Thank you so much for this!! I just got hired for a night for day in a classroom and I was struggling with how to illuminate all the windows against the night!! This helps so much!!
You should try putting an 8x8 or 12x12 ultrabounce as a roof setup above your window and bounce a strong light like an 6K HMI on a turtlebase in it. Then use simple tungsten pars to light up different spots in the scene. You can't get any closer to a sunset/golden hour look than that. Sunset doesn't exist out of only warm sunlight, the sky gives you a cool fill in the room. Btw some of your gripheads are on the wrong side, always put the knob on the right side when you stand behind the griphead.
I was going to suggest the same thing - needs some ambience! Of course, without being on set maybe they were maxed out with people, gear, time, etc that makes this impossible. The other suggestion I would have made here is the option to give a small hit to the foreground, the stove on frame right falls to darkness quickly!
@@Razor89 I agree! A little can go a long way! Just felt like giving the benefit of the doubt in terms of potential obstacles on set. We’ve all been there - AD checking their watch, no more stands on the truck…
I agree, for sure would like to bring up the level a bit. You could also use an ultra bounce outside to create some soft fill throw the windows. I feel a combo of both soft and harsh light from the exterior sells really well.
Very helpful breakdown. Watching your videos here and on FTF has taught me just how important lighting is. I mean it could be the single most important aspect of video? Keep up the great work, and hope this injury doesn’t slow you down.
Hope you feel better soon Brady! I have also broken my right collar bone, and it's not a great feeling. Can't wait for more bts from Cardiac Hill to drop. I actually look like I know what I'm doing. Thanks!
Professor Brady! Get well soon brother. For some odd reason, TH-cam stopped alerting me of your videos even though I have the notifications turned on! Sad to see you hurt my brother. Wishing you a speedy recovery, and as always, thank you for the phenomenal content!
@Brady Bessette - With my F22c, I found that the receiver mount that comes with the kit to be rather janky, and was not permitting a solid grip onto a baby pin or the curved metal piece, so and I switched it out with an 8 dollar Rapid Baby to 3/8" Male Adapter, which allowed me to use it with a Manfrotto 244 Magic Arm. Got the idea from Gaffer & Gear's channel
this looks good! Right now we are just using some Amaran 100 and 200s which don't give is the punch we need for shooting through a window but that would be cool.
Ahhhh, I hope you'll feel better and recover in good time, Brady. I can't imagine that pain! Thank you for sharing the techniques you did! That's so awesome...I should try the techniques when doing some 3D rendering (static, no animations for me yet!). I love the warmth in the rooms, and how the lights really come together to make that nice "sunlight" look...I'm convinced! 😄
Great video, as always! Off topic, but I noted a ton of dead pixels on the BTS cam. What camera was that and how common are dead pixel issues? Asking because I've been struggling with dead pixels on my Fujifilm X-T3 and nobody at Fuji wants to help me and I don't really see other people struggle with this issue.
Will there be a way to view this film you shot? Also, how much color grading work goes into achieving the perfect sunlight color? Amazing tutorial as always sir!
Not everyone can afford a 600D yet alone two Brady. You’re forgetting who your audience is. I knew right away you hit those windows with 600Ds and I’m sorry mandude I had to roll my eyes. Like maybe one person will be able to accomplish this, the rest are going to be confused why their amarans are not getting bright enough. 😂 Yeesh.
Cut Brady some slack. He uses this channel to show people how HE does things, not specifically how to do things as cheaply as possible. Plenty of channels out there for the no-budget filmmaker; this isn't one of them.
When you're starting out? No probably not. But you probably aren't doing DP work for a short film that has a bit of funding either... So it's not even a comparable situation.
Thank you so much for this!! I just got hired for a night for day in a classroom and I was struggling with how to illuminate all the windows against the night!! This helps so much!!
You should try putting an 8x8 or 12x12 ultrabounce as a roof setup above your window and bounce a strong light like an 6K HMI on a turtlebase in it. Then use simple tungsten pars to light up different spots in the scene. You can't get any closer to a sunset/golden hour look than that. Sunset doesn't exist out of only warm sunlight, the sky gives you a cool fill in the room. Btw some of your gripheads are on the wrong side, always put the knob on the right side when you stand behind the griphead.
This!
I was going to suggest the same thing - needs some ambience! Of course, without being on set maybe they were maxed out with people, gear, time, etc that makes this impossible.
The other suggestion I would have made here is the option to give a small hit to the foreground, the stove on frame right falls to darkness quickly!
@@TimMombourquette honestly, even just bouncing light into some cloth hanging between two c-stands outside the window would have done the trick
@@Razor89 I agree! A little can go a long way! Just felt like giving the benefit of the doubt in terms of potential obstacles on set. We’ve all been there - AD checking their watch, no more stands on the truck…
I agree, for sure would like to bring up the level a bit. You could also use an ultra bounce outside to create some soft fill throw the windows. I feel a combo of both soft and harsh light from the exterior sells really well.
