our cameras capture this world in a

two-dimensional space and it's our job

as filmmakers or photographers to make

that two-dimensional image look more

three-dimensional and one of the most

powerful tools to be able to achieve

that is lighting lighting helps us add

shape and texture and dimension to our

scene so real quick we're going to take

a look at this interview scene i'm going

to show you how i went from this shot to

this shot all using lighting

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hey everyone tyler edwards here i'm a

filmmaker and dp and i have chelsea here

sitting in as the talent for this

interview setup and um well it's now

storming i set all this up before it

started storming but that's the good

thing about continuous lighting is your

set never really changes with continuous

lighting so in this video i'm going to

show you how i set up all the lighting

and what the motivation for these

different lights for so that being said

let's go ahead and jump into it so real

quick we'll kind of take a look at the

frame we've got here we've got this

nice big bay window here some nice

kind of evening looking sunlight coming

in through the background we've got a

lamp going on uh just a nice

casual looking interview set up and

everything looks nice and natural and

that's kind of what we're going for in

this setup so let's go ahead and jump

into it and first talk about the key

light all right so for our key light we

have the aperture 300d mark ii inside of

this giant softbox the reason why i have

it isn't in the soft box is to make this

key light nice and soft because that

300d is a point source light meaning it

starts off as a really hard light source

so we want to make that light source

bigger and softer

so that's why we're using this soft box

here now as you can see here there's

this giant window this kind of like bay

window right here

that is kind of the motivation for our

key light so as you can see if you look

at the frame that light is coming from

the same side as that window and i've

intentionally put a little bit of this

window inside of the frame of the camera

where you would expect that light to

come from so if i had the key light on

the other side of chelsea here it would

look really unnatural because our eyes

would expect to see the light coming

from this window that's what we're

talking about with motivated light

there's something inside of the frame

that's motivating this key light in this

instance it's this giant window so as

you can see here this key light is

giving a really nice soft fall off on

her face it's kind of got a little bit

of a rembrandt triangle here which is a

really popular lighting technique and

it's overall just looks really pleasing

and because this light source is such a

big light source and it's so close to

her face it's just giving really nice

soft shadows but it doesn't look too

sourcy or overdone it looks really

natural so if i turn this light on and

off you can kind of see what i'm talking

about this is with the key light off and

when i turn it on it just looks like

nice and natural she pops from the

background but it doesn't look too

sourcy and you can kind of see in her

eyes

you can see the soft box there which

gives a really nice catch light in her

eyes all right so next up let's talk

about this hair light right here so i'll

turn it on and off so you can kind of

see what i'm talking about and this hair

light is being lit by an amaran p60c and

i've got it at about 30 percent and it's

really subtle it's just enough to kind

of help give her a little bit of an edge

right here

and give her a little bit of dimension a

little bit more exposure on this side of

her face really just her hair you can

see when i told it on and off it's

pretty subtle but with it it just kind

of makes her pop

now this light is being motivated by

this practical so this practical is

serving two purposes number one it looks

good in the set it's acting

as a practical practical lights or

essentially any light source that is in

the frame so that could be a candle a

lamp whatever the case may be so this

practical if i turn it on and off you

can see it's giving just a little bit of

exposure there on that back chair

but also it is serving as motivation

for this hair light in this kind of back

light right here so again if i turn off

the hair light you can see what's going

on here there's kind of nothing going on

when i turn it on you can see even just

on her shoulder right here it looks like

that light is coming actually from the

lamp instead of some artificial light

source wherever it may be all right so

those are the lights that are kind of

lighting the talent primarily we have

the key light which is the primary light

that's lighting chelsea and then we have

that practical in the background that's

motivating the hair light and the back

light so that being said there are a few

more things that we can do to really

kind of paint the scene a little bit

more i've always said that

the the scene is your canvas

the light is your paint and then the

modifiers are your paint brushes so

think of it that way we're adding a lot

of paint and paint brushes or adding

these strokes of light so this is what

we're going to start doing now is

starting out a little bit more texture

with different lights one of the first

things we're going to do is we're going

to try to balance the exposure of this

room a little bit more so that it

