The Magic Cloth worked well. Setting up a book light takes up extra space, but you had plenty to work with in that space. And, yeah, that carpet....fugly!!!!
What's that app called, btw? I've seen it somewhere before? I like to use lighter grid cloths, like about half - on average - that's 1 stop reduction. I had magic cloth once on set, we didn't really use it; instead opted for a half silk iirc. At about 1 stop I find the amount of light that I lose vs the look is a good amount of hard vs soft for my taste so far.
It's fine but when the light is pretty much on the same hight as the subject's head you'll have a bad nose shadow 😢 Edit: dude the nose shadow goes into the eye... Honestly that's not looking good all in all 🙈
Don't you feel the hair light is lost after adding in the back lights onto the drop. As that bounce back is pretty intense off it. Were there any thoughts of rather using the length of the room to pull that drop further back to allow for a better separation of lighting.
So happy to see you using the CRLS at 4:43. LightBridge is a head of the game with this reflector system! Would love to see how you reflected light in more your setups!
@joey_arcisz has been pushing me to use them more! I want to get them on set a lot more. I know they can get you out of a bind when space is limited. Thank you for watching and being a sub!
Really appreciate seeing the lights accumulate as they get added in - that false color readout is really amazing to see at a glance where everything is landing. I bet you build up some muscle memory really quick to see where problem areas might be with that on 🙏🏻
With all the lights on, you can get overwhelmed pretty quick. So I like to bring in each light to show the Director or DP what each light is doing. This also helps me isolate problem spots. Using the false color to see where lighting lands, verses just for exposing the image has been very helpful. Thanks so much for watching!
Joey is one cool cat! We have worked on a few projects together, but 2024 seems to be connecting us more than ever. You edit full time? Thanks for watching and the sub!
That's awesome! He's great! Yeah I'm at Grit Productions in Grapevine. I'm actually in the process of moving towards more of their video art director, but still editing majority of the time lol. Of course! I love the bts set ups! @@PDMokry
I really like that book light setup you had in previous videos. Really great setup for 1-man-band stuff. I'll have to steal that setup. :) The lighting setup for this video makes sense with all of the crew you had. Really clean, especially without the hotel walls and carpet.
Everything depends on your gear, time, man power, budget and situation. My work falls right inline with solo gigs and a tiny crew, meaning just an extra set of hands. I will keep trying to share ideas with everyone when possible. Thanks so much for supporting the channel! No need to steal the setup! You can use the knowledge free of charge. . .for now! lol
You always come in with the support! Thanks for keeping an eye on my progress and video! Much appreciated! Looking forward to seeing content out of Norway soon!
Hot damn, a Komodo-X and CRLS Lightbridge in the same video? Happy Valentine's day to me! 😄 But yeah, it's a beautiful high-key setup. If you've got enough space to create distance between the light and the diffusion, a book light isn't always necessary.
Coming in swinging! Hope you are having a great day! If you compare the two shots with the background off, then on. You will see how the levels go up on the face from all the bounce. It was nice to change it up a bit. Gotta keep the channel fresh and sharpen my skills!
Hello @pdmokry, Thank you for putting this video out. What kind of software do you use for lighting diagram to get an idea of how it’s going to look like before the project ?
I just got a 6x of magic cloth this week. I think I may need to get a fresnel attachment though because the reflector dish for my aputure light gives a big hot spot in the center of the diffusion.
So the old style reflectors used to cast an even spread of light. The new style create a hot spot to boost output. The F12 will help diffuse the light a bit also.
Been wondering about CRLS. Worried about the fragility. Also curious about flaring issues using it as a hair light. Seems like you’d have to put a lenser in there somewhere with no way that I’m aware of to put an egg crate grid those.
On this shoot we did not get any flares from the hair light. But I can see it being an issue. Barn doors or a French flag might be a cool trick on them.
Hey Piotr! Been zooming through your videos - so good. Thank you for your generosity. As a traveling doc filmmaker, I'm weighing my options for a travel setup. If you had to fit everything into a checked Pelican, what would your lighting system look like? Obviously I would hire someone like you first, but often my shoots are in remote rural areas of the country that are hundreds of miles from major cities.
Absolutely! I was envisioning purchasing another 1615 Air. It's LxWxH is 29.59 x 15.50 x 9.38 inches. I've mostly used the sun with timing/positioning for run and gun interviews. I own the following, but don't use them often: • 5-in-1 reflector/diffuser from Westcott • Matthews Reverse stands (3) • Amaran 60d and 200d • Aputure MC That's changing, because I'll be doing more sit-down interviews. I'd love to up this to a more powerful and professional setup (softer light), while still able to fit most of it into the 1615. The Westcott book light kit caught my eye, but after I saw you creating a book light in your style, it just made more sense, and looked more flexible. Budget is $4-5K. @@PDMokry
Hey Piotr! Just nudging you on this comment. Seems even more relevant after your latest video. I know you have a lot on your plate, but if you have any advice I'd love to know. Thank you :)
I was so freaked out when I started getting into lighting. Now I just act like a sponge and try to learn as much as possible. We will always be students. Always ask questions and practice when you can. Thank you for watching!
