Been a photographer for over 20 years, have owned a light meter for all of them, and never knew about this nomenclature. Awesome vid! Very informative.
Been studying in film school for 2 years and this video conveyed the lesson better in under 7 minutes. I'm beginning to question if film school is even worth my time.
Yep. There is so much training resources online, it's hard to look at film school except for the hands on use of equipment that you may not have unless you own your own equipment. Which I do.
film school can be a great place, has the tools at your disposal, crew, learning to work as a team, experiment other positions without falling short on the overall project because you have your colegues to fill the gaps but unfortunately not always have the best teachers, what we have here is a great teacher, using youtube to by pass all the bulshit that the educational system falls short,
You go to film school to make friends. A year is enough for that. And to use the school's 16mm camera. Some of the best filmmakers at the moment didn't go to film school.
I started cinematography directly on film sets, I always had so many questions regarding cinematography, unfortunately no-one explained in better way, after watching your video I understood about my things, I always thankful to sir...
“You can break the rules as much as you want.” I appreciate this because as artists we have our own visions. Yes we can use these lighting techniques as a blueprint, but honestly we can do whatever we want because it’s our vision. 😎
Well... you can and cannot, you can bend the "rules" when there is a purpose and meaning behind it. Just doing what you want and thinking "it's ok, i'm an artist" simply doesn't work, artistically and especially in the professional world. :) I have worked with a lot of people and hired a lot of them, i'd always hire the "worker" who knows the rules, before the "artist" who has his own rules. Cause in the end, people who buy your product wont understand and pay for something that is just executed wrong, cause somebody says it's their vision :) ... sooo, the basics are here for a reason, perfect the basics, then go on and play with them, IMHO :)
I can still do whatever I want to convey my vision but it’s common sense that I’m not going to do something that’s going to completely misstep the significance of proper lighting 😁
I'm a music teacher and what I usually tell my students is, "Every rule I give you can be eventually broken". Granted not every rule that's broken means it will sounds good. I guess tho it makes sense that this can cross over to any form of art and expression.
Using "ratio" to describe a straight up numerical difference between stops is appropriate, because "stops" (F or T, doesn't matter here) are a logarithmic scale as far as brightness is concerned. So just like you can multiply or divide by adding or subtracting logs (as on a slide rule), when you move up or down the stops by a certain number you are multiplying the absolute brightness.
That said, it is still explicitly a "difference", a 1 stop difference has a 2:1 brightness ratio, a 2 stop difference has a 4:1 brightness ratio. We don't use the word "ratio" to describe differences in other logarithmic scales, such as decibels. I feel like it's just one of those all too common cases in photography where the term kinda sorta makes sense in a weird context, but is decidedly non-standard. "Warm" and "cool" colors being backwards perpetually annoys me. (Although I guess complaining about that might be like complaining about the electron being defined as having negative charge)
In Audio you would call a logarithmic ratio just level. So you could just call it videolevels but that term already means something different in the video world
@@Raging.Geekazoid You're talking about the aperture size, I'm talking about the amount of light let in. An aperture allowing 2 times as might light as the "next stop" is 1.4 times longer than the previous stop. Or vice versa, an aperture allowing half as much light is 0.7 times shorter than the next stop. Should be pretty intuitive, the amount of light let in is proportional to the area of the lens, which is proportional to r^2. If you double the aperture, you quadruple the amount of light, not double it. So each 'doubling' of the light corresponds to a factor of rad(2) difference in the diameter of the lens.
I am such a person and it can be very tiring, but it's also our more analytical approach to understanding things. Also, we like compartmentalising things so that we know what to refer to when talking about it. Ultimately though people who are not like that might find it tiresome, which is understandable. Just be glad you aren't like us 😅
You may think it's unnecessary complication of simple things, I feel this level of analysis, the Why of things we do, and the need to present things a certain way is essential to the human experience.
Yeah like going on set for the first time is like learning a new language. Their terms and abbreviations make everything more complex for no reason. Like how a clothespin is called a C47.
Maybe it's because it's 1 am or because I wasn't expecting it, but the "don't pardon the pun, why should puns be pardoned" thrown in so matter of factly, then passed right over, made me laugh way harder than it should have
This video is superb, I am studying for a test for a filmmaking school and it was perfect to understand low-key lighting and high-key lighting. Thank you very much 😁
I had a 16 weeks "The Art of Camera and Lighting" class at Langara College in Vancouver and I have learnt all that is mentioned in this video. Thanks for the summary.
