Here's a look at five lighting setups in the very same room. Cinematic lighting.
Hi, this is JP Morgan today on the slanted lens we're going to light five different cinematic Lighting's in this very same room
We're gonna make yourself work in this small space
We're gonna do five different setups from really bright and open to really dark and dreary. So JP Morgan and
Eileen safe JP Morgan Chase JP Morgan Chase
So, how do you find Aileen you can find me on instagram at eileen chase. There you go eileen chase
So check that out. And here we go five different lighting setups in this tight room
Let's get started so we can do for our first setup here. We're going to create window light in this room
You can see from the c 200 in the corner that we have some light in the window if I open this up exposure wise
Enough to be able to create window light in this room. It just blooms that
Window and the curtain and it looks terrible. So we're gonna set up a light inside and create a window light
We've got two and teletext that's an LED 160. It's called a white cloth. This is a two by two
so two foot by 2 foot panel
velcro all across the back so it hooks into the brackets in this case comes with it also a
Very low-profile softbox, which I absolutely love because it makes it easy to get it into tight places
It's got a scrim for the softbox. It's got a great
Egg-crate grid for the softbox and then of course, you've got your controller. Also, you have B mount or
Golden mount batteries you can run these things on battery as well
And because they're LEDs, they're gonna run for a long time on battery. We're gonna put these together into a frame
Give us a big broad source light cloth and Intel attack
Their goal is that you have a small footprint to travel with but you can make big sources big lights on set
We're gonna set this up as two two by two light panels one sixty. So the first one will be our window light
So we're gonna turn that on
That just gives our window light coming in that gives us a sense of the light from the window
Now the second we're gonna turn on to just open the shadows up just a little bit on the front grants a foreground
So we've dialed that one down a little bit. It becomes our broad source. That's gonna open the shadows. So turn on that second light
What's nice about putting this together? Like this is that you have the ability to control each side independently
I can make the source for the window much brighter
I can make the fill brighter or softer gives me control of both those areas independent of each other
But they motivate from the same place. Our last light is an LC 120. So what this is is a 1 by 3
So you've got those great 1 by 1 flat LED panels. We've got three of them in a row here
We've got a grid on it
so it'll keep it really nice and
Focused on her and give us a light from behind got just slightly behind her
So it's gonna give us a nice rim behind her and give a little more interest to the scene. So let's turn that one on
So there's our first lighting set a little window light with a nice rim from behind for our next setup
We're gonna go to a little more practical and moody look in the same daylight scene so still a daylight scene
but the first thing we're gonna do is we're going to get
Get rid of the 70 watt bulb in this we're gonna put a 200 watt bulb and then wrap a little diffusion around it
Reason to wrap the diffusion around it is because these 200 watt bulbs are not frosted
So you get a too much of a hard-line?
So the diffusion was gonna give us a nice soft light in the room
and I usually carry a case of these I have an skb case full of light bulbs so I can change those out in the
Practicals so we've added that light give us just a little bit of warmth in the room
This is gonna be a lot more moody. We'll add the
1 by 3 light cloth cloth here. The 1 by 3 is gonna still give us that nice room light behind her
So it just gives us a nice moody scene. Nice light on her face nice warmth in the background with the practical light practicals
Give you depth and make make for a very interesting frame to help to have a colour depth and also light depth last thing
We're gonna do is we're gonna add one of the two by twos just on the side as to open up our shadows
So that's two lights of a practical and a much different look than the bright sunny day. We did in the first one
The next setup we're gonna do is day 4 night
We've set our camera at 3200 degrees and we put 4 stops of nd on it
The reason we're doing 4 stops of ND is because we've got to crush the windows and make them look dark enough to be believable
That it's night outside. We're getting blue light coming through the windows. So we crushed the light in the room down for stops
So we can get those windows in the right place now
We're going to take and start adding some of our lifes to kind of imitate blue or moonlight
The first one we've got a 1 by 3 light cloth and it's at 5,600 degrees
So it's going to be blue in the camera
Then we're going to add a light on the side here with a grid in it
That's going to give us a this a two by two light cloth two by two
From the side with the grid that's again at 5,600 degrees. So it's going to be very blue
So we have a nice blue pool all around her on the bed like it's coming from the two windows in the background
We're now going out of practical in the back
We actually went to a 300 watt bulb because we have so much ND on here
We crushed the light in this room
We needed as much light out of that as we possibly can that
Practical is nice because it just gives us a little bit of depth. We took the diffusion off from it. So we have more