I always love to see setups/explanations like this! Thanks! For those of us who operate several notches down from this level: "On paper" a setup using a step down in lighting power (300 instead of 600) would result in 1 stop lower light levels which would require making it up on ISO and/or aperture. Does that translate in reality?
Glad you like the video and format. If you look back at the diagram, you can see the camera settings. I can see that possibly working, but we always like to leave room in the output, just incase we need it. Thanks for watching!
Nice breakdown. Thanks for including the False Color info. I wish the CRLS gear was more affordable. It's a great idea, but I can't swing it, and none of the rental shops I use will carry it as they fear it's too fragile.
The false color just clicked one day for me, we use it so much on set. So it would play well in a video. They do command a big price. I know there are other in the market, but those are frowned upon by some. What is your opinion on copies of the LightBridge? Thanks for watching!
I've been to a workshop where they showed us how to use properly the CRLS and to be honest, I will NEVER buy this system. It is WAY too fragile. You have to wear gloves, clean them, make sure anything doesn't drop on it, this product needs to be treated like a real diva. You can achieve the same kind of result which just a simple bounce board.
@@PDMokry I think the CRLS system is brilliant, and could be helpful in some unique situations, but therein lies the rub. I don't see enough applications that can't be achieved with other, much less expensive lights, to warrant the cost and special handling. I think Godox may be offering a similar product, but even that one is quite expensive. For now, I will rely on conventional bounce materials and rigging a few extra, less expensive lights.
Love it man! Really nice high key kind of look here. Would've never thought you were in that room. Quick q - what is that bar attachment on top of the C Stand that allows you to hang the magic cloth?
Just wondering if the hair light was even necessary with the way this was set up? The bounce was so bright I can't imagine you'd even see it?? Interesting work here. Thanks.
I was wondering the same thing, until we got a mix of different interview subjects. Hard to see it on Kyle or me. But when we had people with darker hair, it did help. I wish I could show a lineup, because it looked great.
Hmm. Not sure I get using a hairlight when the background is lit to a bright white. Also, maybe it’s because I’m old, but the fill should come from the camera position, not from the floor to the left.
Hard to see the hairlight on me or the test subject, but it did play for the people we interviewed. Thanks for the input on the fill and for watching. We are all a bit old!
Dude your videos are invaluable. I’m getting ultra bounce and magic cloth in tomorrow and am gonna start using it with my nanlites. Would love to see you do more with magic cloth!
I appreciate it! I learned a lot from TH-cam and then getting hired out as a swing to a DP. I would get guided by the DP on how they wanted things. Then it started clicking. This was from networking with Joey and others in the area.
I've recently found your videos and find them really valuable. Thank you. With all that light going into the background, did you need the hair light? Love the light bridge you used for it but I'm wondering if you could eliminate it?
Glad you found your way here! Thank you for the support! So the hair light did play more on some vs others. We had over a dozen people with different hair styles and colors. That is why we moved the direction and output of the light often.
you use powerful lights so the magic cloth is justified. for someone using a 200 or 300 watt light, what cloth or diffusion would you recommend? 2. Did you use fresnel cuz you needed more power from the aputure 600
What was the app that Joey used for the lighting diagram? I wish I would’ve seen this sooner cause injustice had to do testimonial videos on a seamless backdrop haha.
I think you might want to try flagging off the entire lower third of your key light, or maybe even half it or raise the magic cloth higher. Because you look at the nose shadow, it is angled slightly upwards, the left chin "feels" brighter from the light coming from camera right. It seems the large surface area of the magic cloth is also doing too much of a kicker from a lower angle altogether. I also think since this is to be a high key lighting, why not expose the skintones slightly higher to make the overall tonality more airy, right now I feel it lacks a bit of that airy high key look, but this might just be a preference thing. But you guys did a great job anyways, and having the lighting diagram before a shoot is always such a nice thing to have.
Your feedback is great and very important. So many viewers read the comments and it helps everybody grow. I am taking notes and will be sure to keep an eye out next time around. Thanks so much!
@@PDMokry I think you can even forget the 8x8 as keylight and nex time replace it with the a 2x2 led panel closest posible to talent. Hairlight was lost as soon as 8x8 was turned on, because of the big wrap of this keylight. Anyway great job and thanks for sharing!
I always like Magic cloth. Haven’t used one that big it was in a 4x4 frame. Question though. I applied to be one man band shooter for an event. They I think asked to use a seamless as well. Would you recommend one that big? Or would any work? Mine is way smaller and I use it for auditions. Think I can get away with it? Also FYI I have a small kit for it if hired.
I really like your video ! The way you break down everything. Very interesting. Nonetheless I have to agree with the other comment. It seems way overkill for such a tight shot ! Especially the backlight ! A quite complicated set up for an effect that seems burried in the super bright backdrop. I see your point of having just a light foam board hanging over the head of the talent but you could have use pavotubes with the same effect (or the new very light zhiyun molus with an umbrella) and a smaller footprint overall and faster set up. Same for the backdrop. Considering the framing of the interview, I would have light it only with an amaran p60c and its diffusion. Or a small cob and a small light dome to soften the light and have a perfect circle of light. Right behind the talent but on the floor to avoid having to boom another light. But that's only my take. And sometimes it looks better in front of a client to take out as many lights as you can 😅 Anyway, good job. Just wanted to share how I would have done it. I guess I'm tired to handle lots of heavy lights now that I'm getting old 🥺
Great feedback! We did not have small lights on the van. We used what we had on hand. I know it could always be done with less, but we had the crew, time and budget to go big. I hate lugging heavy gear too! Thanks for watching!