I love the fact you said you can break the rules within this ... love the break down of this video .. I didn't know about the background mood along side the foreground ... this was very helpful .. thank you for this
Your channel is a gold mine for those who want to learn professional cinematography. How could anyone thumb this down I wonder? (Probably the guys who spent a fortune for film school)...
More people need to be watching this channel for filmmaking. Talks a lot about new information that other channels don't. They'd rather copy the same ideas over and over again.
omg finally i understand lighting with just one video!!! other tutorials on lighting focus on the subject and that has always sorta confused me cause when i practice them i dont usually get the result i'm looking for and now i know why!! nobody told me shit about how to light the background and how to use the lighting ratios between the two to create the mood i'm going for! omg! this just blew my mind, i all makes sense now!
Been diving deep into lighting ratios recently and your videos have been invaluable. Can't wait until I can look at a scene and have all the numbers already in my head good to go for a shoot.
Cinematographers think and work in terms of incident light ratio because on a film set there are usually many sources coming from many directions which must be balanced-easier today with WYSIWYG video than with film. Incident readings are taken with an incident reading two ways. The meter has a plastic dome over the sensor for averaging lights from all directions. I should only be used for determining the overall exposure by placing the meter dome up directly in front of the face of the subject with dome up pointing at the camera so the dome “sees” the same light from all directions hitting the front of the subject and averages it produce a middle-gray exposure reading. That is to say if the meter is placed on top of a gray card it should be rendered middle gray by the meter reading. The caveat here is that the meter and camera may have different calibrations. If the meter reading does not produce a middle gray value in the image of the card the meter should be compensated + / - until it does (see meter instructions). The technically correct and accurate way to measure and set incident strength of lights relative to each other is to lower the meter dome or use flat sensor, place the meter where the source strikes the subject, pointing it at the source, not the camera as when setting exposure via incident reading. The lowering of the dome minimizes the chance other sources will skew the measurement. Still photographer think and work in terms of reflected ratios where the intensity of the reflected fill in the shadows is represented by “1” in the N:1 ratio. The fill forms the foundation for the lighting and exposure and the key sources overlap it. That is why a 1:1 incident ratio measured as described above with incident meter pointed at both sources separately is referred as 2:1 in stills; it is 1 unit of Fill in shadows, with one unit of fill under the highlights + one unit of key light over the fill. 1 Fill + 1 Key: 1 Fill = 1+1: 1 = 2:1 Something to be aware of regard to shadows and ratios is that placement of fill source relative to subject will affect ratios and shadow transitions. As a baseline consider natural light when sun is at the back of subject acting as rim lighting with frontal key and fill coming from the sky opposite the sun. Because the fill is coming from behind the camera it reaches everywhere the camera sees and falls off front to back relate to the camera. If you set artificial lighting fill sources the same way there will be no unfilled voids in the lighting pattern and the transitions from lightest to darkest shadows will fall off per the inverse-square law. That means if the fill source is very far from a face the fill will fall off very gradually. Moving the fill source closer to the subject’s face but keeping it centered relative to lens eliminated unfilled voids but will fall off from light-to-dark in less distance front-to-back. Putting two fill sources on opposite sides (what most noobs do) creates crossed shadow fill. If you set fill lights that way then capture an image with just the fill before adding key you will notice very dark unfilled areas neither light reaches in low areas of faces and compared to a single centered fill source the shadow transitions front-to-back as seen by the camera will be different. It’s not a matter of one being right and the other wrong, just understanding the cause and effect so it can be used creatively either way depending on the desired mood. Crossed shadow fill with the unfilled voids it create produce a darker more sinister vibe than a centered fill source. A centered fill source far from subject will produce buttery smooth transitions, a centered fill source placed close more contrast in the transitions.
this was the first time i've understood the importance of f/t stops and lighting a scene. thank you for the very clear and easy to understand lesson in cinematography lighting! subscribed
Great video. I've wondered why some of my comedic shoots looked dark and moody, and why some thriller/action films came out looking sitcom-y. Being able to shape light and use it creatively is a skill I'm still trying to learn. By the way, would you say "high key" and "low key" lighting is standard terminology to be used on a film set?
