Lighting Basics - Daytime Studio: How to Successfully Light a Model for Video, Film and Photography | Shannon Wine | Skillshare
Drawer
Search

Playback Speed


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

Lighting Basics - Daytime Studio: How to Successfully Light a Model for Video, Film and Photography

teacher avatar Shannon Wine, Video/Film/Photography Techniques

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

    • 1.

      In the Studio-Daytime Lighting Class Intro

      1:26

    • 2.

      My Lighting Equipment-What's in my Gig Bag

      2:51

    • 3.

      In the Studio-How to Successfully Place Lights

      15:22

    • 4.

      Lighting for Dramatic Mood & Cinematic Look

      5:23

  • --
  • 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.

20

Students

--

Projects

About This Class

Lighting Basics - In the Daytime Studio: How to Successfully Light a Model with Lighting Techniques for Video, Film & Photography. We will cover basic lighting skills in a studio for successfully lighting your set during the daytime--whether you are a podcaster, videographer, photographer or cinematographer!

I will show you what equipment I use, how to try different angles on your model for best effect, how to use dramatic angles with lighting to create mood, and more.

Topics include:

  • The Lighting Equipment I Use: What's in my Gig Bag,
  • Light Placement in the Studio for Successful Lighting on a Model,
  • Playing with 1-point to 4-point Lighting,
  • Low Angle Light Placement for Drama and Mood,
  • a Class Project.

You will gain knowledge about light placement and how lighting can affect your model's look--to help you understand lighting in a studio and how to light your project with confidence.

For added context: I cover additional basic lighting topics in these classes:

 I will be posting new content as I get it edited, so please Subscribe/Follow (and give myself and my class a Review / Like :-) Thank you!

You can access my Teacher Profile & Classes at:  Shannon Wine's Classes

**Personal Notes: I have edited classes using Blackmagic DaVinci Resolve. I have a Lumix G85 DSLR. My lighting kit includes 2 85-watt Fluorescent bulbs in reflective sofboxes, a round bounce, a 600-watt tungsten scoop flood, a 750-watt tungsten lowel totalight studio light, small LED squares, and various backdrops and lightstands--which I will be demonstrating in this Studio Lighting lesson.

**MUSIC Credit: Thanks to my extremely talented musician friend JOHN FORTUNE aka John4tune at http://www.john4tune.com for allowing me to use his music for my class soundtrack!  Listen to/buy  John's music on Amazon, iTunes, Spotify or Soundcloud.

My personal artist promotion website:  www.3sistersartists.com

Meet Your Teacher

Teacher Profile Image

Shannon Wine

Video/Film/Photography Techniques

Teacher

Classes: Basic Lighting Concepts & Techniques for Video, Film and Photography. Learn Basic-to-Intermediate skills in Podcasting, making a Short Film, Videography and Photography.

Coming: Video Basics, Video Editing, Common Lighting Mistakes, Studio Lighting, Popular Video Critiques and Photography Tips & Tricks.

30-Minute 1-on-1 "Teach and Critique" Sessions.... FIRST IMPRESSIONS MATTER! Let me take a look at your project and give you personalized Tips & Techniques to bring your work to a higher level of professionalism.

You can see my professional background in more detail at

My Professional Background

My Teacher's Resume' :

-Assistant Lighting Director at KTBW Ch 40. Camera, Floor Director and Master Control \ Master ... See full profile

Level: All Levels

Class Ratings

Expectations Met?
    Exceeded!
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

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.

