the more I watch NOPE the stranger it actually looks to me, I was just reading that all of the skies even during the day are VFX replacements so they could control clouds, stars etc. I didn't bother diving it into in my video because it's such a can of worms - Jurassic Park's T-Rex sequence is a really good example of a night scene with absolutely no source continuity. Spielberg adds hair lights and kickers all over the place for the Jeep interiors, but exteriors are one giant sky source (the moon) narratively only the moon exists as light because the power is out, but Spielberg never takes it literally. It just always looks good and our brains never think twice about it. thanks for the thoughts.
Yeah man it's hard to choose what information / how deep to go into it with these short videos. Loved your video about Nope. I'll have to re watch that Jurassic Park scene!
I think that works if you cut between wide shots to close-ups, but you are extremely limited in your camera angles and cutting options. but this is usually the best way to light things in general, I noticed the best cinematographers say fuck continuity and as long as the colors and contrast ratios are correct it will look good and serve the story.
Spielberg does this in most movies. As long as a scene works visually, the continuity about the exact sources of light is not important. In E.T., check the scene where Elliot makes E.T. enter his bedroom : the camera changes the points of view but the shadows on the floors are always directing to camera. Visually, for the audience, the continuity seems respected but once you realized that about the shadows, you realized you've been tricked
1 minute in and I subscribed, you've got everything. Solid audio, great story telling, good pacing and clear expectations in the video. gonna be watching regularly
Sweet video. I do the same thing when shooting interviews if I can't control light through windows in the background. I grab a plate at a different exposure and comp it in later
Yeah this is quite a bit easier to accomplish on location with limited time/access. City skies already have a lot of haze and reflected light on clouds. And dragging the shutter to 360 or even timelapsing a bit (longer exposures) will smooth out any noise.
This technique looks like a fantastic solution for day to night. But in the Knives Out shot, they had a character moving through the composite. I wonder how much there is to consider when the shot is a little more dynamic like that. Especially if the character gets near the buildings or practicals. Anyway, thanks for the tip! Might try some tests to wrap my head around dynamic shots.
I have this same question. Would love to see another video explaining how to have a character moving through the scene, or having camera movement as well.
I think it would just be a matter of rotoscoping the character. Notice in the shot in knives out the camera doesn’t move - there’s only a digital camera zoom added in post to to add a little extra life to the shot
@@ViralVideos-pr2oi it’s a means of going through and cutting out and object or person from a shot when they aren’t against a blue/green screen. Sometimes frame by frame. It’s a pain.. The term’s also used in animation for when they trace over film performances to get the motion right. Eg. Titan A.E.
Your final looks awesome. Kind of a surreal look with this technique. You can see more than you should be able to, which is perfect for the magic of film
Nicely done! These day for night shots/composites are really stepping up production quality. It'd sell the shot even more if you can have a motion controlled slider that can move the camera just ever so slightly. Even 5 inches of travel would make a huge difference.
The dappled light shining through the trees and hitting the house in the final result feels a little off to me, but on the whole, this looks very good. Bravo!
I’ve done something similar but with a 600d. Where I really needed 3 lights but only had one. I just lit the talent. Then moved the lights where I would have placed them if I had more lights. Shot that plate and comped it all in and used power windows to create a better shape. It Worked.
Nice job on your shot. Beautiful final. The only thing I would have emphasized was you taping the spot on the ground where your tripod legs were. Matching the exact position of your camera is critical to get it right.Cheers
This is sick. I never realized how custom an exterior shot can be since it’s often stationary. Just go to town layering. Great vid. You kinda make me want to do a little TH-cam channel…
I love what you accomplished! I used to produce the marketing assets for a company that sold lighted sports products and I could never get that proper look I was going for. It was always too dark or too fake. This is the key.
Really good video. I tried shooting day for night a year ago in Canberra for a short film competition at my work. I never finished it. I was pretty new to keying and my idea involved a lot of sky replacements and tracking. I'll still hopefully shoot it one day and I'll come back to this to remember how you did it.
Thanks for the inspiration! Something to do this weekend. I have not tried a day for night shot yet, but know it will come up at some point. I have done the reverse with photography, a long exposure during a full moon and the moon blew out just like the sun. What I think is inherent to getting it real close is the bounce. Take a light with no reflector, and you get the super hard shadows, take a same light bounce it off a white card, and you get what the moon is doing, bouncing sunlight off the “whiteish” surface. I would like to try shooting the day plates while overcast, hazy, dawn or dusk, just to kill those hard shadows. Then to step it up further, use a sun and moon tracking app to see how close you can get positions to line up, or at least angles above the horizon. Great work.