If you're looking for a more detailed explanation with images: wolfcrow.com/what-is-contrast-ratio-high-key-and-low-key-lighting/ 🔥 Watch this next: *20 Iconic Musical Motifs in Film* th-cam.com/video/vB15TH2p3F4/w-d-xo.html
Thanks, a good intro to cinematography.. I hope my plans go through we shall communicate. emaliti92@gmail.com
4 ปีที่แล้ว +1
Hi ! You’re saying in the video that the word ratio doesn’t hold a lot of importance but I feel like it is quite inaccurate to say that . Adding or removing one stop of lights equals twice or half as much light, so 2 stops ratio means 4x (2x by 2x) more or less light. The unit stops is a simplified expression but is litteraly a ratio. Hope this makes sense ! Thanks for the video
Ho, merci. ❤ Je sais que cette video vous a demandé du temps. Et c'est elle que j'ai cherché partout sur le web, sans rien trouver d equivalent. Merci pour votre sympathie, j'avais besoin de vous entendre 😁.
I enjoyed this video for the most part. Except for when you went on explaining about the ratio and how it is not a ratio etc. Actually it is EXACTLY ratio. But when you transform light intensity into STOPS, it appears as difference simply because how logarithm works. Logarithm converts division into subtraction and multiplication into addition.
You're talking about the relationship between f stop values and and the number of stops, which is not what his use of contrast ratio describes. The way he used contrast ratio was strictly as a minimum and maximum, brackets, delimiters, a range.
@@RaoBlackWellizedArman No -- f stop numbers, as in "f 11 is _3 f stops_ above f 4", are arbitrary. They tell you the number of full stops between f a and f b, but there is no literal f stop #1. This differs from their values, which refer to their diameter relative to the inverse of the film diagonal. F 2 for instance has a diameter that is 1/2 of the film diagonal, f 11 has a diameter 1/11th of the film diagonal. I made a graph that compares the f stop values (diameters) and the relative f stop light intensities (areas) plotted against arbitrary f stop numbers. You can see it at the Desmos graphing calculator web page if you copy this string bbsnejiljy and paste in the address bar following the word 'calculator' at the Desmos graphing calculator web page. But that is a small side issue that doesn't alter the fact that, as used in the video, contrast ration is not about ratios within the math of f stops, it's about nothing other than a specified range, a high end, and a low end.
But, in practice, the Background is not consistently white or black, or gray. Sometimes, even in the same background, you may see that some parts are bright and some parts are dark. It is also true for the foreground, sometimes you may want some contrast on the face. So, using the "contrast ratio" is simpler. Like saying "I want my fill side 2 stop lower than the key, background 1 stop lower than the key, but want some part of the background 2 stop lower" and sort of. And I have also seen many movie scenes where the fill side is darker than the background. So, you have to think of contrast ratio for the face. The fill side does not necessarily match the background.
In practice, a controlled composition generally follows the rules outlined in the video. For instance, if a background area is the same colour and luminosity as an area on the foreground element (usually actors), intentional lighting (or haze) separates the two with the chosen distinction. Under identical light, they’re the same but under intentional lighting, the result onscreen reads them as different. So, while you may see variations in light and darkness in most backgrounds, the cinematography tends to exhibit an _average_ differentiation of luminosity in order to separate foreground from background (where lighting can be controlled). Even sunny exterior shots will sometimes utilize things like bounce surfaces to increase the luminosity of the subject. Otherwise, everything would look like a news broadcast or layperson’s cellphone video. The best practices in filmmaking are there for a reason, and are correctly explained in the video (which is more about nomenclature and less about recommendations).
The contrast ratio is actually mesured like this key side+ fill side /key side. So in 0:45 when you say the contrast ratio is 2 stops it's wrong because it's 1.5 stops
What a great breakdown of lighting into easy to understand concepts!.. Takes some talent to learn the craft, but a lot of talent to explain the craft in simple terms. Outstanding!
Few months back when i checked ur first video by ur chanel name nd not by urs , i thought it's a foreign guys chanel. Due to spoken, well footage but i was shocked to see a indian name in u. It was much inspiring that a indian guy is so learned. Who is helping other indian film makers free of cost. Thanks bro. I am always excited for ur video becoz i learn so much new terms that i haven't heard of. Keep it up. I am struggling writer in Bollywd. Member of Swa. Screen Writer association. I am also interested in direction. Hence I have completed my first Bhojpuri script , horror. Different from normal Bhojpuri masala movie. Will be Full of inspiration from Hollywood cinematography. I want u to make a video on...what camera setting i need for shooting a 4k movie. I know many things, learned from ur videose. But one , in the go setting at one place will do the job easy. And also on sound from shooting to to editing. If any is availabile on same, sorry , i will check it. Thanks
Super interesting video, however since I'm italian, and so my english isn't perfect as much as an english native speaker, you provided a very high value in a so few time, I definetly would need your source in order to study with calm and in order to better focalize the arguments. It will be such a great value from you ti orovide us the books where you studied. Thank you in advance man!