Transcripts

1. In the Studio-Daytime Lighting Class Intro: Hi and welcome to my class. My name is Shannon Winiger and today we're going into the studio with daylight. We're going to just go in and play with lights, have a little bit of fun, put them all over the place, see what you like, what you don't like. But basically just teach you the concepts of light placement and how to create some kind of an effect that you like. I'll give you the set up, the equipment that I have, how you can reproduce it, and just increase the quality of your podcast. One of the important things I think is that you don't have to have a big budget to do fairly decent lighting. I want to show you these three here that I'm going to use today didn't cost very much. I think they were under 100. I'm going to do a separate segment for nighttime. I'll take you into the studio at nighttime and show you my light setup and the lights that I use for that particular application. That'll be a separate class, so please subscribe if you want notifications for the classes that I post, I'll just be posting as I can get it edited and up there. Lots of subject matter coming up. Lots of cool things. So let's go in the studio. Let's get started. 2. My Lighting Equipment-What's in my Gig Bag: As you can see, the room that I film in and do photo shoots is fairly small, but it has a pretty large two panel window in the front. And then I have a black curtain that hangs around in the back. I'll go over the equipment that I'm going to use today as lighting during the day in front of these windows. What I have is a fairly inexpensive little three LED light system. You can put those on tripods or just light stands, battery powered. It got a little thing, six AA batteries. You can also get rechargeable ones. I believe it's got a little on off and dimmable switch on there. And then you can also plug this in and this fits on the tripod. It's got the adapter right there. It has a little bit of effect when you have to get pretty close LED's. They don't throw light very far. I have a bounce, it's either a four or five round bounce. White. I usually use the white side. That also has a little holder that you can clip on both ends and then put on a stand and you can tilt it up and down. As you'll see, I have a couple of other tungsten lights that really throw a lot of light. It is really bright even from back away, it'll throw light. What I usually do with this one because it's so bright, is I usually bounce it off the ceiling. You'll see the difference between the tungstens. These are old lights that I've got and they're 3,200 K Kelvin temperature. They're pretty warm, they're a yellowish light. Also, daylight coming in the window would be around 5,600 It's a little bluer than the tungsten mood comes into it with color and placement. I'll show you a little bit about mood on the end, from the different light placements so you can get an idea of mood. But I'll cover that later in more of that topic for the next class. It will be the same studio, but it'll be night time. We'll have more control over our light. I will add a couple of fluorescence into the mix and I'll show you where I set them up. But we will go in and do different type of lighting for the nighttime. And that will be the next class. Let's go into the studio. Let's get started. 3. In the Studio-How to Successfully Place Lights: Here we are in the studio, my little studio, and it is daytime. I am set up with my three LED lights. There's small ones. I didn't put them on tripods, I didn't put them on light stands because I wanted to show different positions and things that you could do. It's more like I want to give you an idea of what you can do and not just give you the 123. That's where they go, so all of the different things that you can do maybe to make things look differently. You would pick the best parts of what you like here and then put them all three together. He's set up in front of the windows, so it's without assistance, without any extra lights. But you can see the daylight coming in from the windows. In his eyes right here, he melts into the background because he has dark hair and I have a black background, but that's the starting spot right there is a little bit of natural light coming in from the window. If you recall, that will be at 5,600 K, which is daylight. These little lights, if you're close enough, it can bring a nice main light or get farther away and bring in a little bit of light to fill on the side. This is the first LED. I have it right over here and it's shining. You can see it's shining on this side of his face. Bringing in a little bit more light and it's creating a shadow right here. Then I bring another light in right over here and fill in this part of his face. It gets rid of the shadow. He still has a little bit of natural lighting coming in on this side that actually looks warmer. I thought I had daylight, but it does look a little bit warmer than the natural light I have coming in the window. Okay. This is up a little bit now, you do have a shadow. Let's go back and a little bit co, little bit brighter, still pretty uniform across his face. I will point out this type of lighting one side and the other does make people's faces look wider. Sometimes this is just a really uniform. I backed off on this side a little bit, so both of them are about even little bit of shadow right there, but not much. You can see where the light placement is right here in the eyes have one over here and then the light coming from the window, like men always look good, usually with lighting from either the backs, you want to look at their jaw and you want to bring in the side of their face. They have nice masculine characteristics