Lessons

Lesson Info

Lighting Setup

by going over what we're trying to talk about here with lighting and all this kind of stuff. I'm sort of demystifying this whole lighting process for you. So what I've done here is I've kind of already set my lights in a certain way so that I can actually save some time in the set up and not move them around so much. Okay, so the first thing you're gonna wanna dio is gonna move this light. I'm gonna get a get a reading on it so we can actually get some sort of Ah, look, Okay. And, um and I think All right, so I'm gonna go ahead set this toe FAA. Okay, so when you take a look at one light guys, you're gonna want to make sure that you actually separate the person's face in half. So I wanna make sure that her one side of her face is actually lit and the other side of her face has less light on it. So if we were to move this around, so I'm gonna move this V fat flat. And if we're gonna move this light around to the other side, can you see how her face starts to darken, Okay? And then all o...

f a sudden, we move over here, and that face starts to brought it out a little bit. So the where you place your key light will have a direct impact on where you place your fill light. Okay, so I'm gonna come over here, and I kind of messed this up, so I'm going to reposition its light, So give me a second. Have you been to man? Okay. Okay. And then spend that up. Yeah. Great. Hey. So we're gonna do here, is I'm gonna turn off my key light so you guys can see where my field lights coming from. So my fill light should do the exact opposite of what Mikey like does. So my fill light should fill in the shadows that my key light creates. Okay, so Daniel's gonna keep looking forward, okay? And I can feather it off a little bit if I want. Okay, so there it iss Okay, here we go. Hopes so. Now that I know where my lights are positioned, I can now take readings and make sure I'm at the right exposures for these lights. Okay? Something is really orange that's what you're saying. Okay, so first thing we're gonna do is we're gonna meet her for our key light. So I'm gonna take this. Gonna turn off, go ahead and set my meter to see here. Nine. So I love it when I have that little light on her eye right there. Okay? And I'll move that box right over to it. You see a little light on their generate on her on her, her cheekbone. Irreverent. It's a Rembrandt light right there. That's really, really nice. Okay, I'm gonna turn this guy off. Now turn that guy back on, okay? And then I'm going to go ahead and meet her here. Okay? So for me to hear, it's at 6.3. I'm at F eight. I wanted to To one ratio. I've got the light at 6.3. What would you to die with? Light Down to to get get. What do I need this? Like to be 5.6. Okay. I want a 2 to 1 ratio, so I'm gonna go ahead and put a key light at F eight and my fill light at 5.6. Okay. So if I put my filled out at 5.6. I should be able to dial down and have your could be here and hit that minus until I tell you to stop. Okay. All right. Here we go. So I'm at 5.6. Papa, don't stop there. Okay, up. Pick it back up just a little bit. That's it. Okay, so let's go back to the camera view. So there's my fill light, and maybe Yeah, that's good enough. Okay, let's pop up my other light. And I just now have my 2 to 1 contrast ratio. Lighting pattern makes sense. Okay. Your key light your fill light. Okay, let's go back to the computer. Slide the computer slide. Now let's say I want an 8 to ratio, which now means I need Mike fill light to be a 2.8. Okay, Let's see what 2.8 and eight look like because I love that look, especially on someone like Daniel. She's gonna look beautiful with it. Okay, so let's go ahead and go back to the camera view. Javier, I go ahead and do all that light down until I tell you to stop, please. Second. Okay. Here we go. Keep going. Keep going. You're gonna feel that light. Come down a lot. Come in a lot. Keep going. All right. Stop there. Okay. You can see here if you look really closely that her face is being very, very lightly filled. And the minute I pop open that key light, okay? She's gonna look really, really good. Okay, so let's go ahead and pull it over. Open it up just a little bit, okay? Shape that light, and then we gotta push this that way. Just a touch. Okay. All right. Let's take a reading. We're still at nine. And you can see how I've just created a shadow on her face. I've created a highlight, and we can now have, like, some sort of stylistic between 2 to 1 and 81 ratio. And here's the thing is, I can do 8 to 14 to 12 to 1 in this room. Then goto her studio or go to her business and do 4 to 12218 to one. Whatever I want and maintain the same look across her and everyone else. That's what's so cool about lighting. Okay, so that's one style of light. That's one style of two lights. So we're gonna do now. Okay, is we're gonna take turn off. That feel, like, for me? Please take this light and we're gonna push it from the side. Okay. So, second. Okay. Right. Yeah, to Okay. And if we push it from the side, what you guys should see, okay, is a complete shadow on her side. And we take this fill light, turn it on and then push it from this side as well. Now, theoretically, what you want is you want the intensity from this side to match the intensity on the other side. All right, What you're gonna do here is I'll meet her here. 10. 10. Just set my camera. 