Thank you so much. I have been bereft of any formal glossary with which to talk to my cinematographers about my desired effect. I completely understand it's their respective domain, but there is a need for one to be able to use turns that both understand. Cheers bud.
There is a much better word than 'ratio' for the contrast ratio you're talking about. Range springs to mind. Also span, spread, bounds, scope, spectrum, zone... words that denote the idea of the part that occupies the space between a minimum and a maximum. Even contrast space would do the job nicely.
Hi Sireesh ur videos r really v informative although i have directed one film in tamil(peechankai) , i was having only very basic knowledge abt cinematography, especially the lighting but ur videos have educated me a lot, I Hope my 2nd film will look much professional than my first. 👍
Filming is all about projecting what's in the Director's mind in front of the audience irrespective of whether they approve it or not. Rules are mend to be broken the more we do the more freedom we get.
![PURPEECH - นี่ฉันเองคนที่... (It's me) [Official MV]](http://i.ytimg.com/vi/NuhHd0hOOg8/mqdefault.jpg)
Download My Free Ebook! How to Make Stunning Films on a Budget. My Proven Secrets: wolfcrow.com/free-ebook/
Been a photographer for over 20 years, have owned a light meter for all of them, and never knew about this nomenclature. Awesome vid! Very informative.
Means this is over complicated bs
Been studying in film school for 2 years and this video conveyed the lesson better in under 7 minutes. I'm beginning to question if film school is even worth my time.
I'd say you've answered your own question.
same lol
Yep. There is so much training resources online, it's hard to look at film school except for the hands on use of equipment that you may not have unless you own your own equipment. Which I do.
film school can be a great place, has the tools at your disposal, crew, learning to work as a team, experiment other positions without falling short on the overall project because you have your colegues to fill the gaps
but unfortunately not always have the best teachers,
what we have here is a great teacher, using youtube to by pass all the bulshit that the educational system falls short,
You go to film school to make friends. A year is enough for that. And to use the school's 16mm camera. Some of the best filmmakers at the moment didn't go to film school.
I started cinematography directly on film sets, I always had so many questions regarding cinematography, unfortunately no-one explained in better way, after watching your video I understood about my things, I always thankful to sir...
“You can break the rules as much as you want.” I appreciate this because as artists we have our own visions. Yes we can use these lighting techniques as a blueprint, but honestly we can do whatever we want because it’s our vision. 😎
Well... you can and cannot, you can bend the "rules" when there is a purpose and meaning behind it. Just doing what you want and thinking "it's ok, i'm an artist" simply doesn't work, artistically and especially in the professional world. :) I have worked with a lot of people and hired a lot of them, i'd always hire the "worker" who knows the rules, before the "artist" who has his own rules. Cause in the end, people who buy your product wont understand and pay for something that is just executed wrong, cause somebody says it's their vision :) ... sooo, the basics are here for a reason, perfect the basics, then go on and play with them, IMHO :)
mrktrb That’s common sense 😅
I can still do whatever I want to convey my vision but it’s common sense that I’m not going to do something that’s going to completely misstep the significance of proper lighting 😁
I'm a music teacher and what I usually tell my students is, "Every rule I give you can be eventually broken". Granted not every rule that's broken means it will sounds good. I guess tho it makes sense that this can cross over to any form of art and expression.
I dont see anyone's asking but the movie at the beginning is COSMOS by Andzrej Zulawski
Thank you, it reminded me of possession. Guess that's why.
thanks, I was about to ask this :P
Thank you!
thank u)
thank you!
Using "ratio" to describe a straight up numerical difference between stops is appropriate, because "stops" (F or T, doesn't matter here) are a logarithmic scale as far as brightness is concerned. So just like you can multiply or divide by adding or subtracting logs (as on a slide rule), when you move up or down the stops by a certain number you are multiplying the absolute brightness.
That said, it is still explicitly a "difference", a 1 stop difference has a 2:1 brightness ratio, a 2 stop difference has a 4:1 brightness ratio.