I actually don't mind that lighting change in The Sinner - it almost reflects what the human eye does with adjusting to the lights that are immediately nearest to us - street lights for example, and then not being able to see dark areas far away because they eye is adjusting for the bright street light. but when there are no lights at all you can see so much further into the dark. Kind of works for me, but I may be an exception haha. The trick with the IMAX and Infrared camera is something that Hoyte Van Hoytema did previously on Ad Astra to get the right effect for a fight scene on the moon. The day and night blending effect is pretty cool and gives a nice dusk into full night effect!
I saw a really low budget shot-on-video Bigfoot movie where they actually shot scenes at night, but then did the blue tint anyway as if they were doing day-for-night, and all it did was turn the campfire blue. I can't even imagine what they were thinking.
yeah that django night riders sequence is my all time fave night lighting, good lord that thing looks sooo fucking good i cant explain how much i really like the mood that scene has
Comping is the way to go. Ive done a lot of long exposure photography and after a while you realise a long enough exposure makes your photograph look like a day shot. It is after all just weak daylight, more direct for moon source, more diffuse for moonless. That's why day for night works. I think the example you cited didn't work well because those urban night shots had no sky, if they'd comp'd in a little blue clouds the transition would have made sense.
Amazing brother love this idea of compositing differently exposed footages and creating very different lighting. Very useful tip for low budget film makers. Thank you
great info. Been doing this sort of stuff with real estate photography for years now, with a bit more tweaking. Interesting to try this sort of stuff for moco set ups.
Cool effect for a static shot. I have used photoshop to create same effect, and then import image. It becomes a pain, when camera is moving or you have an actor walking through scene. Then there's lots of masking.
the video is great with all the compositions but can you do a shot with a person, maybe walking out of the house and going back inside...just to see how lighting (focused on the person) would look like
![How I Film at Night - Run and Gun Filmmaking [Sony A7siii]](/img/n.gif)
These are as therapeutic as they are informational. Please don't stop releasing these.
the more I watch NOPE the stranger it actually looks to me, I was just reading that all of the skies even during the day are VFX replacements so they could control clouds, stars etc. I didn't bother diving it into in my video because it's such a can of worms - Jurassic Park's T-Rex sequence is a really good example of a night scene with absolutely no source continuity. Spielberg adds hair lights and kickers all over the place for the Jeep interiors, but exteriors are one giant sky source (the moon) narratively only the moon exists as light because the power is out, but Spielberg never takes it literally. It just always looks good and our brains never think twice about it. thanks for the thoughts.
Yeah man it's hard to choose what information / how deep to go into it with these short videos. Loved your video about Nope.
I'll have to re watch that Jurassic Park scene!
I think that works if you cut between wide shots to close-ups, but you are extremely limited in your camera angles and cutting options. but this is usually the best way to light things in general, I noticed the best cinematographers say fuck continuity and as long as the colors and contrast ratios are correct it will look good and serve the story.
Spielberg does this in most movies. As long as a scene works visually, the continuity about the exact sources of light is not important. In E.T., check the scene where Elliot makes E.T. enter his bedroom : the camera changes the points of view but the shadows on the floors are always directing to camera. Visually, for the audience, the continuity seems respected but once you realized that about the shadows, you realized you've been tricked
I made a video to outline how they did the night scenes on Nope as best I could. th-cam.com/video/WtD6Gz803xI/w-d-xo.html
Yup when I was at film school, convincing my peers that we didn’t have to be literal about night or black out etc.
I would suggest “screen” over “lighten”, that way every pixel is made up of every layer, it tends to look more natural
I can’t believe this is free. I feel like this is the stuff that I should’ve learned in film school.
1 minute in and I subscribed, you've got everything. Solid audio, great story telling, good pacing and clear expectations in the video. gonna be watching regularly
Ditto
Sweet video. I do the same thing when shooting interviews if I can't control light through windows in the background. I grab a plate at a different exposure and comp it in later
Yeah this is quite a bit easier to accomplish on location with limited time/access. City skies already have a lot of haze and reflected light on clouds. And dragging the shutter to 360 or even timelapsing a bit (longer exposures) will smooth out any noise.
Surprised how well that composite worked... that's awesome.
This technique looks like a fantastic solution for day to night. But in the Knives Out shot, they had a character moving through the composite. I wonder how much there is to consider when the shot is a little more dynamic like that. Especially if the character gets near the buildings or practicals.