there. Then also, you could bring in A if you had it fairly close and light up his hair, because his hair is dark and you have this dark behind him, there's nothing to define. He just fades into the background unless you define him like this. And then you've got a little bit of delineation away from the background. And I will talk more about green screen on a later episode. Okay, here's a little bit more drama. You still have the light from the window, but you also have light coming in. It's a low angle. It hits his throat and the side of his face and picks up a little bit in the eye there and on the shoulder, this is from behind a little bit. It's catching the edge of his chin and his hair a little bit and just the edge of the eyebrow and the neck dramatic. But I actually think this is decent lighting. I like this a little bit better. I think getting a little bit more of the side of the face, a little bit of the nose then. This isn't bad either. The difference between that is I. See? I moved it farther away, a little bit different angle because you catch more of the nose. I moved over a little bit farther. It's a little bit under, on the face there. Okay. This is more just side and real soft. This is pretty good for him. I had my camera just set on one exposure. I'd say he's a little bit dark. I'd probably need to crank that up a bit, let more light in in my lens. I actually, I like this side lighting for him. Hi, I'm trying to do it in front of the camera so I can't really tell. But anyway, I would sit him down in a chair and I would really work to see how his face looks best. Some people look best straight from the front. One strong one from the side and a light one from the side. You just work until you get a really pleasing look on the person. Okay, bring up a light for the hair, You could include the side lighting, and then bring the hair lighting. This looks nice. It just delineates you might need one for the other side as well. This is, I think, where a boom arm would be something that you really need so that you could not have your light in the shot. You could have it right up here. But the boom, let's see, your stand would probably be about here. And then the boom arm would go up here and the light would attach off to the side. That just brings a little bit here. Looks nice. That's more of a diffused look over here from the back. Then this is moving over a little bit closer into the side again. I actually like that too. If I brought a back light. And this side lighting, I think that's a really nice lighting for landing this as well, a little bit higher up, and it catches the shoulder. This is an odd lighting because it splits his face into two. This is a different lighting, and this is a different lighting from this one down. Here is an odd angle. That's what is causing the trouble. And you can see that light right there. But this isn't bad. This is more like a flash, although it's not directly in front of his face. It's a little off to the side. It's a little more pleasing than just a straight on, I'd say. It's not bad, but it probably could be improved. And then this one is catching his shoulder and a little bit of his neck there. Okay, This light here is shining directly over here. It's maximizing this part of his face right here. Minimizing this, I guess, because I also have a back light on that particular spot. This wouldn't be my favorite, I guess. Same here, the difference between the one before, I guess I moved the back light up a B. This is a little bit better because this is a little bit more natural angle like real evening Sunnis. Look, I'll have to buy them a late after this is done. How I pay my models? Okay. This is 750 watt and you can just see if you need a lot of light and you have to be back away with your light. You can just bring extra in. You can even bounce this one from the roof to get a little more see, now you have some delineation on his hair just because I'm bouncing off the ceiling. But there's a lot you can do with that because it's just so bright. This one I have used a lot. It brings a lot of light in and I'm bouncing it off the ceiling right now. As you can tell me if you needed to delineate him from the background, you could just do that shine on the background a little bit. Or you could also light up his hair. You can use it as a spotlight. Be way back there. It throws a long ways part of the bringing up the light level in the room When you're filming or done photography. You can also use a smaller stop that gives you more depth of field. Your auto focus would work better for one thing, then your background would be more in focus. If focus is at crucial thing, then you need more light. Really bright on this side, maybe that's a little bit better. You can see a little bit of color cast change from the daylight, which is pretty blue still. This is still a little bit yellowish. Then you see more yellow. Now, I probably pointed it this way. Let's see, where's a shadow? Yeah, it's more to the side. You're getting a side shadow right there. Here you get nice diffused because it's a bounce off of the ceiling, in the wall. This isn't bad actually. It's a diff, soft light on this side of his face. You can still see the color shift between the yellow and the coolish, but it's not bad. That illustrates, this looks like evening sun. Then you still have the cool over here. But that's more of a direct. Then this one, I'm bouncing off of the ceiling up here. So you get it directly, coming down this direction onto this side of his face with that yellow look. This is my beloved scoop. It's all dented. It, it's a 650 watt. It's really hot. It's a tungsten old, it's like 30 years old. I've had it forever and I usually use it as