We don't use the word "ratio" to describe differences in other logarithmic scales, such as decibels. I feel like it's just one of those all too common cases in photography where the term kinda sorta makes sense in a weird context, but is decidedly non-standard. "Warm" and "cool" colors being backwards perpetually annoys me. (Although I guess complaining about that might be like complaining about the electron being defined as having negative charge)
In Audio you would call a logarithmic ratio just level. So you could just call it videolevels but that term already means something different in the video world
@@Killua2001 Two stops is a factor of 2 and one stop is a ratio of 1.4 (i.e. the square root of 2). A factor of 4 would be four stops.
@@Raging.Geekazoid You're talking about the aperture size, I'm talking about the amount of light let in. An aperture allowing 2 times as might light as the "next stop" is 1.4 times longer than the previous stop. Or vice versa, an aperture allowing half as much light is 0.7 times shorter than the next stop.
Should be pretty intuitive, the amount of light let in is proportional to the area of the lens, which is proportional to r^2. If you double the aperture, you quadruple the amount of light, not double it. So each 'doubling' of the light corresponds to a factor of rad(2) difference in the diameter of the lens.
@@Killua2001 Okay, that makes sense. 🙂
Humans are really good in taking simple things and turning them to complicated.
this very much. just compose a scene, see if it feels right and go with it. all this desire to make everything academic is tiring.
I am such a person and it can be very tiring, but it's also our more analytical approach to understanding things. Also, we like compartmentalising things so that we know what to refer to when talking about it.
Ultimately though people who are not like that might find it tiresome, which is understandable. Just be glad you aren't like us 😅
Blue scene. Film critics: (lengthy explanation that doesn't even has to be there at the first place, just milking for the aake of views )
You may think it's unnecessary complication of simple things, I feel this level of analysis, the Why of things we do, and the need to present things a certain way is essential to the human experience.
Yeah like going on set for the first time is like learning a new language. Their terms and abbreviations make everything more complex for no reason. Like how a clothespin is called a C47.
Maybe it's because it's 1 am or because I wasn't expecting it, but the "don't pardon the pun, why should puns be pardoned" thrown in so matter of factly, then passed right over, made me laugh way harder than it should have
Its 1am right now and this made me laugh harddd. Hahahah. and your comment is 3 months ago. Crazy
@@moyosorejimba Its 1am right now and this made me laugh harddd. Hahahah. and your comment is 3 months ago. Crazy
This video is superb, I am studying for a test for a filmmaking school and it was perfect to understand low-key lighting and high-key lighting. Thank you very much 😁
Simple, direct and easy to understand. Brilliant. One would think that it's more difficult than explained.
I had a 16 weeks "The Art of Camera and Lighting" class at Langara College in Vancouver and I have learnt all that is mentioned in this video. Thanks for the summary.
I'm so happy I subscribed to your channel, a ton of crucial information in a few minutes. Great job!
This is channel delivers the most dense, reflective and precise information on filmmaking time and time again..!
I love the fact you said you can break the rules within this ... love the break down of this video .. I didn't know about the background mood along side the foreground ... this was very helpful .. thank you for this
I love this so much, the whole "here are the rules, break them as much as you want" Is such an awesome way to put that. Great video!!!
Dude, I love your work! You know this. This time I want to celebrate “don’t pardon the pun, why should the pun need pardoning?”
Your channel is a gold mine for those who want to learn professional cinematography. How could anyone thumb this down I wonder? (Probably the guys who spent a fortune for film school)...
What is the first movie?
And thank you for an excellent lighting breakdown
this video is GOLD. Thank you!
holi holi... :D
More people need to be watching this channel for filmmaking. Talks a lot about new information that other channels don't. They'd rather copy the same ideas over and over again.
omg finally i understand lighting with just one video!!! other tutorials on lighting focus on the subject and that has always sorta confused me cause when i practice them i dont usually get the result i'm looking for and now i know why!! nobody told me shit about how to light the background and how to use the lighting ratios between the two to create the mood i'm going for! omg! this just blew my mind, i all makes sense now!
Been diving deep into lighting ratios recently and your videos have been invaluable. Can't wait until I can look at a scene and have all the numbers already in my head good to go for a shoot.
Cinematographers think and work in terms of incident light ratio because on a film set there are usually many sources coming from many directions which must be balanced-easier today with WYSIWYG video than with film. Incident readings are taken with an incident reading two ways.
