By Zach Goodwin2
How To Film In Natural Light
Not enough light:
Move the subject closer to the light source, bring the camera closer to the subject, angle the camera to create a silhouette, use a lower f/stop. Try to focus on how the subject is lighted not the background.
Use a slower shutter speed if there is less movement going on. If you can decrease the frames per second, and maybe try using a time-lapse. Better yet, for wide-shots use a wide angle lens with a low f/stop.
Despite the criticism on this subject, do not focus on noise/grain. Try to use On-Camera lighting well.
Too much light:
Move the subject farther away from the light source, bring the camera farther from the subject, angle the camera to create a clean background, use a higher f/stop.
Use a faster shutter speed if there is less movement going on. If you can increase the frames per second, and maybe even try using slow motion shots where there are lots of fast movement. Better yet, for close-ups use a telephoto lens with a high f/stop.
Despite the criticism on this subject, do not focus too much on highlight loss.
Thoughts on All of This:
Do not try to add any reflectors, add more lights, get people to help you out unless you have figured out how to light the scene naturally. It can be expensive.
Hey guys, hope this is okay! We're the Aputure Lighting team and have been working on a lot of educational tutorials lately on how to shoot on-location and in different settings. This week we did an episode at a Jail Set and did recreations of famous jail scenes. The idea is to break down quick and simple lighting setups and start getting the online creator community to think a little outside the box of 3-point lighting. Would love to hear what you think. Happy to answer any questions. And if you like the episode, we're always happy to take requests for episodes or other tutorials you'd like to see.
- Nerris from the A-Team
I am new to this forum (first post) and beginner filmaker and I will need advice ...
Last June I started shooting for my documentary project on the local natural heritage, for now with my own money, so my gear is rather light...
I'm shooting with a Canon Eos 70D DSLR, outdoor, and i'm shooting the natural spaces of a valley (along a river).
At the start I wanted to film in RAW with Magic Lantern, but with my 70D i'm stuck in 720p (for a continuous recording), so finally i've shot in a compressed way, Mpeg-4 All-I 8bit 4:2:0 @1080p 29.97fps with a picture style (EOSHD C-LOG (0,-4,-4,2)) + Vari ND Filter, hoping to get myself out of it even in post-prod ...
But here the quality of the images, in a context of shooting outdoors in shaded places very contrasted (...), do not satisfy me !
So I would like to have advice to achieve a higher quality outdoor shots (natural light)?
To illustrate my purpose you can see these few shots that I graded in Resolve + corrections in After Effects: https://vimeo.com/alexandrewebercom/riviereardeche
The third shot is particularly ugly ...
- Have I "pushed" the mpeg-4 too far by color grading it or is it simply the limitations of this compression?
- How do I do with hyper contrast scenes (it was about 14h when shooting)?
- Am I condemned to film in RAW whatever the chosen camera (to be able to uncork the blacks or to recover in the whites in post-prod)?
- Is it better that I under-expose or over-expose this type of scene?
- Can you suggest gear/ configuration more suitable for my use: Camera, Raw / Prores, Log, external recording ... ?
Thanks a lot !
By Oliver Daniel
FOR SALE - KINO FLO 401 DIVA LIGHT KIT (Bargain!!)
At a big discount, we are selling our much loved Kino Flo Diva 401 Kit, a lovely set of industry-leading soft lights with a very smooth light output. (this is the 4-lamp version).
The kit contains 2 x Kino Flo 401 Diva Lights, heavy duty official hard case, tungsten and daylight tubes, 2 x Floziers, 2 x light stands, 2 x lamp cases and UK Plug.
The set is in good condition. One of the Louvers are missing (replaceable at CVP for £40) and one of the springs on the flaps are damaged, but nothing that prevents any use. Usual wear and tear with a few knocks and scratches.
CVP in the UK lists this kit new at £3678.00 new without lamps. With lamps, you are looking at £4k (our set comes with lamps).
We will let them go for £1450 for cash on collection due to quick sale (Manchester UK based). The reason for sale is due to a change in our shooting strategy and we are quickly offloading a bunch of gear.
We are also open to offers around the asking price.
Please contact email@example.com or PM
I was curious why daylight and tungsten was easier to deal with, especially for skin tones. Looking at the spectral distribution of light, tungsten and real daylight provide a continuous spectrum of light, while fluorescent/CFL produce highly spiked light- not continuous. The good news is that the latest LED lights come very close to tungsten/daylight for continuous spectral light. I've got some low-cost CFLs in 2x3 and 2x2 light rigs: I'm going to replace the CFLs with LED bulbs at around 5000K (probably Cree- thanks for the tip FilmMan!) to match the other ~5000K LED lights I use (currently Z96, YN300, YN600, and F&V R-300). An LED spot in a clamp-on work light will also be handy.
http://www.popularmechanics.com/technology/gadgets/tests/incandescent-vs-compact-fluorescent-vs-led-ultimate-light-bulb-test#slide-1 (see the spectral charts)
(CFL can work OK, but I had to use a tuned camera color profile and make sure WB was set carefully, otherwise trying to fix in post was time consuming).