Great stuff! Love the use of the CRLS! One question though, what is the name of the app that joey used for the lighting diagram and test for the iPad? Id love to see if I can implement it into my workflow!
Pro outfit for sure… I like the Rembrandt with a little more shadow but that’s only stylistically speaking for this high key style you guys are spot on… Doesn’t get better… I’d hire you in a second for an espn style sports documentary interview shoot or the million different corporate vids… Nice work. ❤
Thank you so much! We were fighting the fill levels for sure. We wanted a bit more, but pulled it back. I appreciate it, if you every make it to Dallas, we are ready to work. Speaking of a sports style shoot, check out my other video: th-cam.com/video/kJgMMu0oOzE/w-d-xo.htmlsi=2LYkfAluf6rJFVRK
Why do you take your color readings so close to the unit rather than where the talent will actually be sitting? I know you mentioned the magic cloth could give a color shift but wouldn’t you want to know what that shift is? Also wouldn’t you meter the color after it returns from the bounce. Proximity and direction plays a huge roll in accurate metering. Just wondering why you chose to do it that way.
I take multiple readings, close to the source and close to the subject. I did not want to turn this video into a metering heavy video. Thanks for watching!
In college, we used to have final Fridays where we critiqued each other's work in a safe space. As a photographer of over 25 years, in the last 10 years, I've also ventured into video work at the request of clients, constantly learning from peers and quite a bit of TH-cam university. Over the past three years, I've worked as a Director of Photography on some significant projects, primarily in corporate settings, focusing on talking heads and anything that puts me behind the camera. On to my critique; the direction or angle of your key light has created a noticeable shadow on the subject's nose, resembling more of a "Rem-can't" than a Rembrandt. This could potentially make interviewees self-conscious about their appearance and may affect their perception of the shoot. It only takes one influential person in the group to comment on this to the director, anyone on the upper pay scale of the shoot, this could have lasting effects on future work with the client.
One tip re Eye direct etc , you often need a very small LED light , just mounted on the camera , dimmed down , to be on your interviewers face . I guess you guys had tons of ambient flying around there , but mostly its way darker behind the camera ,and the subject wont be able to see the face of the interviewer in the mirror.
Not sure book light or this one is better. It actually depends which one is better for the client. I created cheap book light setup today (based on yours) and it looks quite ok. Some people prefer softboxes and softboxes with a grid for more contrasty look. I wonder how much is this Lightbridge setup ... I've heard 1 mirror is 5k USD ... 😮😯😮😯😯
Book light was invented for when you don't have space, to back up a light to fill the diff frame evenly. Both methods, filling the diff frame to the same amount, will have the same level of softness. There is nothing, intrinsically soft ,about a book light, thats making it any softer than direct , from a fixture further back also evenly filling the diff .Its when you don't have the room for that ,that a book light is the best option , but it involves more gear / setup time. The softness is only about size to subject , they could have used a way smaller frame ,in closer , evenly lit, and it would have the same softness. These big 8x8 are useful for wide shots or people moving around as the drop off is way less than a smaller source , inverse square rule.
@@robinprobyn1971 I know ... I compared softness and contrast to the softboxes. And when placed at the same distance even 150cm softbox cratates a bit harsher look. It depends also on a bouncing and diffusing material. So it's actually hard to compare. But generally inverse square rule applies. You can also lower the contrast using fill light and backlight ... just ratios then.
@@JoATTech Yeah softboxs without internal baffles, to spread the light evenly from the source to the actual diff , will still give a hot spot ,as not evenly covering the outer diff surface You have top spend more to get decent softboxs , like DoP Choice , with internal diff.
@@robinprobyn1971 It's not that simple. It also depends on the COB light head size and shape. For example Aputure Light Dome 150 with just 1 diffusion layer gives really unified light with Amaran 300C, but the same light in a softbox with a internal baffle gives actually dark spot in the middle. Also on Aputure Light Dome III there is a slight darker spot inside and brighter ring close to the edge of the softbox. If I mount Godox SL60W then each of the softboxes gives different pattern then 300C. Also internal buffles are not always covering the whole light source and then there is brighter ring on the edge of the softbox. So it's actually trial and error process to find perfect softbox for particular light source (same with the reflectors).
@@JoATTech What ever you use , the softness will come down to the size of our source , to the subject you are lighting , it's as simple as that . Cant change the science
I come from graphic design, not video production... and I am surprised that the background is so bright - isn't the usual approach to help the viewer see detail in the subject (=chiaroscuro), and get the subject to "pop"? Isn't the background the least interesting part of the image? Is this bright background useful for post production effects? Is there another reason this was requested?
I was matching references from work the production company that hired us had done previously. Otherwise I would have suggested we go with a different look for the background. I did build an alternative look/version of this in prepro just in case I had the opportunity to offer up something different.
