright white, - depending on what your location calls for. - So while you're at Home Depot, - if you took a look at the outlets in your room, - I recommend that you pick up extension cords and power strips and just whatever you need to - kind of help the power get in the places that you'll be, - know that the lights will probably be about six or seven feet high. - So keep that in mind that that height, - when you're thinking of where the where the outlets are, - on how long the cables need to be. - Usually if you're shooting in a room just short, - cheap extension cords are totally fine, - but depending on your location, - you might need to go to something a little larger. - Also, - some lights are dimmable and other lights aren't dimmable. - Ah, - lot of the current, - like a fluorescent kind of spiral lights those air, - not dimmable. - But a lot of the old school lights are dimmable. - When you're at Home Depot, - you can get dimmers, - those air great tools to have around. - Unfortunately, - a lot of the lights that we use nowadays are not dimmable, - so make sure that when you buy the lights, - you see if it's dimmable or not. - Right now, - I'm not using any dimmers. - It's a matter of like walking lights away or close just to kind of get the brightness. - But dimmers air nice, - because you can just sit there on a little switch and you don't have to do any movement. - You don't have to, - you know, - move equipment around. - So dimmers air nice if you're able to use them. - But when you buy the lights, - make sure you know if they dim or not, - and then if you have the money to spend it, - be nice to get 1 200 watt bowl as well 100 watts or nice. - But they're about as as low as is acceptable 200. - What would be great and a lot brighter and you could still get that nice soft effect. - Right now I have 100 watt bulb in front of me, - but I have a window to my side, - so I'm getting a lot of daylight there as well. - So 100 watts Nice. - It's kind of getting this side of my face a little bit and this side. - But if I was shooting, - that's at night. - It would be nice to have a 200 on the side to get this kind of bright effect as well. - So this sounds a little silly, - but stands are actually the most difficult part of this whole process. - Um, - the $65 that have quoted you guys basically half of that is in stands. - The lights themselves are fairly cheap and fairly accessible, - Um, - but stands are always difficult. - If you actually want to spend money on buying your stands. - I recommend Guitar Center, - get a mic stand. - A mic stand is nice, - it comes up and it also pivots, - and that's where I put a lot of my China balls. - The Chinaman's kind of dangle on the end of that pivot, - and I can kind of position them. - However, - I want to those air like $25 in. - You know, - basic stands are expensive. - So what I've done and this is a little silly, - but it totally does. - The trick is I've set up two by fours on the back, - and I've used those clamp lights that we got shooting down is a backlight. - So my stands in the back or actually two by fours. - They cost me $3 they're just as effective as any other stand. - Now, - keep in mind, - that's for the backlight, - so I can kind of prop them up against the wall, - whereas the soft light, - the nice China Bowl in front of me that needs to actually be on something that you can kind - of control a little bit more than just a static backlight. - And that's really the last bit those stands. - So you need your china ball. - You need your to clamp lights. - You need three stands of some sort. - Go on Craigslist. - Look around. - You don't really necessarily have the binoo stands. - It's a little bit of waste of money. - So I went through all those fairly quick I'm including an additional resource. - Pdf a list of all those as well, - categorized by the necessary that recommended and the optional. - So I included links to all the items in that PdF and it's very simple and straightforward - and easy for you guys to grab and get out there and get all the equipment. 5. Recommended & Optional Purchases: - then, - as far as recommended things go, - it's really nice to have an ambient source of light. - If you have a window that works great if you're in a place that doesn't have a window or - you know you'll be shooting at night, - it's nice to get a really powerful light to kind of just hit the ceiling and bounce off and - brighten up the room a little bit. - So it's not a direct light causing harsh shadows, - but just something to kind of livened things up a little bit. - If I were to shoot this at night, - I wouldn't get this nice light coming through the window. - I wouldn't get a little soft bounce here. - So knowing what time of day you're shooting is very important as well. - And this is one piece of professional equipment. - It's called CTB. - It's a gel that you put in front of indoor lights to make them look like they're sunlight, - So this is important. - If you do have a mixture of colors, - you can put the CTB on the indoor lights and all kind of look the same naturally, - and thus far is optional. - Stuff goes. - It's great to have a backdrop um, - if you're shooting in a place that's kind of big and nice and looks great, - Um, - use that I'm shooting in an apartment room and a nice little backdrop is a lot better than - just a white boring wall, - so that the backdrop you could just buy a bed sheet at Target. - It's very simple. - What I've done is I've actually rigged my backdrop on those two by fours that I bought his - back lights. - So it's kind of a nice all in one little system there. - For the color of the backdrop, - I recommend something cool like a blue or a green or something dark. - If you're doing something a little bit more dramatic or serious, - maybe like a like a charcoal or black or brown or something like that. - The reason