The meter has a plastic dome over the sensor for averaging lights from all directions. I should only be used for determining the overall exposure by placing the meter dome up directly in front of the face of the subject with dome up pointing at the camera so the dome “sees” the same light from all directions hitting the front of the subject and averages it produce a middle-gray exposure reading. That is to say if the meter is placed on top of a gray card it should be rendered middle gray by the meter reading. The caveat here is that the meter and camera may have different calibrations. If the meter reading does not produce a middle gray value in the image of the card the meter should be compensated + / - until it does (see meter instructions).
The technically correct and accurate way to measure and set incident strength of lights relative to each other is to lower the meter dome or use flat sensor, place the meter where the source strikes the subject, pointing it at the source, not the camera as when setting exposure via incident reading. The lowering of the dome minimizes the chance other sources will skew the measurement.
Still photographer think and work in terms of reflected ratios where the intensity of the reflected fill in the shadows is represented by “1” in the N:1 ratio. The fill forms the foundation for the lighting and exposure and the key sources overlap it. That is why a 1:1 incident ratio measured as described above with incident meter pointed at both sources separately is referred as 2:1 in stills; it is 1 unit of Fill in shadows, with one unit of fill under the highlights + one unit of key light over the fill. 1 Fill + 1 Key: 1 Fill = 1+1: 1 = 2:1
Something to be aware of regard to shadows and ratios is that placement of fill source relative to subject will affect ratios and shadow transitions. As a baseline consider natural light when sun is at the back of subject acting as rim lighting with frontal key and fill coming from the sky opposite the sun. Because the fill is coming from behind the camera it reaches everywhere the camera sees and falls off front to back relate to the camera.
If you set artificial lighting fill sources the same way there will be no unfilled voids in the lighting pattern and the transitions from lightest to darkest shadows will fall off per the inverse-square law. That means if the fill source is very far from a face the fill will fall off very gradually. Moving the fill source closer to the subject’s face but keeping it centered relative to lens eliminated unfilled voids but will fall off from light-to-dark in less distance front-to-back.
Putting two fill sources on opposite sides (what most noobs do) creates crossed shadow fill. If you set fill lights that way then capture an image with just the fill before adding key you will notice very dark unfilled areas neither light reaches in low areas of faces and compared to a single centered fill source the shadow transitions front-to-back as seen by the camera will be different.
It’s not a matter of one being right and the other wrong, just understanding the cause and effect so it can be used creatively either way depending on the desired mood. Crossed shadow fill with the unfilled voids it create produce a darker more sinister vibe than a centered fill source. A centered fill source far from subject will produce buttery smooth transitions, a centered fill source placed close more contrast in the transitions.
When I came for educational purposes but this intro..
😂👍
What's was that movie!? Lol
Cosmos 2015
Thank you wolfcrow. You are the best. Never stop making videos like this! You are helping out so many future Oscar winning cinematographers
This is like an academy for beginning cinematographers.
This channel is a goldmine. Very good explanations, love it!
i am a simple person, i see Wolfcrow post a video , i come and like it.
Lol))
Just had a very fierce clean up of subscriptions ... this is why your channel stayed!
Always a pleasure to check on your output.
A list of all the movies used in this video would be really helpful
We all know which film you're looking for 😏
@@virtualwarp what is name of that beginninh movie ?
"Don't pardon the pun, why should puns be pardoned" 😂 You just slipped that in there dry... I love it! 😂
(2:34s into it)
The color on the thumbnail is amazing.
I studied film & TV production for 3 years and I wish I watched this video first
this was the first time i've understood the importance of f/t stops and lighting a scene. thank you for the very clear and easy to understand lesson in cinematography lighting! subscribed
In the mood for love momento. Yesterday I saw this film in a cinema... Marvellous cinematographic event.
0:50 explained in a single equation: log(a/b) = log(a)-log(b).
This is a great tutorial. Clear with great examples. Thank you, passing it along.
Great video. I've wondered why some of my comedic shoots looked dark and moody, and why some thriller/action films came out looking sitcom-y. Being able to shape light and use it creatively is a skill I'm still trying to learn. By the way, would you say "high key" and "low key" lighting is standard terminology to be used on a film set?