It's a good point , and a black BG is way more often requested than white . It's a pain to get the lighting right on it , and it bounces light all over the place . No DP,s like dealing with it I think. We have early Apple commercials to blame ! it was trendy for a while back in the day , and maybe making a come back . The best way is to actually shoot green screen and dial in the "whiteness " in post . which is how the Apple commercials did it . But yeah ,basically we have to do what the client wants , this is very seldom the DP,s choice in the corporate world .
What are your thoughts on the Magic Cloth?
Morning dude! Happy Valentine's Day! What lens did you throw on the Spotlight SE?
The Magic Cloth worked well. Setting up a book light takes up extra space, but you had plenty to work with in that space.
And, yeah, that carpet....fugly!!!!
What's that app called, btw? I've seen it somewhere before? I like to use lighter grid cloths, like about half - on average - that's 1 stop reduction. I had magic cloth once on set, we didn't really use it; instead opted for a half silk iirc. At about 1 stop I find the amount of light that I lose vs the look is a good amount of hard vs soft for my taste so far.
It's fine but when the light is pretty much on the same hight as the subject's head you'll have a bad nose shadow 😢
Edit: dude the nose shadow goes into the eye... Honestly that's not looking good all in all 🙈
Don't you feel the hair light is lost after adding in the back lights onto the drop. As that bounce back is pretty intense off it. Were there any thoughts of rather using the length of the room to pull that drop further back to allow for a better separation of lighting.
Actual professional lighting content?! Finally I find this
Thank you brother! I will keep it coming!
So happy to see you using the CRLS at 4:43. LightBridge is a head of the game with this reflector system! Would love to see how you reflected light in more your setups!
@joey_arcisz has been pushing me to use them more! I want to get them on set a lot more. I know they can get you out of a bind when space is limited. Thank you for watching and being a sub!
Such beautiful soft light, stoked to use this process for a future project I am working on. Thank you for sharing your expertise.
You are so welcome! Glad to have helped!
One of the best lighting breakdown I’ve ever seen cheers mate 🧉
Wow, thanks!
its so nice to see people working properly! thank you for sharing this !
Much appreciated!v Thanks for the support!
Really appreciate seeing the lights accumulate as they get added in - that false color readout is really amazing to see at a glance where everything is landing. I bet you build up some muscle memory really quick to see where problem areas might be with that on 🙏🏻
With all the lights on, you can get overwhelmed pretty quick. So I like to bring in each light to show the Director or DP what each light is doing. This also helps me isolate problem spots. Using the false color to see where lighting lands, verses just for exposing the image has been very helpful.
Thanks so much for watching!
I love the magic cloth and the whole set up!
Thank you!
What a small world! I've edited a lot of stuff Joey's shot for Grit. I literally lost my mind when I saw this haha. You've got my sub!
Joey is one cool cat! We have worked on a few projects together, but 2024 seems to be connecting us more than ever. You edit full time? Thanks for watching and the sub!
That's awesome! He's great! Yeah I'm at Grit Productions in Grapevine. I'm actually in the process of moving towards more of their video art director, but still editing majority of the time lol. Of course! I love the bts set ups! @@PDMokry
@@cinnamontography94Hayden! The Post production beast!💪 Glad you dig our set up man. Hopefully drawing up some more diagrams for Piotr soon!
I really like that book light setup you had in previous videos. Really great setup for 1-man-band stuff. I'll have to steal that setup. :)
The lighting setup for this video makes sense with all of the crew you had. Really clean, especially without the hotel walls and carpet.
Everything depends on your gear, time, man power, budget and situation. My work falls right inline with solo gigs and a tiny crew, meaning just an extra set of hands. I will keep trying to share ideas with everyone when possible. Thanks so much for supporting the channel!
No need to steal the setup! You can use the knowledge free of charge. . .for now! lol
hey @PDMokry, another banger video! I would be stoked if we could get a video od how you built your grip carts! Cheers Piotr!
I hope to find time this Spring to do a full build video on my carts. Thanks for watching!
Nice set up, but once all the background lights went on I couldn't see the hairlight.
It was not tuned to his hair, but during the interviews it was adjusted to pop.
Another great educational video plus great graphics showing the gear used. Keep making these great videos.
You always come in with the support! Thanks for keeping an eye on my progress and video! Much appreciated! Looking forward to seeing content out of Norway soon!
Super cool use of the bounce for the hair light never seen that!
We wanted to go wild!
Hot damn, a Komodo-X and CRLS Lightbridge in the same video? Happy Valentine's day to me! 😄 But yeah, it's a beautiful high-key setup. If you've got enough space to create distance between the light and the diffusion, a book light isn't always necessary.
Coming in swinging! Hope you are having a great day! If you compare the two shots with the background off, then on. You will see how the levels go up on the face from all the bounce. It was nice to change it up a bit. Gotta keep the channel fresh and sharpen my skills!
Hello @pdmokry, Thank you for putting this video out. What kind of software do you use for lighting diagram to get an idea of how it’s going to look like before the project ?
Thanks for the support! Here is a link to the app used:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
I’d like to see in the future an example the key and background on then adding the hair and fill to show the nuance they bring
I will try to make it happen. Can’t delay the shoot for TH-cam content. Thanks for watching!
I just got a 6x of magic cloth this week. I think I may need to get a fresnel attachment though because the reflector dish for my aputure light gives a big hot spot in the center of the diffusion.