why we don't do bright, - warm colors is, - uh, - people's skin kind of gets lost in that if you get something that's close to an orange or - magenta or red, - people don't pop out from the background as much. - So in this I have a nice blue. - I'm wearing a dark shirt, - and then you can I jump out from the background more than I would if if this was like an - orange color, - another piece of professional equipment, - they can get an Amazon is gaffer's tape. - Gaffer's tape is great. - It's super sticky. - Great tape similar to duct tape. - Except it doesn't tear paint off walls and it it's very friendly in terms of it doesn't - damage things, - but it's a very powerful hold, - and I've used that to put on my backdrop in other things like that. - So again, - gaffer's tape not necessary. - But if you are looking into a career and video production, - anything like that, - gaffer's tape is a great piece of equipment to buy. - Also, - this is silly, - but a bag of clothes pens is always helpful. - If you do have those gels, - clothes, - pins or what actual professionals use to put them on lights in the business, - we call them see 40 sevens or bullets. - It's really silly buzzwords, - but clothes pins are great tools that actual professionals use. - And last but not least, - it sounds a little silly. - But fabric softener sheets work great as diffusion, - So if you have a light that's hitting you, - that's harsh, - and you wanted to be a little bit softer. - You don't want ugly shadows. - You can put the fabric softener sheet on the light and it'll it'll soften it up. - Let's go ahead and grab the equipment. - And in the next few lessons, - I will tell you guys a little bit about theory and a little bit about how to use all the - pieces of equipment. 6. Deciding the Look: - so before jump right into it. - It's important to know what type of project that you're shooting because the life should - change, - depending on if it's more comedic or more dramatic, - more professional, - more naturalistic. - There's a lot of elements that combine here to let us know how are lighting Set up should - look. - So I've included a pdf, - and the additional resource is of many different types of looks, - just using this basic three lighting set up, - and I also categorized them by what kind of feel that they have to them. - Clean, - naturalistic beauty, - mysterious, - dramatic, - intense, - just kind of descriptor words that really kind of help you get a good idea for what type of - lighting said it would be great for your project. - So once you have an idea for what kind of look you want, - your project toe have jumped in next video and I'll show you guys how to use all the - equipment 7. Sample Set-Up Walkthrough: - all right. - So I'm going to show you guys the basic set up of what I used to achieve this look but real - quick. - It's always important when you see an image and you like how it's lit to really analyze - where the light is coming from. - When you look at this image right now, - you're seeing some highlights around the outside, - on my shoulders and on the side of my head. - Here, - you're seeing a nice, - bright soft light here, - hitting both cheeks and kind of tapering off on this side a little bit before we get the - backlight again. - Here, - of course, - using a bright light here, - the key light from the side. - It's kind of a nice soft look as well. - So, - really, - when you see this image, - you're seeing four different lights. - You're also seeing possibly a little ambient bounce here, - so this side is not completely dark. - So one rule of thumb I typically play by is that the lights in front should be a little - softer, - and the lights and back are totally fine. - To be harsh. - So have two different types lights. - We have the China ball, - which is nice and soft, - and we have the clamp light, - which is more direct and harsh. - So I used the clamp lights in the back and I use the China ball here in the side. - What you get to your location. - It's important to know kind of where ambient light is coming from. - I try not to fight the son. - I try to use it to my advantage if I'm inside and there's a big window would be nice to use - that as a key. - So that's what I'm doing right here. - It would kind of be silly of me to try to light from this side, - even though I'm getting all this light from that side. - I have toe block that window off with drapes or something like that. - So I always try to use what light I have available and just kind of roll with that. - You don't have to do that, - but it's just a little easier and quicker and nicer. - All right, - so let's look at the back lights first. - So these are my back lights. - Let me show you just real quick what they look like on versus off. - So this is on, - obviously, - and this is off, - so they off look gives it a little bit more of a natural feel that is preferred in some - situations. - But for things like this, - when you kind of wanted to have more of, - ah, - studio Look, - I usually have some type of back light. - Um, - I did a double back light for this, - which is not necessary. - Doll People typically put a backlight opposite from where the main source of lights coming - from so very traditional look would be something more like this. - So that's how the back lights affect the image. - Like I said, - I've put 22 by fours back here, - and these are what the clamp lights air Hang on as back life, - let me show you. - So this is the light that you bought from Home Depot. - I put 100 watt bulbs in these, - and they're really great and versatile, - and you're able to kind of clamped them anywhere. - They were good on doors, - top of doors and things like that as well. - Countertops. - They're really good. - Just kind of all purpose lights. - The height of the lights is very important as well. - You basically want, - um, - for a