Anyway, thanks for the tip! Might try some tests to wrap my head around dynamic shots.
I have this same question. Would love to see another video explaining how to have a character moving through the scene, or having camera movement as well.
@@joemmatthews would love this as well! would be a game changer
I think it would just be a matter of rotoscoping the character. Notice in the shot in knives out the camera doesn’t move - there’s only a digital camera zoom added in post to to add a little extra life to the shot
@@VOIDSTUFF what do you mean by rotoscoping?
@@ViralVideos-pr2oi it’s a means of going through and cutting out and object or person from a shot when they aren’t against a blue/green screen. Sometimes frame by frame. It’s a pain..
The term’s also used in animation for when they trace over film performances to get the motion right. Eg. Titan A.E.
You are a living god among n, a legend worthy of praise. What you've uploaded here, will echo into eternity!
Your final looks awesome. Kind of a surreal look with this technique. You can see more than you should be able to, which is perfect for the magic of film
What a gorgeous result! Nice work
well done, effective small tutorial at great length with many applications
"I dunno, It's late, It's fucking dark obviously" hahaha love it!
This is beautiful. Reminded me of Rene Magrete's painting "The empire of the light".
Leveling up the craft. Thank you for sharing!
Looks very natural!
Nicely done! These day for night shots/composites are really stepping up production quality. It'd sell the shot even more if you can have a motion controlled slider that can move the camera just ever so slightly. Even 5 inches of travel would make a huge difference.
You killed it! Excellent job and I'm definitely gunna try this out!
Great ! Thanks for your valuable guidance !
The dappled light shining through the trees and hitting the house in the final result feels a little off to me, but on the whole, this looks very good. Bravo!
Really next level stuff here man. Thank you for sharing!
I’ve done something similar but with a 600d. Where I really needed 3 lights but only had one.
I just lit the talent. Then moved the lights where I would have placed them if I had more lights. Shot that plate and comped it all in and used power windows to create a better shape. It Worked.
I’ve been thinking of trying this!!! It’s how you would light a miniature… so why not a full size scene? happy to hear it worked!!
whats power windows?
@@Patrick-jj5nh it’s a very useful tool in Davinci Resolve
I actually terribly enjoyed watching that . Bravo!
Nice job on your shot. Beautiful final. The only thing I would have emphasized was you taping the spot on the ground where your tripod legs were. Matching the exact position of your camera is critical to get it right.Cheers
Good Soft, thank you
Look up the making of the small budget independent movie cosmos. They replaced parts of the sky at night. Great stuff.
This is sick. I never realized how custom an exterior shot can be since it’s often stationary. Just go to town layering.
Great vid. You kinda make me want to do a little TH-cam channel…
Nice. I've done day for night in the woods before. But now I'm gonna try this compositing version whenever. 👍
Achievement unlocked is definitely the right way to put it
This is a fantastic bit of information for anyone seeking an alternative for night shots. Thank you!
I love what you accomplished! I used to produce the marketing assets for a company that sold lighted sports products and I could never get that proper look I was going for. It was always too dark or too fake. This is the key.
I recommended your channel to a filmmaking friend and then fully watched him type Louis Spots into the search lol
Wow, that was great!
Super Helpful!
I think this is just the way to film night scenes period. Looks so good
Really good video. I tried shooting day for night a year ago in Canberra for a short film competition at my work. I never finished it. I was pretty new to keying and my idea involved a lot of sky replacements and tracking. I'll still hopefully shoot it one day and I'll come back to this to remember how you did it.
Reminds me of when I used to shoot Landscape photos. This technique is very common there
My favorite DP is back!!!!
Really cool technique here! I enjoyed the deep dive
Sick video Lewis!! My wife and I just watched that season of the sinner!! Love a good mystery
Thanks for the inspiration! Something to do this weekend. I have not tried a day for night shot yet, but know it will come up at some point. I have done the reverse with photography, a long exposure during a full moon and the moon blew out just like the sun. What I think is inherent to getting it real close is the bounce. Take a light with no reflector, and you get the super hard shadows, take a same light bounce it off a white card, and you get what the moon is doing, bouncing sunlight off the “whiteish” surface. I would like to try shooting the day plates while overcast, hazy, dawn or dusk, just to kill those hard shadows. Then to step it up further, use a sun and moon tracking app to see how close you can get positions to line up, or at least angles above the horizon. Great work.
Love it. Also a huge Yedlin fan. Well at least his approach to color.
If only I could understand half the things he's talking about...
Thanks man!