So the old style reflectors used to cast an even spread of light. The new style create a hot spot to boost output. The F12 will help diffuse the light a bit also.
Been wondering about CRLS. Worried about the fragility. Also curious about flaring issues using it as a hair light. Seems like you’d have to put a lenser in there somewhere with no way that I’m aware of to put an egg crate grid those.
On this shoot we did not get any flares from the hair light. But I can see it being an issue. Barn doors or a French flag might be a cool trick on them.
Hey Piotr! Been zooming through your videos - so good. Thank you for your generosity. As a traveling doc filmmaker, I'm weighing my options for a travel setup. If you had to fit everything into a checked Pelican, what would your lighting system look like? Obviously I would hire someone like you first, but often my shoots are in remote rural areas of the country that are hundreds of miles from major cities.
Thanks so much for watching and supporting the channel! What size is the pelican and what kit do you own?
Absolutely! I was envisioning purchasing another 1615 Air. It's LxWxH is 29.59 x 15.50 x 9.38 inches.
I've mostly used the sun with timing/positioning for run and gun interviews.
I own the following, but don't use them often:
• 5-in-1 reflector/diffuser from Westcott
• Matthews Reverse stands (3)
• Amaran 60d and 200d
• Aputure MC
That's changing, because I'll be doing more sit-down interviews.
I'd love to up this to a more powerful and professional setup (softer light), while still able to fit most of it into the 1615.
The Westcott book light kit caught my eye, but after I saw you creating a book light in your style, it just made more sense, and looked more flexible.
Budget is $4-5K.
@@PDMokry
Hey Piotr! Just nudging you on this comment. Seems even more relevant after your latest video. I know you have a lot on your plate, but if you have any advice I'd love to know. Thank you :)
Wow, so cool to see how pro's do it. A lot of great detail. Thank you, even if it does make me feel impotent ha ha.
I was so freaked out when I started getting into lighting. Now I just act like a sponge and try to learn as much as possible. We will always be students. Always ask questions and practice when you can. Thank you for watching!
Awesome break down! Thanks for sharing! If yall ever need a grip / cam op / pa in Atlanta Id love to work with u
I appreciate it, thanks for watching! If we ever get out that way, let’s connect!
I always love to see setups/explanations like this! Thanks! For those of us who operate several notches down from this level: "On paper" a setup using a step down in lighting power (300 instead of 600) would result in 1 stop lower light levels which would require making it up on ISO and/or aperture. Does that translate in reality?
Glad you like the video and format. If you look back at the diagram, you can see the camera settings. I can see that possibly working, but we always like to leave room in the output, just incase we need it. Thanks for watching!
thankyou very much for the video ...
watching from Botswana !
Thank you for the support from Botswana!
can you share the making of the cart with all the flags? He used black pipes? Magliner? Thanks!
Video in the future! Maybe even plans!
I’m outside holding my umbrella under the rain 😊
Loooooooove the format of your videos!!
I think I am finding my groove! What are some of your favorite videos?
Great look. Thank you for the demo.
Thank you for watching. I will keep them coming!
i love magic cloth. novas behind magic cloth waterfall is so easy and soft. great video
I have two Novas that are always collecting dust. Might have to put them to work next time around! Thanks for watching!
Nice breakdown. Thanks for including the False Color info.
I wish the CRLS gear was more affordable. It's a great idea, but I can't swing it, and none of the rental shops I use will carry it as they fear it's too fragile.
The false color just clicked one day for me, we use it so much on set. So it would play well in a video.
They do command a big price. I know there are other in the market, but those are frowned upon by some. What is your opinion on copies of the LightBridge?
Thanks for watching!
I've been to a workshop where they showed us how to use properly the CRLS and to be honest, I will NEVER buy this system. It is WAY too fragile. You have to wear gloves, clean them, make sure anything doesn't drop on it, this product needs to be treated like a real diva. You can achieve the same kind of result which just a simple bounce board.
@@ChuckRiseUp I was going to try a few forms of bounce and sheetmetal to see if I could get the same/similar results.
@@PDMokry you should definitely try to replicate CRLS with different materials and make a video about it :)
@@PDMokry I think the CRLS system is brilliant, and could be helpful in some unique situations, but therein lies the rub. I don't see enough applications that can't be achieved with other, much less expensive lights, to warrant the cost and special handling. I think Godox may be offering a similar product, but even that one is quite expensive. For now, I will rely on conventional bounce materials and rigging a few extra, less expensive lights.
Love it man! Really nice high key kind of look here. Would've never thought you were in that room.
Quick q - what is that bar attachment on top of the C Stand that allows you to hang the magic cloth?
Nice work on this Piotr! Man I gotta clean up those carts. They are looking rough! 😂
A working cart is a messy cart! Great working with you as always!
Hairlight trick is clever!
Thank you!
Were you going for an all white background? I fell to gray
I was just a gaffer, it went off the direction of the DP and the director. They were happy with it the way it was.
Great video. Would love to know what software was used to pre plan the lighting
Thank you so much! Here is a link to the app used:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae
Just wondering if the hair light was even necessary with the way this was set up? The bounce was so bright I can't imagine you'd even see it?? Interesting work here. Thanks.