Yes
If you're looking for a more detailed explanation with images: wolfcrow.com/what-is-contrast-ratio-high-key-and-low-key-lighting/
🔥 Watch this next: *20 Iconic Musical Motifs in Film* th-cam.com/video/vB15TH2p3F4/w-d-xo.html
Thanks, a good intro to cinematography.. I hope my plans go through we shall communicate. emaliti92@gmail.com
Hi ! You’re saying in the video that the word ratio doesn’t hold a lot of importance but I feel like it is quite inaccurate to say that . Adding or removing one stop of lights equals twice or half as much light, so 2 stops ratio means 4x (2x by 2x) more or less light. The unit stops is a simplified expression but is litteraly a ratio. Hope this makes sense ! Thanks for the video
Ho, merci. ❤ Je sais que cette video vous a demandé du temps. Et c'est elle que j'ai cherché partout sur le web, sans rien trouver d equivalent. Merci pour votre sympathie, j'avais besoin de vous entendre 😁.
Wow, i find a channel who really talk about the film knowledge! Thank you so much for sharing ! Really useful.
TH-cam needs a Love button for videos like this
I enjoyed this video for the most part. Except for when you went on explaining about the ratio and how it is not a ratio etc.
Actually it is EXACTLY ratio. But when you transform light intensity into STOPS, it appears as difference simply because how logarithm works.
Logarithm converts division into subtraction and multiplication into addition.
I was thinking the same. 2:1 just means 2 stop difference. 3:1 means 3 stops, etc.
You're talking about the relationship between f stop values and and the number of stops, which is not what his use of contrast ratio describes. The way he used contrast ratio was strictly as a minimum and maximum, brackets, delimiters, a range.
@@reidflemingworldstoughestm1394 No. The f-stop value or number (They're the same) and the light intensity.
@@RaoBlackWellizedArman No -- f stop numbers, as in "f 11 is _3 f stops_ above f 4", are arbitrary. They tell you the number of full stops between f a and f b, but there is no literal f stop #1. This differs from their values, which refer to their diameter relative to the inverse of the film diagonal. F 2 for instance has a diameter that is 1/2 of the film diagonal, f 11 has a diameter 1/11th of the film diagonal.
I made a graph that compares the f stop values (diameters) and the relative f stop light intensities (areas) plotted against arbitrary f stop numbers. You can see it at the Desmos graphing calculator web page if you copy this string
bbsnejiljy
and paste in the address bar following the word 'calculator' at the Desmos graphing calculator web page.
But that is a small side issue that doesn't alter the fact that, as used in the video, contrast ration is not about ratios within the math of f stops, it's about nothing other than a specified range, a high end, and a low end.
I love your channel!! So much clarity
As others have said, you teach so much in a short span of time. Making your videos an invaluable resource for new and old film makers.
After this video IM A FREAKIN BEAST at lighting. SHEESH thanks.
This video is perfection and is so helpful!
But, in practice, the Background is not consistently white or black, or gray. Sometimes, even in the same background, you may see that some parts are bright and some parts are dark. It is also true for the foreground, sometimes you may want some contrast on the face. So, using the "contrast ratio" is simpler.
Like saying "I want my fill side 2 stop lower than the key, background 1 stop lower than the key, but want some part of the background 2 stop lower" and sort of.
And I have also seen many movie scenes where the fill side is darker than the background. So, you have to think of contrast ratio for the face. The fill side does not necessarily match the background.
In practice, a controlled composition generally follows the rules outlined in the video.
For instance, if a background area is the same colour and luminosity as an area on the foreground element (usually actors), intentional lighting (or haze) separates the two with the chosen distinction. Under identical light, they’re the same but under intentional lighting, the result onscreen reads them as different.
So, while you may see variations in light and darkness in most backgrounds, the cinematography tends to exhibit an _average_ differentiation of luminosity in order to separate foreground from background (where lighting can be controlled). Even sunny exterior shots will sometimes utilize things like bounce surfaces to increase the luminosity of the subject.
Otherwise, everything would look like a news broadcast or layperson’s cellphone video.
The best practices in filmmaking are there for a reason, and are correctly explained in the video (which is more about nomenclature and less about recommendations).
The contrast ratio is actually mesured like this
key side+ fill side /key side. So in 0:45 when you say the contrast ratio is 2 stops it's wrong because it's 1.5 stops
When you're watching youtube in the background and then you find yourself searching for a background to watch you background to.
The way I love your videos the most, short, well shown and told and concise!
I am in the motion graphics stuff and this is so valuable, thank you for making this
Great video. So f1.4 : f 2 is the same ratio as say f 2.8 : f 4. You're just talking ratios but expressing them in terms of f stops, right?
Very informative, although I wish you would have listed the movie clips you used. In order.
