Hey this is Daniel Norton,
I'm here in my studio in New York City
with Marisa, and one great thing about
being in the daylight studio on the 12th
floor is that sometimes at the very end of
the day, the Sun comes through and casts
awesome patterns on the wall, but that's
not every day, it is not necessarily that a
client wants it, and not necessarily when
I need it...
So in this video I'm gonna
talk about kind of creating that
yourself, I'm using what I think is the
best kind of tool for this thing, which
is an HMI, with framing shutters, so I've
been able to really control my shape...
you could do a similar thing by using
cards to make the block light and stuff..
so it is possible to use other things...
what the framing shutters and the
projector gives you is a lot of control
and simplicity, so you know certain tools
for certain jobs right?
So what we're gonna do... we're gonna
put Marissa in the kind of... the sunlight
over there, and I'll show you how we have
this setup. So again an HMI is a constant
light source it's daylight balanced, it's
really clean light, and what the
framing shutters are are essentially doing
for us, is it's giving us the ability to
kind of shape this, and, and you know, I'm
not gonna do that... right?
Because that's not gonna look real right...
if it was coming through a skylight or
something it would have a little bit of
an angle on it...
and we can kind of play away...
play around with this...
now I also had it hit the corner there a
little bit, so it feels more real...
Right?
Sometimes when things
are imperfect, they're gonna feel more
real, and you could again defocus it or
focus it, but if I want to feel like the
Sun... I want to be mostly focused, cuz
that's what the sun's gonna look like.
Right now that feels real again, to get
that same framing and that same kind of
focus ability... you would let's say, foam
core cards, you'd have to be moving them
closer and further away from your light,
so it you know it's a lot more work.
Although you can do it...
so I'm here with the Nikon now,
one other important thing
is I have the lights turned on in here right?
There daylight balanced as well,
it's gonna add a little bit of fill, so
you can kind of see that the wall is not
completely stark.. dark... it's actually
gonna be a nice kind of exposure, and
feel like the lights bouncing around, so
we'll have more...
Look at me... and that's
what we're getting, so we've got this
kind of beautiful sunlight on her, and I
seem clean and crisp and actually our
shadows are like a little warm from
these kind of not perfect LED lights...
now I will turn them off for a second,
so you guys can see the difference.
This is gonna create a much cleaner
crisper light... right?
It's not gonna feel as real though...
so depends on what you're going
for... you know, everybody has their own
way they want to work...
if you like this.... I'll shoot a few
before I walk back..
What you can play with here too though
because this light is
nice and crisp...
Marissa can throw shadows on herself
like that... so it feels
like she's block it ..
like ahh... the Sun is so bright..
you know, she can basically do
that, and then we'll like I said, turn the
lights back on in here... so we had this
kind of residual bounce
if you will...
Now if you didn't have
lights in the ceiling like I have, bring
your hand down a tiny bit so i can see it...
Okay and you wanted to get that effect..
let's do some of those optons you know,
there we go...
and you wanted to get that effect...
what you would do is maybe bounce a
light off the ceiling like... let's say,
you had, you know, bad lights in your
space or whatever...
then we're gonna give this a
nice feel.
You could just bounce a light,
you could even use a big soft light
source from back, get the camera position
to fill in.... what you want is to create
this situation where you have this like
nice soft feel, that feels like it's
bouncing around the room... cool, that looks
really nice, let's do one more where you
just kind of like straight....
there we go,
perfect, just like that, nice and clean...
lean back to the wall, getting that nice
shadow back there, good, good...
there you go...
the helicopters coming to pick
me up.... so we're good to go.. and we're
gonna fly off to get the brunch
somewhere.. right?
They probably can't hear the
helicopter... but that's ok...
So yeah you know...
like the light that you want is not
always there for you, so sometimes you
got to make it bite, but understanding
how natural or available light works it
will actually get you a lot closer to
making the light that you want.
Think about like the Sun... again it's not just
this like block of light coming through,
it bounces around right, it's filling the
space, so we added that fill or left the
lights on in this case to add the fill.
It really makes a difference to make it
feel more like an actual natural light
shot, when we're creating in any time of
day, anytime we want...
So I will put Marissa's information in the description.
You guys can follow her...
follow me @Danielnortonphotographer
Se sure to subscribe to
Adorama TV and ring the bell... and I'll
see you next time OnSet.