I was wondering the same thing, until we got a mix of different interview subjects. Hard to see it on Kyle or me. But when we had people with darker hair, it did help. I wish I could show a lineup, because it looked great.
I was just about to say the same thing. It played in a big way on some people and then we had one bald guy where we turn the it off completely.
We ned more of your content! Ist's damn great!
Could you Do some light wight stuff to?
Hmm. Not sure I get using a hairlight when the background is lit to a bright white. Also, maybe it’s because I’m old, but the fill should come from the camera position, not from the floor to the left.
Hard to see the hairlight on me or the test subject, but it did play for the people we interviewed. Thanks for the input on the fill and for watching. We are all a bit old!
I would love to know how you built your carts
I hope to get a build video done soon! Thanks for supporting the channel for so long!
Very helpful video. Thanks! What was the gaffer app that was used?
Glad you enjoyed it! Here is the app:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae
Great video and explanation of the setup! Just subbed 👍🏻
Thanks for stopping by and subbing!
Dude your videos are invaluable. I’m getting ultra bounce and magic cloth in tomorrow and am gonna start using it with my nanlites. Would love to see you do more with magic cloth!
Thank you so much! I have had magic cloth on the van for a while, but never had a chance to vlog with it yet. I will try to get it on more shoots!
Love this @PDMokry! QQ: what was the LED Video Lamp for, on the diagram an eye light?
Thanks so much! It was to light the producer, but the spilled made up for it.
This is so awesome! Keep these up, how did you start learning and also get gigs like these?
I appreciate it! I learned a lot from TH-cam and then getting hired out as a swing to a DP. I would get guided by the DP on how they wanted things. Then it started clicking. This was from networking with Joey and others in the area.
thanks for the great breakdown....what lighting diagram app was that?
Always! Here is the app:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
great video, thx a lot! What software did you use to create the floor map? seems super useful!
Thank you so much, here is a link to the software:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
I've recently found your videos and find them really valuable. Thank you. With all that light going into the background, did you need the hair light? Love the light bridge you used for it but I'm wondering if you could eliminate it?
Glad you found your way here! Thank you for the support!
So the hair light did play more on some vs others. We had over a dozen people with different hair styles and colors. That is why we moved the direction and output of the light often.
@@PDMokry That makes sense. I just recently got access to the light bridges but have never put them in a set up. Excited to try. Cheers.
you use powerful lights so the magic cloth is justified. for someone using a 200 or 300 watt light, what cloth or diffusion would you recommend? 2. Did you use fresnel cuz you needed more power from the aputure 600
looks overly soft and even. but i guess it depends on what you're going for. i would prefer less fill light or more key light...
Sometimes we have to just accept what the client wants, not what we want. Thanks for watching!
Great video. Loved it. Well done.
Hey bro. Looks great. Can you find out the name of the app used for the lighting diagram????????
Thank you for watching! Here is the app:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
What was the app that Joey used for the lighting diagram? I wish I would’ve seen this sooner cause injustice had to do testimonial videos on a seamless backdrop haha.
Here is the link to the software:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
Save the video for the next one!
@@PDMokry thank you! I will! I’m making a playlist 👍🏻
I think you might want to try flagging off the entire lower third of your key light, or maybe even half it or raise the magic cloth higher. Because you look at the nose shadow, it is angled slightly upwards, the left chin "feels" brighter from the light coming from camera right. It seems the large surface area of the magic cloth is also doing too much of a kicker from a lower angle altogether. I also think since this is to be a high key lighting, why not expose the skintones slightly higher to make the overall tonality more airy, right now I feel it lacks a bit of that airy high key look, but this might just be a preference thing. But you guys did a great job anyways, and having the lighting diagram before a shoot is always such a nice thing to have.
Your feedback is great and very important. So many viewers read the comments and it helps everybody grow. I am taking notes and will be sure to keep an eye out next time around. Thanks so much!
@@PDMokry I think you can even forget the 8x8 as keylight and nex time replace it with the a 2x2 led panel closest posible to talent. Hairlight was lost as soon as 8x8 was turned on, because of the big wrap of this keylight. Anyway great job and thanks for sharing!
Crazy Setup
Thank you!
@@PDMokryNp trust me I know what a hassle to set everything up.
Great Information! Just one question, what was the app/software you guys used for the lighting diagram? Thanks!
Thank you! Here is the app: www.elixxier.com/en/#v2=65b97443998ae #ad
This is great dude. Thanks for another great video. I like this lighting set up
Glad you like it! I will keep them coming!
Please do!!!@@PDMokry
I like the efficiency of the app! Do you know what it's called?
Here a link to the app!
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
Dang.. this seems crazy overkill, but I love it. ;)
That’s how we roll! Yes, we could have cut down a bit, but we had the gear at our fingertips. Thanks for watching!
I always like Magic cloth. Haven’t used one that big it was in a 4x4 frame. Question though. I applied to be one man band shooter for an event. They I think asked to use a seamless as well. Would you recommend one that big? Or would any work? Mine is way smaller and I use it for auditions. Think I can get away with it? Also FYI I have a small kit for it if hired.
why not using a set of 180cm reflective umbrellas? wouldn't be much simplier to carry and set up?
That sounds like a great option!
The wattage of these lights are overkill in this enclosed environment, but I guess y'all own this kit already, so it's what you have.