Dang dude, get well soon! Broke my collarbone last year skateboarding, and it sucked. You did well at hiding the pain
Very helpful breakdown. Watching your videos here and on FTF has taught me just how important lighting is. I mean it could be the single most important aspect of video? Keep up the great work, and hope this injury doesn’t slow you down.
Congratulations on that film project. Very intuitive video. Explanations are on point. Love your work.
Hope you feel better soon Brady! I have also broken my right collar bone, and it's not a great feeling. Can't wait for more bts from Cardiac Hill to drop. I actually look like I know what I'm doing. Thanks!
Feelin’ the Wandering DP vibes on this breakdown (I mean it as a compliment). Hope your collarbone feels better soon!
Professor Brady! Get well soon brother. For some odd reason, TH-cam stopped alerting me of your videos even though I have the notifications turned on!
Sad to see you hurt my brother. Wishing you a speedy recovery, and as always, thank you for the phenomenal content!
@Brady Bessette - With my F22c, I found that the receiver mount that comes with the kit to be rather janky, and was not permitting a solid grip onto a baby pin or the curved metal piece, so and I switched it out with an 8 dollar Rapid Baby to 3/8" Male Adapter, which allowed me to use it with a Manfrotto 244 Magic Arm. Got the idea from Gaffer & Gear's channel
Great video as usual! Feel better soon Brady!
Thank you Brady
Brady you are the man
Really enjoyed this breakdown!
What are you using to power your lights when there are no outlets?
I enjoy your lighting break down videos. Appreciate it and your talent
Great as usual thanx for sharing
I'm here, because Epic Light Media said: Subscribe!
Great Shot!!! What lens and focal length did you use for the wide shot - woman cutting in the kitchen ?
Hey hey! Thank you so much. Not sure exact focal but we used DZO Pictor zooms!
this looks good! Right now we are just using some Amaran 100 and 200s which don't give is the punch we need for shooting through a window but that would be cool.
Oh yeah, nice tutorial man 😎
you are the best, thank u ma man, Happy Holidays
Thumbs up!
Awesome video! Why not using a fresnel lens attachment on the 600d? 2:45
Awesome video Brady 👌
do you have some sort of setup flow and color grading for your talk parts? they look hypercinematic and cool
I usually use a phantom lut as a base and custom grade each one a bit! Thank you!!
Ahhhh, I hope you'll feel better and recover in good time, Brady. I can't imagine that pain! Thank you for sharing the techniques you did! That's so awesome...I should try the techniques when doing some 3D rendering (static, no animations for me yet!). I love the warmth in the rooms, and how the lights really come together to make that nice "sunlight" look...I'm convinced! 😄
Ouch. I hope you are pain free very soon. The scene looks great. Quality tips 👍
Great my friend!!!
4:10 did you move the light outside the window CLOSER to the actual window to get that nice rolloff?
Great video, as always! Off topic, but I noted a ton of dead pixels on the BTS cam. What camera was that and how common are dead pixel issues? Asking because I've been struggling with dead pixels on my Fujifilm X-T3 and nobody at Fuji wants to help me and I don't really see other people struggle with this issue.
I like you more and more Brady !
I have a question though: why not warming up the temperature for a Sunset lighting ?
He obviously did, but by using a higher white balance setting on the camera than the light colour temp..
Really nice breakdown. Thanks. You probably should skip the beer until you're off medication. Get Well Soon.
Wicked breakdown on this Brady. What are you using for the grain overlay on this video? Looks super nice!
Heej man.... can you tell me what are the camera settings
Nice pro tricks Here!
Youre a genius
Will there be a way to view this film you shot? Also, how much color grading work goes into achieving the perfect sunlight color? Amazing tutorial as always sir!
Director here, I'm working on editing as we speak. Going to do a run at film festivals and then it'll be right here on TH-cam for all to see
@@johncanfieldfilms amazing! Can’t wait to check it out. From what I see here it looks really beautiful!
dude get hope you get better soon... also is breaking your collar bone the worst pain ever?
hwo r u?- Wow. you created epic ~ goodbye!~Brady-
Were all thee lights at a standard 5600 or were they a little warmer? thanks!
5600!
@@BradyBessette please tell us why not warmer
IS THIS YOUR HOUSE ? @LONEFOX ?
Hand bro?
Barrio Bread?
Legit config vid bruh
-wierd audio guy
Not everyone can afford a 600D yet alone two Brady. You’re forgetting who your audience is. I knew right away you hit those windows with 600Ds and I’m sorry mandude I had to roll my eyes. Like maybe one person will be able to accomplish this, the rest are going to be confused why their amarans are not getting bright enough. 😂
Yeesh.
Cut Brady some slack. He uses this channel to show people how HE does things, not specifically how to do things as cheaply as possible. Plenty of channels out there for the no-budget filmmaker; this isn't one of them.
When you're starting out? No probably not.
But you probably aren't doing DP work for a short film that has a bit of funding either...
So it's not even a comparable situation.
Renting gear is an option too haha
That's why you hire a grip that has their own lighting, flags, diffusion, frames, combo stands, etc.. for either a half or full day.