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.
Shannon Wine, Video/Film/Photography Techniques