intensity gives us some adapt in the room and just a little bit of interest last light we're going to add is not at
5,600 degrees but at 3200 degrees so it matches the color balance on our camera
So we turn on this a 2 by 2 light cloth
Turn that on with a softbox on it that now becomes our key light on our face. It should be a natural color
It should match the color on the camera all the light cloth products by Intelli tech are fabulous because there are three thousand to ten
thousand degree color range by colors
You can change them whatever color you need to and they're a CRI of 95 plus which gives us a really good
Solid color rating so we can set that key light at 3200 degrees
Give a nice clean light on her face and that gives us our day for night. There's our third setup
It's bright in this room, but it doesn't look bright in the camera
Lighting stood up number four. We've velcro to our light to the ceiling literally
We've velcro to a two by two light cloth to the ceiling just peel off and put the velcro on the back of it
So you've got the sticky side up and then you just push that on to the ceiling and it's gonna stick there just fine
It's a great way to mount these lights because it sets a low profile
Softbox and it's the ability to get it straight onto the ceiling means that it gets it up and out of your way
It's a great way to work
You've got this long cable here
Which we've got the extension on which gives us plenty of cable to get back to the control box and the controls
And allows us to control our light from overhead and just be able use it in a very tight space
These lights are fabulous for working in tight spaces. They really are so we've taken the four stops of nd off the camera now
We're gonna F like four, which means we're not wide open
We're down a stop but our powers on all these lights are really low
We're down at like 18% on the key light and now we're gonna add our 1% to the side here
Through this unbleached muslin and it's just it's just a nice kind of
Warmth on the on her face from the side and just gives us a little bit of openness on her face
warms things up last thing we're gonna do we're gonna add back our
Practical and we've changed out the bulb no more 300-watt bulb. We're back to like a 70 watt bulb
But now we're on a dimmer we've given it way down
So it's not quite as bright in
Order to get the controller we have right now
We put do Bateen on each one of the windows and that just blocks all of the light that's coming into the room from outside
Letting the curtains just go dark. It's nighttime. Just letting them fall off the dark to black. We've got that overhead light
It's just really low profile, which is what's so nice about these are just easy to work in tight spaces
Because they're so small
And so and I have such a small profile our last set up is a little more stylized a little more interesting
So we're gonna start with just the lamp in the background
I've got my cameras at 3200 degrees and then we're gonna turn on a 2 by 2. It's just on the floor back there
It's gonna bounce up into the ceiling and it gives us a nice silhouette of her as she's on the phone right there
It just looks great with Aileen on the phone in the foreground now
I'll add just a little of the muslin on the front and that's gonna give us a little bit alive in her face
This is nice. It looks you couldn't get away with this. We can make the muzzle a little brighter
The muslin is on the 1 by 3 in the front, but I think we've gotta push this over the top a little bit
We're gonna add a red gel here on the side. So Julian's gonna turn the red gel on for us
And now that has a much different look it has you know, just a it's a music video
It's a just a little more stylized
Look at her Leia sitting on the bed talking on the phone there so light that has a gel on it
We took the 2 by 2
Fold it in half put the gels on the front of it and then just held that backed it up to the 2 by 4
Frame, so we got a black background to kill all the white light on the other side
You can really pull these down to a single one by one and use them that way as well
So that look that worked very well
Emerald is hollywooding that that gives us our final light
So there's our kind of a little more edgy fun and there's our fifth set up here in the same room
I think the phone just rang must be for you. I think so
What you're having trouble estimating your next job? Well, you should get the download from JPMorgan go to the sling luscom
We've got a great down. Let's go to teach you how to estimate your next job funny you call that's such a moment
So there you have it five lighting setups in the same room
Using those lights where tell attackers made this very easy because they're so low profile
They're easy to tape on the wall and get into tight places
Just very easy to work
we're folding them into singles and doubles triples this when it's worked really well the color as well be able to dial that up and
Down just made it really simple to work in here from very simple bright kind of looking window light to a little more aggressive
Red light as we finished up the day, so you have a good time a great time. Excellent
So, I wonder if someone's calling me on the phone
Hello, it's your future Colleen. Oh, it's my future
in the future
We're gonna do more cinematic lighting lessons just like this so stand by look forward to that
Subscribe here to sign lynnster you won't miss it. One of them cinema lighting crazy lighting
Real lighting real lighting and really gonna be a lot of lighting stuff going on in the future
So keep those cameras rollin keep on clickin the future it is bright. Oh,
There's a lot of luminosity in the future. That wasn't very funny wasn't