2 10. Now, watch this. I go ahead and pull this light to behind her, and Javier removes his life behind her. We can start to do really dramatic stuff just by moving the lights in tandem to each other. Okay, so it doesn't look good on her because she's beautiful and, like, very like, what is it? Female feminine features. But you see that type of lighting in athletes make Nike. Thank Adidas. All right, that kind of stuff. Now, when we go to three lights, we could move this third light up higher to a paramount, or at this point grabbing a reflector and fill in. Okay, let's see how it fills in. Okay? But we ideally what you want to do with a to light sidelights set up is put the lights right at the edge of their nose and shift it back and forth until you find that right point where she looks silent. You see? You look at that. Look at the shadows Change. Okay, so pull all the way back up here. Okay? So how you're going to go first? Stop right until you get to the deliver knows. Okay, keep going. Keep going a little bit. Keep going. Come on. Good. Okay, now I'm gonna go. You can see how that works. Not cool. See? So when we take a look at lighting guys, you slow down notice When I'm talking about other stuff, I'm hyper I'm really crazy and I go, go, go, go, go. But we get toe lighting and I become very deliberate. And I slow down and I start to look at every little nuance of the light because she's a beautiful girl and I want to make sure that she's beautiful when I capture her. Okay, So what we are just doing right now is I've just built you guys up from one light to to light into what we call a three point light set up. Okay, so I'm gonna pull this frame out just a little bit so that we can actually see the effect of a three point light set up. Let's go ahead and do that. Let's come over here. Let's bring in. Let's go ahead and focusing. Josh Daniels. Great. He just sits there. I told her to bring a book because, uh, she just be sitting there and not really doing much. Okay, so what I'll do here is I'll go ahead and turn this light on. Now there's different types of led panels. We have a daylight panel, we've a tungsten panel, and we have what's called by color and by color means that you can actually dialing in color temperature because it has the ability to shift color temperature from like 2800 Kelvin to 5600 Kelvin, the benefit of a bicolor panel I'm gonna dial this light all the way down almost so we can see the benefit here. So I'm gonna go ahead and show you this panel, So can you see how there's a string of lights that is not on right now? The string of lights that are not on it's because it's a bicolor panel. If I were to shift the color temperature too somewhere like 4100, can you see how all the lights come on? So there's a really good benefit to this light panel because it allows us to vary our color temperature and go from like outdoors to indoors. Or there's tungsten light. However, let's think about this. If I have an ability to dial color temperature by changing the how many bulbs I have on, what do you think it does to the intensity of the light? Knocks it directly in half because I'm only using half the bulbs right? So if I dial this thing to 5600, okay and then go ahead and dial it all the way up in intensity, I can be, I can know that I'm exactly at half the power of that light. If that light was at full power. Okay, so I like to carry with me. And you guys were actually seeing what I like to bring. What? I'm actually using lighting for an interview. I'll use my sled. I'll use a full daylight one by one. And then from my rim and accent light, I'll use a bicolor light. Because I know that if I turn half the bulbs off, I've got half power, okay? And it allows me to let's look at the screen here, so if you take a look at her hair So let's turn that light off. You see that hair light? If I go ahead and die, Elin, color temperature. Look what happens. You see what happens to your head? What kind of changes in color. So I can actually start to do. Maybe some stylistic stuff if I want to, You know, add in some color. But generally speaking, we can add hair light in very, very easily so I could do this. Okay, So what I'm gonna do here and notice I didn't even meet her that light, did I? Because I know that it's at half power compared to my other lights. And so I can use this hair light as kind of like an accent light. And what I'll do is probably get it up higher. Okay, get up higher. And then what I'll do is turn it down. You just write down. So if I keep turning it down, you see how it starts to dissipate that hair a little bit. Okay, so there's all the way down, and now here's all the way up. Okay? So we can actually dial in very, very specific stuff just by using that hair light. So let's do this. We're gonna turn off the key light. We're gonna turn off the fill light. We're gonna leave that hair light on. Okay? You see what I hear? Lights falling that neat. So now we can move it around. So if I move it around, I can show you where that accents gonna be. So I tend to like that, Okay. And I'm at Yep. So I'll do this. I'll go ahead and turn up my key light. Okay, Let's turn off that hairline if we can. Okay, so that's my key light. It looks good. We're gonna go ahead and turn on my fill light now. I'm gonna turn that hair light on kick in right there. Do you guys think it's pretty simple, right? Pretty simple. What did we do? We started with one light. We added a second light, and then we added a third light. And now we're in business. We're cooking with gas aren't way.