backlight when they're high for backlight. - When they're high. - You get nice shoulders as well, - which is really good. - When you're watching news or anything like that, - the lights will be high, - so you'll be seeing the light hits the head and the shoulders. - And that's kind of what most people dio. - So that's two out of our four lights. - The next is the China ball and what I typically try to do. - I like images were there bright on one side, - and the light kind of tapers off on the other cheek. - It looks right now, - like this China ball is directly in front of me, - which it kind of is. - But I'm off to the side a little bit, - and that's enough to kind of make this light stop right here. - You'll see. - If I was to be right in front of it, - it would be on my whole face. - But since I'm to the side a little bit, - I get a nice kind of tapering feeling there, - and I'll just bring this. - China will end to show you kind of how it works and everything. - So this is the China ball. - It's set up on a mic stand, - like I was saying from guitar center and I just basically put the cable and hung it down - like so, - Um, - very easy, - straightforward type of light. - Let me show you how to build it real quick. - Here, - the main components of a China bowl. - You have the bulb here, - and the China Bowl itself comes in two pieces, - the ball, - and then this guy that works in there to make it stay open like that. - So they come like this. - You gotta open him up. - You dropped this guy down in the middle, - and then once you do that, - you just put the in like so one thing That's nice about thes Mike stands as they pivot, - they swivel, - they raise up and down so you could do a whole lot of different things with which is really - nice. - And it can't having them at about six or seven feet. - People like height in the front from the lights. - So there's no were no shadows to the side. - If this was a really harsh light, - you can see a little bit of the no shadow there. - This is the harsh light. - You get a lot of no shadow right here. - But if we're higher, - it kind of blends in with, - like, - the moustache and, - you know, - if you don't have a mustache, - but it blends in with the lower part of the face, - and that scene is more natural, - I assume, - from overhead lights and sunlight and things like that. - We have shadows on the side of the face. - It starts to look unnatural, - kind of creepy and weird and stuff. - So besides the China ball, - the last light that I have is is a window that's to the site here. - It's not sunlight directly coming in and hitting me, - but just kind of a bright daylight source that I'm getting, - which which I'm working with and using as if I had another China bull here. - If I was shooting this at night, - it would look very different, - and I would probably want another big soft source here. - So that's why I recommended you getting to China bowls kind of doom. - Or with that in just one. - But I'm using the daylight here, - so I'm good to go. - That's pretty much all the equipment. - Um, - it's important. - Know what type of look you're getting and matching that to the subject of your project and - play around with it. - Have a lot of fun. - You know, - Try a lot of those different looks and see which ones you like more. - Um, - using just three lights. - Four lights. - You get so many different looks that do a lot for your story. 8. Backdrop & Backlights: - All right. - So this last video, - I just have a few quick tips for you guys. - First off, - pay no attention to the framing. - It's a little bizarre, - but I'll get to that second. - So first off, - I want to talk to you guys about the backdrop. - I know I mentioned that in previous videos, - but this is what the video looks like without any sort of backdrop. - I don't have an interesting location at hand, - so shooting in my apartment. - So it's just kind of boring. - If you guys don't have access to a really cool location or a location that's indicative of - your video or photo project, - Um, - throw up a backdrop, - something dark, - something nice that way. - It's just not a white wall. - Secondly, - kind of going with that there's wearing a white T shirt. - It doesn't really pop from background a lot, - so keep in mind what your subject is wearing versus what the background is. - You don't want them to be too similar or else the subject is just gonna kind of blend in - with the background. - And I don't want to talk about the fabric softener sheets. - So these guys you put on your back lights to just kind of they diffuse. - Yes, - but they also kind of lower the intensity of the light. - So, - an image like this, - you can tell that I'm very lit right now. - You can see this kind of harsh light right there. - Some people like this. - Look, - some people want a more naturalistic approach. - So when you put these guys on your back like they really kind of soften it up, - lower the intensity and make it less noticeable of light. - But still something that's nice that allows you to pop from the background. - So keep in mind as I'm doing this video, - technically, - it would normally be kind of frame just me. - He wouldn't be seeing this. - I just frame that in So you guys could see Well, - we're working with here, - So this is obviously with no fabric softener sheets. - This is just a harsh 100 watt bulb right behind me. - I'll add one sheet. - So this is with one sheet, - added it, - soften it up and lowered the intensity a little bit, - but would probably have to a lot more to actually kind of get the look that we're going for - . - This is with two sheets three, - four and five. - Keep in mind also that these diffuse the light. - So if we wanted to use them in front instead of those China balls, - we had a clamp light in front. - But we wanted it nice and soft. - We just add in a lot of these fabric