doesn't look too dark in the background

and what we're going to use for that is

an aperture 600d pro it's a really

bright light i've actually only got it

at about 37 so we probably could use

even a lower output light but this is

with the light that i have in my kit so

i'll show you what we've got going on

with that right here i've got the 600d

pro and i've got the f10 barn doors on

there and it's just simply throwing into

the ceiling here just to kind of give a

little bit of exposure and i'm using the

barn doors to help cut that light so it

doesn't hit in the corner over here so

it's not in frame but what this light is

doing is just giving a little bit of

exposure to the background here so once

again if i toggle this on and off you

can see how much of a difference this

makes so if you see right now

that background is pretty dark and this

interview setup just looks a little bit

too moody so what i do is adding that

600d just bouncing into the ceiling just

kind of lightens up

that room a little bit more and just

kind of gives the exposure a little bit

more balance so it just feels a little

bit more natural all right so next up

this is just a small little touch just

to make things a little bit more

balanced and look a little bit more

natural and that's what these two lights

the amaran t4cs so what i've got these

lights doing is essentially just giving

a little bit of exposure to this couch

so it just doesn't fall off into the

darkness so let's go and toggle these on

and off so you can see what i mean all

right so here's the shot without any of

the tube lights on and you can see

in my opinion i just think the couch

looks a little bit too dark there in the

corner so the first light we turn on is

this one right here and as you can see

just in the corner it's just got a

little bit of exposure there just to

kind of kind of mimic that light coming

in

through that window

and then next up this next lights

another tube light we have just turns on

and just again adds just a little bit of

exposure to the side

of that couch now what i've done here is

i've just added this little screen right

here

and that's really just to prevent any of

the light spill from these tube lights

because i don't have any grids or

anything for them

just prevents any of that exposure and

that light spill to affect any of the

light hitting the talent here and then

next up i just added this right here and

that's just to prevent the exposure up

here from really spilling onto that back

wall over there just so that this light

over here that we'll talk about in just

a second pops even more all right in the

final and last light that i added

for this scene was actually outside and

that's the aputure 600x pro which is a

fantastic light because it is by color

meaning you can change the color

temperature of it so i set this to about

4 500 kelvin and that's just kind of

giving a nice warm light coming through

kind of making it look like

you know late afternoon sun or something

like that coming through

and it's also kind of helping with

motivating the light even more now that

it's storming outside and we lost

quite a bit of light because of that

this is kind of still helping motivate

that key light and the other thing

that's doing is it's just adding a

little bit of texture to this back wall

because

as you can see there's nothing really on

this back wall

so having a little bit of texture some

shadow texture i really like seeing that

because it looks just nice and dramatic

and just kind of helps sell that there's

kind of some light sunlight coming from

outside and as you can see on this frame

with the 600x pro off it just looks kind

of flat and uninteresting but as soon as

i turn it on you can start seeing it's

got a lot more dramatic shadows it's

giving even a little bit of an edge to

that

lighter pillow back there it's kind of

giving a little bit exposure to that

plant back there that light there on

that window sill looks a lot more

dramatic but it bounces out the image

adds a lot more texture without it

looking distracting and this light is

actually a fantastic way to fake a

motivated light source so as you can see

here behind me this looks like there's

window light coming from behind me and

you don't see in this current frame you

don't see a window or anything like that

in the frame so say you actually didn't

have a window to begin with well you can

use attachments or you know use a cookie

or something to cut out a window shape

or something and throw the light through

that to create some kind of texture

pattern on that back wall and that kind

of helps fake motivation

for a key light so now that i've kind of

showed you each of these lights

individually now let's take a look at

this scene starting from scratch and

kind of build on the scene with one

light at a time just kind of show you

how each of these lights are affecting

the image and adding texture and

dimension to the overall image

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well i sure hope you were able to find

something helpful or useful in this

video thank you so much for watching

lighting plays such a massive role in

filmmaking and photography for that

matter so it's so important to

understand the basics and the only way

to get better at it is to just practice

practice practice well thank you so much

for watching and stay tuned for more

tips and tutorials

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you