This is the kit we had, hard to justify renting smaller units.
Great work! What program do you use for the lighting diagram??
Thank you! Here is the program: www.elixxier.com/en/#v2=65b97443998ae #ad
in the end whats the name of The app for the lighting Diagram you showed? :)
www.elixxier.com/en/#v2=65b97443998ae #ad
I really like your video ! The way you break down everything. Very interesting. Nonetheless I have to agree with the other comment. It seems way overkill for such a tight shot ! Especially the backlight ! A quite complicated set up for an effect that seems burried in the super bright backdrop. I see your point of having just a light foam board hanging over the head of the talent but you could have use pavotubes with the same effect (or the new very light zhiyun molus with an umbrella) and a smaller footprint overall and faster set up.
Same for the backdrop. Considering the framing of the interview, I would have light it only with an amaran p60c and its diffusion. Or a small cob and a small light dome to soften the light and have a perfect circle of light. Right behind the talent but on the floor to avoid having to boom another light. But that's only my take. And sometimes it looks better in front of a client to take out as many lights as you can 😅
Anyway, good job. Just wanted to share how I would have done it. I guess I'm tired to handle lots of heavy lights now that I'm getting old 🥺
Great feedback! We did not have small lights on the van. We used what we had on hand. I know it could always be done with less, but we had the crew, time and budget to go big. I hate lugging heavy gear too! Thanks for watching!
It looked better without the two background lights on
A darker background is always my first choice too.
Great stuff! Love the use of the CRLS! One question though, what is the name of the app that joey used for the lighting diagram and test for the iPad? Id love to see if I can implement it into my workflow!
We had time, so we ditched the tube and went a bit spicy! Here is a link to the app used: www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
What was the EyeDirect Alternative being used?
Here is a link:
amzn.to/49zOFOj
Wow, I want that lighting diagram software, do you know what it is called?
Very Helpful.
Here is the app:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
@@PDMokry one time purchase, awesome!
Thanks man.
@@HakimZziwaTips So tired of subscriptions!
I know right! that is why I moved to Da Vinci for everything, subscription is the modern day robbery lol@@PDMokry
What is that app called he used for pre-lighting? Would be super helpful to be able to use that to communicate with crew and also clients
Pro outfit for sure… I like the Rembrandt with a little more shadow but that’s only stylistically speaking for this high key style you guys are spot on… Doesn’t get better… I’d hire you in a second for an espn style sports documentary interview shoot or the million different corporate vids… Nice work. ❤
Thank you so much! We were fighting the fill levels for sure. We wanted a bit more, but pulled it back. I appreciate it, if you every make it to Dallas, we are ready to work.
Speaking of a sports style shoot, check out my other video:
th-cam.com/video/kJgMMu0oOzE/w-d-xo.htmlsi=2LYkfAluf6rJFVRK
Why do you take your color readings so close to the unit rather than where the talent will actually be sitting? I know you mentioned the magic cloth could give a color shift but wouldn’t you want to know what that shift is? Also wouldn’t you meter the color after it returns from the bounce. Proximity and direction plays a huge roll in accurate metering. Just wondering why you chose to do it that way.
I take multiple readings, close to the source and close to the subject. I did not want to turn this video into a metering heavy video. Thanks for watching!
You should make a video on metering. I would find it interesting. Working with LEDs can be tricky.@@PDMokry
Do you know what software your friend used to create the lighting diagram?
Yes indeed! Here is the link: www.elixxier.com/en/#v2=65b97443998ae #ad
what the name of the App uesd by the DP to created the 3d diagram of the light ?
Here is a link to the app: www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
In college, we used to have final Fridays where we critiqued each other's work in a safe space. As a photographer of over 25 years, in the last 10 years, I've also ventured into video work at the request of clients, constantly learning from peers and quite a bit of TH-cam university. Over the past three years, I've worked as a Director of Photography on some significant projects, primarily in corporate settings, focusing on talking heads and anything that puts me behind the camera.
On to my critique; the direction or angle of your key light has created a noticeable shadow on the subject's nose, resembling more of a "Rem-can't" than a Rembrandt. This could potentially make interviewees self-conscious about their appearance and may affect their perception of the shoot. It only takes one influential person in the group to comment on this to the director, anyone on the upper pay scale of the shoot, this could have lasting effects on future work with the client.
You’ve motivated me to do a white background interview Lighting video. Give me two weeks. Let’s make this a friendly competition between artist.
I look forward to seeing it! I welcome all feedback, that is how we learn. Thanks for the watch and taking time to comment.
Do you know what brand that alternate Eye Direct is?
Here is a link:
amzn.to/49zOFOj #ad
Great breakdown. What was the app used for the diagrams?
Thank you so much! Here is the app: www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
Good video as always...is it an F-12 or F-10 fresnel...
Good catch! It is the F10 fresnel. Copy and past got me. I did looked at it so much during editing, I convinced myself it was F12.
@@PDMokry no problem, keep posting brother.
For the background the fresnel works better than the reflector?
in which software/app did the dp create the lighting diagram?
