Start Learning Cinematography | Cinematic Lighting 101 - Too Much Light?! | How to Control Sunlight on a Film Set

Master the Art of Cinematic Lighting: Transform Any Scene with Professional Techniques and Hacks. Dive into Creative Visuals and Illuminate Your Filmmaking Journey!

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40 learners

What you'll learn

Learn how to effectively light scenes with limited resources and budget.
Master various lighting techniques to enhance the visual storytelling of different genres.
Understand how to use contrast and color for dynamic cinematic lighting effects.
Gain proficiency in creating professional lighting setups for interviews and commercials.

This course includes

27.5 hours of video
Certificate of completion
Access on mobile and TV

Summary

Keywords

aputure lighting cinematography photography high key disney commercial lighting overhead lighting rigging steadicam operator daylight interior film lighting movie set

Full Transcript

Stay tuned to the end for a chance to win a prize! In this episode, Valentina shows us how she shapes and supplements natural sunlight when she is shooting a bright, happy montage sequence. She scouts the location, rigs overhead lights, uses negative fill, and employs steadicam movement to get the look and feel of a cheery morning work routine. This look is very versatile and can apply to most commercials and romantic comedies. At the end of the day, we're looking at the difference between what looks flat, and what looks cinematic. Instead of a real store location, we shot the episode on a studio backlot so that we have the most control over the production design and time of day that we want to shoot. Valentina decided to shoot in the early afternoon because she knew that the set wouldn’t get any direct sunlight streaming in. Because of that, she’s able to shoot her own sunlight through the windows, which was accomplished with two Aputure 600ds outside shooting through sheer curtains. We rigged two Aputure 300dII lights overhead to act as a backlight and fill light while keeping it off the ground for our actor and steadicam operator. Lastly, Valentina placed floppies and duvetyne on the windows closer to the foreground because she didn’t want the indirect sunlight to spill in the foreground and flatten the image. We shot with the Canon C70 and Rokinon Xeen lenses with mounting and matte box from Smallrig. The shots were done on steadicam to create a light and airy feeling. Neutral density and Black Pro Mist filters were added for balancing out the exposure of the scene and softening the look, while creating a pleasant bloom around the edges. Want more free lighting and cinematography tutorials? Subscribe to us so you never miss an episode: https://goo.gl/QwazdM Chapters: 0:00 - Intro 1:05 - Story/Concept 2:16 - Camera 3:10 - Exposure/NDs 4:32 - Production Design/Color 5:13 - Lighting 8:39 - Negative Fill 10:19 - Breakdown 10:40 - Lens Filters 11:21 - Steadicam 11:51 - Final Result 12:28 - Outro 🎥Subscribe to Aputure: https://www.youtube.com/aputurephoto https://www.facebook.com/aputure https://www.instagram.com/aputure.lighting/ https://twitter.com/AputureLighting 🎥Free Cinematography Lessons From Experts! https://www.youtube.com/playlist?list=PLjnBD0tWOQ1-jsuV5e_jlOvtjr3nY7S9a 🎥Connect with the A-Team! Valentina - Host/DP: https://www.instagram.com/valentina.vee/ Moses - Producer: https://www.instagram.com/moses_israel/ Tue - Director: https://www.instagram.com/tuezzles/ Jucel - Cinematographer/Editor: https://www.instagram.com/jucelandrin_/ 🎥GET APUTURE GEAR: http://lddy.no/3dkv 🎥MUSIC: http://bit.ly/pb_aputure Summary: Aputure's YouTube channel provides free high quality cinematography, lighting, and filmmaking educational content to help you take your film projects to the next level.