I appreciate your vast knowledge offered to us for the sake of learning. The best part of TH-cam University.
What a great breakdown of lighting into easy to understand concepts!.. Takes some talent to learn the craft, but a lot of talent to explain the craft in simple terms. Outstanding!
I’ve been doing video production for 6 years now and I’ve never heard of this. I’m glad I watched this video though. Thanks for sharing 💓
Few months back when i checked ur first video by ur chanel name nd not by urs , i thought it's a foreign guys chanel. Due to spoken, well footage but i was shocked to see a indian name in u. It was much inspiring that a indian guy is so learned. Who is helping other indian film makers free of cost. Thanks bro. I am always excited for ur video becoz i learn so much new terms that i haven't heard of. Keep it up. I am struggling writer in Bollywd. Member of Swa. Screen Writer association. I am also interested in direction.
Hence I have completed my first Bhojpuri script , horror. Different from normal Bhojpuri masala movie. Will be Full of inspiration from Hollywood cinematography.
I want u to make a video on...what camera setting i need for shooting a 4k movie. I know many things, learned from ur videose. But one , in the go setting at one place will do the job easy. And also on sound from shooting to to editing. If any is availabile on same, sorry , i will check it. Thanks
Well said - clear and concise and beautifully put together.
remember midsommar? can you cover that movie because the movie's so ominous yet the backgrounds so brightly lit
Super interesting video, however since I'm italian, and so my english isn't perfect as much as an english native speaker, you provided a very high value in a so few time, I definetly would need your source in order to study with calm and in order to better focalize the arguments. It will be such a great value from you ti orovide us the books where you studied. Thank you in advance man!
I have known of this principle - the best term is difference, because that what it is.
6:28 I set my internet background to dark mode, so Actually your bell icon is grey on black 🔔 -- low key.
easier on the eyes.
This is beautiful ❤
Amazing video on lighting. Absolutely amazing. Thank you for an incredibly condensed and informative video!
amazing info. Will forget everything tomorrow
Excellent video. Thank you.
Thank you so much. I have been bereft of any formal glossary with which to talk to my cinematographers about my desired effect. I completely understand it's their respective domain, but there is a need for one to be able to use turns that both understand. Cheers bud.
As I am quite novice in the field of lighting and photography, I can't be able to fully understand. but superbly narrated !
Very good Essay, thank you
Great vídeo with clear explanations!!
Sooo blooming good! Thanks for this
Never knew about getting the same exposure on the background and fill side of my subject!
Wow this video thought me more about lighting then I learned at school! Thank you
I love your videos :)
Crisp, concise, yet exciting.
Thanks for the great simple summary, great teaching style you should put out a Photographers Dictionary 😊
I'm going to go grab my notebook and watch this again. Thx ya for the gems.
What an amazing video. You hit the nail on the head again.
There is a much better word than 'ratio' for the contrast ratio you're talking about.
Range springs to mind. Also span, spread, bounds, scope, spectrum, zone... words that denote the idea of the part that occupies the space between a minimum and a maximum. Even contrast space would do the job nicely.
This is very informative, a disney film came up my mind after watching this, "the moon spinners " (1964)
Does anybody know what film that clip is from at the very beginning?
Hi Sireesh ur videos r really v informative although i have directed one film in tamil(peechankai) , i was having only very basic knowledge abt cinematography, especially the lighting but ur videos have educated me a lot, I Hope my 2nd film will look much professional than my first. 👍
Excellent video, thanks!
Very helpful, I learning as a hobby. Hopefully I end up liking it more. I am very interested in film making and photography.
Another great video. Superb as always!!!!
Hahah the conclusion made me pause. Then I realise. I've set my YT to the dark theme: Bell is white on a very dark grey background: Low Key.
This is enlightening, no pun intended
Fascinating. I learned something new today, even though I might never use this new knowledge, it was interesting none the less.
Outstanding work. Thank you so much!
Explicación excelente!!! Eres un crack!
fantastic summary! thanks
This has been so very informative! Thank you
Very nicely explained. Well done.
.......loved it .....after some brilliant stuff.....a video i loved most......thanks
You're welcome!
Filming is all about projecting what's in the Director's mind in front of the audience irrespective of whether they approve it or not. Rules are mend to be broken the more we do the more freedom we get.
Very helpful sir, thanks for making a video.
You're welcome!
This video definitely deserves our likes!
Very detail, i learn the f stop. Over, under expose
great video!