I actually don't mind that lighting change in The Sinner - it almost reflects what the human eye does with adjusting to the lights that are immediately nearest to us - street lights for example, and then not being able to see dark areas far away because they eye is adjusting for the bright street light. but when there are no lights at all you can see so much further into the dark. Kind of works for me, but I may be an exception haha.
The trick with the IMAX and Infrared camera is something that Hoyte Van Hoytema did previously on Ad Astra to get the right effect for a fight scene on the moon.
The day and night blending effect is pretty cool and gives a nice dusk into full night effect!
Bro this video was fucking great. Amazing content. The way you shot this and set the bar is ridiculous. Subbed
Freeking amazing dude !!! Love the night composition
Incredible work Lewis. Really loving your channel. Very inspiring and approachable. Keep it up!
Ahhh, I know it'll be a great day if Lewis posted
Really fantastic.
An incredible amount of work to make something look as though no work went into it at all. A really nice, natural looking result!
Excellent! 👌
Thanks. ☺️
This is next level cinematography
Excellent, thank you for the works!
That final shot looked great! Good job! Better than the knives out example if you ask me.
I saw a really low budget shot-on-video Bigfoot movie where they actually shot scenes at night, but then did the blue tint anyway as if they were doing day-for-night, and all it did was turn the campfire blue. I can't even imagine what they were thinking.
Dude...this is awesome. Can't wait to try this.
Amazing results at the end! You did a great job. And also, amazing video altogether.
This was so cool! Gonna figure out how this can be done and have a person/people in the scene.
Brilliant stuff man !
What an awesome technique! Of course only made possible by the incredible technology that is raw digital cinema files.
Thanks for the demonstration!
yeah that django night riders sequence is my all time fave night lighting, good lord that thing looks sooo fucking good i cant explain how much i really like the mood that scene has
Definitely going to try this!
wow , this is the best tutorial , thanks so much
Very cool!
been wanting to try that with edelkrone sliders! cheers mate!
Dude, DUDE!!!! As someone who's extremely fond of writing night scenes, this is a fucking game changer!
Comping is the way to go. Ive done a lot of long exposure photography and after a while you realise a long enough exposure makes your photograph look like a day shot. It is after all just weak daylight, more direct for moon source, more diffuse for moonless. That's why day for night works. I think the example you cited didn't work well because those urban night shots had no sky, if they'd comp'd in a little blue clouds the transition would have made sense.
Amazing brother love this idea of compositing differently exposed footages and creating very different lighting. Very useful tip for low budget film makers. Thank you
that's turn out pretty good btw! thanks for sharing with us Lewis
Cool technique, thanks for sharing
great info. Been doing this sort of stuff with real estate photography for years now, with a bit more tweaking. Interesting to try this sort of stuff for moco set ups.
Definitely going to have to try this out!
Cool effect for a static shot. I have used photoshop to create same effect, and then import image. It becomes a pain, when camera is moving or you have an actor walking through scene. Then there's lots of masking.
Amazing!
Starting to be a big fan of yours.
Love the channel 5 hat!
Can't believe I just discovered your channel. Love your content!
This is realy awesome compositing idea and results look sweet. I will have to try it myself. Great video
Great video and fantastically warm fluffy onesie! 😉. Thanks for doing the video 👍🏻👍🏻
Great video, thank you!
One thing that intrigues me: how to handle if a person moves in the frame? How it affects post processing?
awesome tutorial as always. your choice of music is perfect
yessssss lewis posted
THIS IS EPIC
This is so awesome, definitely doing this on my next shoot, thanks bud!
That is a great hack. I can't wait to try it. Rock on Brother.
Thanks, Lewis🙏
Phantastic stuff, thanks for sharing
LOVE LOVE LOVE
niiice, beautiful video!!! Both informational and pratical.
Thank you
I saw that episode of "the sinner" two weeks ago, and i thought exactly the same. Great video.
Mr Potts, this is brilliant 👏🏼
Didn't know this technique existed, Ill be sure to look out for it in films I see from now on.
Fantastic.
that's actually a class technique
This was a great test, nicely done!
The shot in day and night actually render pretty cool
that's neat!
the video is great with all the compositions but can you do a shot with a person, maybe walking out of the house and going back inside...just to see how lighting (focused on the person) would look like
Really cool video! This reminds me a lot of the principles used when shooting HDR photography.
Great technique. Never heard of this before. Going to give it a go though.
Fantastic tutorial, keep up the great videos!
Love this 🔥🔥 Reminds me a bit of shooting long exposure film photography at night! Definitely going to try this 🙏🏼🙌🏼