Here is a link to the software/app that was used:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
thnaks@@PDMokry
One tip re Eye direct etc , you often need a very small LED light , just mounted on the camera , dimmed down , to be on your interviewers face . I guess you guys had tons of ambient flying around there , but mostly its way darker behind the camera ,and the subject wont be able to see the face of the interviewer in the mirror.
If you look at the lighting diagram, we had a light setup for that. But the spill from the key was enough. Great tip!
@@PDMokry ah ok , sorry didnt see that in the lighting diagram .
what app did you use @ 0:19 ?
Name of the app? Nice set up btw results were clean and professional
Much appreciated! Here is the app: www.elixxier.com/en/#v2=65b97443998ae #ad
My 300nova is my most expensive light and you guys using it for a fill. I feel broke 😔
We feel broke after buying vans and filling them with gear. Hard work pays off!
You guys are doing great!
What app was that, the one shown in the beginning?
Here you go: www.elixxier.com/en/#v2=65b97443998ae #ad
what’s the app‘s name for simulate the lighting setup， it’s really save lots of times on set
Here is a link to the app:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
thanks❤@@PDMokry
What app do you use for lighting diagrams?
Here it is:
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
How is the software called to make that detailed diagram?
Here it is: www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
Not sure book light or this one is better. It actually depends which one is better for the client.
I created cheap book light setup today (based on yours) and it looks quite ok. Some people prefer softboxes and softboxes with a grid for more contrasty look.
I wonder how much is this Lightbridge setup ... I've heard 1 mirror is 5k USD ... 😮😯😮😯😯
Book light was invented for when you don't have space, to back up a light to fill the diff frame evenly. Both methods, filling the diff frame to the same amount, will have the same level of softness. There is nothing, intrinsically soft ,about a book light, thats making it any softer than direct , from a fixture further back also evenly filling the diff .Its when you don't have the room for that ,that a book light is the best option , but it involves more gear / setup time. The softness is only about size to subject , they could have used a way smaller frame ,in closer , evenly lit, and it would have the same softness. These big 8x8 are useful for wide shots or people moving around as the drop off is way less than a smaller source , inverse square rule.
@@robinprobyn1971 I know ... I compared softness and contrast to the softboxes. And when placed at the same distance even 150cm softbox cratates a bit harsher look. It depends also on a bouncing and diffusing material. So it's actually hard to compare. But generally inverse square rule applies.
You can also lower the contrast using fill light and backlight ... just ratios then.
@@JoATTech Yeah softboxs without internal baffles, to spread the light evenly from the source to the actual diff , will still give a hot spot ,as not evenly covering the outer diff surface You have top spend more to get decent softboxs , like DoP Choice , with internal diff.
@@robinprobyn1971 It's not that simple. It also depends on the COB light head size and shape.
For example Aputure Light Dome 150 with just 1 diffusion layer gives really unified light with Amaran 300C, but the same light in a softbox with a internal baffle gives actually dark spot in the middle. Also on Aputure Light Dome III there is a slight darker spot inside and brighter ring close to the edge of the softbox. If I mount Godox SL60W then each of the softboxes gives different pattern then 300C.
Also internal buffles are not always covering the whole light source and then there is brighter ring on the edge of the softbox.
So it's actually trial and error process to find perfect softbox for particular light source (same with the reflectors).
@@JoATTech What ever you use , the softness will come down to the size of our source , to the subject you are lighting , it's as simple as that . Cant change the science
Is that hairlight bounce more special than a headboard?
very helpful, thank you!
Glad it was helpful! Thank you for being a subscriber!
is the F12 Fresnel an Aputure product?
Typo
Where do you get that magic cloth?
B&H TRP World
What was the app name for figuring out how the light looks before hand?
Here is a link to it!
www.elixxier.com/en/#v2=65b97443998ae #ad
I come from graphic design, not video production... and I am surprised that the background is so bright - isn't the usual approach to help the viewer see detail in the subject (=chiaroscuro), and get the subject to "pop"? Isn't the background the least interesting part of the image? Is this bright background useful for post production effects? Is there another reason this was requested?
I was matching references from work the production company that hired us had done previously. Otherwise I would have suggested we go with a different look for the background. I did build an alternative look/version of this in prepro just in case I had the opportunity to offer up something different.
It's a good point , and a black BG is way more often requested than white . It's a pain to get the lighting right on it , and it bounces light all over the place . No DP,s like dealing with it I think. We have early Apple commercials to blame ! it was trendy for a while back in the day , and maybe making a come back . The best way is to actually shoot green screen and dial in the "whiteness " in post . which is how the Apple commercials did it . But yeah ,basically we have to do what the client wants , this is very seldom the DP,s choice in the corporate world .
What is the lighting software you're using in the video?
Here is a link!
www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad
thanks @@PDMokry
Why do you need a hair light with such a bright background?
Ugly carpet, ugly walls - how familiar this is to me!)
It does not spark joy!
It could be the video, but to me when the subject is finally lit up, the hair light is lost. Otherwise the setup looks great. JustSaying.
So this was night fine tuned yet. Once we had people sit in, we bumped the output and adjusted to hair color and style. Wish I could share and tell.
What’s the app called?
This is it www.elixxier.com/en/#v2=65b97443998ae #ad
How much did you charge for that?
What is the name of that app!
Here you go: www.elixxier.com/en/set-a-light-3d/#v2=65b97443998ae #ad