a balance off the ceiling, but it runs so hot it burns gels. If I put a blue gel over it to try to make it daylight, usually it'll burn a hole in it. There are issues. You can correct some of this post processing. But obviously if you have a blue light and a yellow light together, you're going to have difficulties probably. I don't use it very often, but you could bounce it either off of blue, that would be an option. Or get maybe a hard gel and not cover the light because it'll get really hot Anyway, This is directly off of the ceiling, diffuse down there, then this is shining more on the background to get a really soft look in his hair and then on his shoulder, but it's still lighting up this part of his face. That's interesting. That's actually not a bad look on him. This is what you could do if you were going to light up the background to differentiate. I would probably still add a hair light just because you can't see the detail, but you can at least tell that he is separate from the background. Lighting up the background might be an option for you in certain instances. There's another example of that then, if it was actually shining up behind him, you could catch some of the back of his hair. Also shine it on the background as well. More scoop bounced off the ceiling. Here. I am trying to see the tiny screen on my camera. There's a white reflector over here now. And I'm bouncing this scoop off because this side of his face is quite a bit brightened. And it's also illuminating the whole room enough that it's bringing up the light level on this side with a diffused look. Then yes, there's the bounce, There's a reflector I'm holding it, it's shooting that direction onto the ceiling, but it's also bouncing a little bit off of this white. It's bringing up a little bit more light on this side of his face. Then you can see over here the bounce, the 650 watt is hitting part of the reflector. It lighted up his face a lot on this side with the warm light. A little bit less there and then more here. It brought quite a bit of light to his whole face. It's more diffused. There really aren't any harsh shadows that actually is pretty decent right there. Then here is my son who is very thankful that his modeling time is completed for his mom. This is natural daylight in front of the window again. 4. Lighting for Dramatic Mood & Cinematic Look: I wanted to include a short segment on light placement for Move. It applies to maybe a little bit more dramatic look, cinematic I would say, rather than podcasting or something like that. I'd say, in general, stay away from these types of lightings for podcast or unless you have more of a cinematic direction in mind. Maybe a script or something like that that you would want. But I just wanted to generally cover it and give you a few ideas about what you can do for more dramatic lighting. This one, um, it's still a low angle. This is an odd lighting. This would be more cinematic. You would do it for a reason because it's not a natural lighting. It makes it so he has no shadows under his eyes and looks really o I think adds a bit of mystery to his eyes. This is typical horror lighting because you're shooting from down below, you're creating opposite shadows. It's like you have a spot light that's shining up your nose almost here. You got a shadow from his nose. You can see where the light is in his eyes. Way down below, you actually have shadows here, which is opposite world. This would be more like cinema lighting. Don't do this on podcasting folks. Well, I guess you could, depending on what your subject matter. Okay, This is a real bright, but down below, this is also not exactly natural lighting. And it's not quite as flattering as it could be because it's creating this weird shadow from down below. But I do like this on this side where it's lighting up his neck, in the back of his hair. This one definitely cinematic. You've got the mysterious eyes, You can't really tell what he's thinking. It divides the face into 21 odd lighting on this side. This one is completely different. I wouldn't say photographic lighting, say it's podcasting lighting. I would say this is more cinematic because it introduces drama. There's some reason for that. You don't know what, Maybe in the script, he is a tormented and all that stuff that could be used for cinematic. Same here, he still has the mystery in his eyes and the disjointed lighting. There's something going on, there is not really normal, according to normal lighting. So this is more cinematic. Same here, the difference between before and after. I guess I moved this light a little bit closer. Anyway, you're getting into probably the horror flick Look here because you've got stuff going on in really light and dark. That's that. I want to thank you for joining my class today. I would like to encourage you to post videos or photos of your own projects and give us all a chance to comment, critique, and be encouraging to each other. And positive critiques. Negative as well, but positive. First please, I will comment and give you feedback on your stuff. Maybe how to tweak it a little bit. Or just to say, hey, good job. I have upcoming classes. If you subscribe, you'll get notifications for that. I will post as soon as I get content edited, lots of new exciting subjects coming up. I'm going to talk about the things you can do for your podcast. Make your lighting look better. Maybe improvements, tweaks on audio. Tips and tricks for better podcasting. Tips and tricks for better photography. I just have a lot of stuff coming up, so please subscribe. Please share with your friends. But I'm so excited that you joined us today and I look forward to seeing you in my next class. Thanks so much.