softener sheets. - So this with five, - you can tell a difference between the five and the one for sure. - So this with a total of 10 fabric softener sheets, - and you tell us a lot more subtle than just having a direct, - harsh light on you. - But same time is still little intense. - I mean, - if we had use something like a 60 watt bulb instead of 100 it would have been a lot nicer - and much more difficult to detect. - But even this is nice. - And so when you watch movies, - actors will always have back lights and very subtle lights on them. - That you don't really notice is you're watching the movie so you can just enjoy the movie. - But next time, - watching movie pay very close attention, - just little accent lights that make the characters pop from the background. - There really settled the really nice and they make your image look really great. - And it doesn't look like we're in a studio with harsh lights just beating down on this. - So that's it for this lesson. - Go on to the next. 9. Final Tips: - so just a few random lighting tips. - The first is about ambient light. - It's always good to have the room that you're shooting and be as bright as possible. - When things were darker, - the image on the camera usually gets a lot of gain and grain and kind of more nasty digital - pixel ization kind of thing. - Another important tip is if you're shooting a scene, - you want your key light or your main source of light to be opposite from where the camera - is. - This just gives it kind of a nicer look. - So if I'm having a conversation with somebody and the shot is something like this, - this looks and feels right. - This is nice, - A little bit more cinematic and pretty. - You're seeing a lot of my face. - This is bright here. - This I have still Bryant. - We get a nice tapering on the cheek here and then we have the backlight here, - and this is because the camera is here. - The line of action is here and then on the other side of that line of action is our main - source of light. - This giant window right here. - Now, - if we did this opposite of what I was saying it would be something like this and the - conversation would be happening here. - The cameras there are main source of light is here as well. - The images just a little bit flatter, - but it's okay with this backlight if we lose the back life Now, - suddenly this is just kind of a boring image. - We haven't put much thought into how it actually looks. - Um, - so yeah, - so that's just something to think about putting the key on the opposite side of where the - action is than the camera. - This goes saying with shooting outdoors, - it's always nice to have the sun as a backlight. - Um, - so you're shooting something. - The actions here than the sun is behind it and nothing is not. - One look is perfect for every situation. - I've killed the backlight here. - Maybe this would look nice in a scene that, - you know, - it feels more natural. - It's not as lit, - it's not a studio. - Look, - just keep in mind that one look does not fit all with light. - So this is just very so. - This is really just the very basics of lighting. - I hope you guys go out and do some research and really get deep into it. - The more that I learned about lighting, - the more I realize that there's mawr toe learn. - It's a very deep, - rich, - scary field that requires a lot of thought. - And when you watch movies, - you should really have a lot of respect for the people that he lighting because they're the - ones that no one knows about. - But they're the reason why the movie looks like a movie. - So really hope you guys enjoyed the course for the project. - I just want to photograph. - I just want to picture uploaded of you in your set with your lights, - everything beautiful. - I just want to know what look you chose, - why you chose it and what your project is. - So just very basic easy stuff just won't be able to look through and see everyone's looks. - So thanks again for taking a course. - Like I said, - I do teach a couple others, - and because you took this course, - I'm gonna give you a discount. - If you decide to go through with the video camera basics, - it's very helpful. - Course it will teach you how to use a camera if you know the lighting, - but you don't know how to use a camera. - You're still missing out to the to really go hand in hand. - So I really advise you. - Check that out and thanks again. 10. CLASS TRAILER: Stock Photography: So a while back, I was out hiking and I came across a sign for rattlesnakes and if that was kind of interesting, so I took a picture of it with my thumb, that picture turned out terrible. Sign was a bit high up, so it's poorly framed. It doesn't tell a story and it's just objectively a bad picture. But I was like, what the heck. So I uploaded you have stock photography site and within a couple of months I made $4 off this picture and look for dollars is not a ton of money. But it got me thinking if a picture this bad can make real money on stock photography, there's gotta be an economical supply and demand type of approach to making passive income off stock photography with little or no photography skills. So over the past year to I've created a very pragmatic approaches, stock photography that at this point makes me about $500 a month. And look, I'm not making fine art here. Okay? I'm taking very basic pictures of things that are in demand that people pay real money for. So if you're looking for a source of passive income that doesn't require a lot of time learning a new skill set. It doesn't require a lot of money and startup capital. Stock photography is the way to go. And in this course, I will show you my very straightforward approach to making real money off stock photography that you can use with your iPhone or any camera in full auto settings. So if you're ready for some easy passive income, let's get started.