Nice run through of a very common set up for corporate filming. Sadly they always stick you in those boring white meeting rooms. Biggest challenge in the UK is there often aren't light switches in rooms like this at office buildings. They are either motion controlled or the entire floor is one on system. It can be frustrating to controlling the lighting so I always make sure I have bi-colour lights.
I love those videos from „in the middle of it“. Maybe a bit raw but so much to learn from seeing how you guys do it. Guess i better safe up to get some lights!
Hey Griffin, enjoy your content as always. I feel in this instance, having the talent in front of a lot of white wall didn't help you but I can imagine staging the shot so talent was on the other side of the table (and the camera was flipped too) was not practical or the background there was not nice? I think booming a toppy soft backlight in there and trying to flag off some of that light on the white wall behind talent would have gone a long way. I've done many shoots like these and it's often very difficult to have the time or resources to finesse anything so I get it. One other thing I have to say is that I find the statement 'having a colder light from outside and warmer light inside is not as professional' not really true. Sometimes having color contrast even with a corporate shot can look really nice and is what happens in the real world. It just depends whether you can sell it and how you motivate the lighting with practicals etc. Just my two cents. Hope it is helpful and constructive. I appreciate you putting yourself out there!
You were lucky to have access to the cntrol of the psudo tungstens - Ive had to black wrap them because only 'office services' could turn them off - or pull the globes while they were on - probably that would text the maintainace company to come fix them for $500! The glass walls seems to be green which might be a head scratcher - something to think about - (1/4 green on your int lights+ magenta swing in post?) also the mid room was a bit dismal .. a barndoored ap 150 (20%) or dedo could have been pinged in there a 'skidmark' down that middle area. The white wall behind the talent was a bit in yer face - maybe that could have been flagged down a bit (with a flag or potplant cookie for subtle leaf pattern) or a colour 'skidmark'
Always room for improvement on every shoot. We did the best we could given the time and resources we had available to us. I always second guess whether I should release these video on my channel or not, but ultimately my goal is to share raw content that might be helpful for someone trying to grow in their career. Hopefully it was able to do that for some.
@@GriffinConway Its a great video and very useful, just a couple of thing jumped into my head when watching it. But then there is stuff I dont know.. like you might have wanted a light in the middle room but not been able to put one in there in a safe way with a crowd of people running around and no runner to guard it. Start explaining sublties that and the video might become a mess, where as here you went through in a fast efficient manner :)
@@creativegreats If the ext lighting is cominging through some tinted glass (green) you could match your lights to this by maybe dialing in a green bias on the control (only some lights) or adding a 1/8 or 1/4 green gel to the lights. Your footage is then consistently a bit green. You then straighten this out by swinging the footage by a doing a magenta tint in post using RGB slider, rgb curves, tint slider or however you like to work. Shooting a grey card will aid this correction. A skidmark is a strip of light usually created by ussing a dedo light with the barn doors nearly shut so that the light projects a blurry but narrow beam, you could also use a 'cookie' to to add some broken light patterns in the medium ground.
Using the ceiling as a bounce definitely helps with being able to help spread light. Side note, I have that same Pad Prompter shown at 7:54, and ended up just moving into a nice large high brite 19inch Proline plus kit from Prompter People. No more having to finagle nearly as much with setup, manually scrolling the text, and having the talent needing to stand somewhat close and having them look as if their reading.
Ugh, always excited to see these but I film in a SUPER Run n Gun world where I get about 20 minutes to scout location, 45 minutes to setup and all that is done by only me. Can you make some videos like that?
I'm in the same solo-operator position. I do doc work where I often have only two hours to set up cam, sound and lights, get the interview, and break down. My personal best was little over an hour for a 30-minute interview. It's very stressful.
This is a five minute set up for one person. Personally Id swap out the stupid great umbrella boxes as use 4.4 diffusion panel or (cheap version) a 36 in lastolight. The thing about a diff sheet is some light will bounce back and eliminate the need for the ceiling bounce.
@@sammorganmoore no it's not. They cut many times and had 3 big 600s moving around and were even able to have an assistant sit in. 5 minute video, not a 5 minute setup
@@jimee998 Yep fair point. My point is that if you are good at quick planning you will get lot done in your 65 mins. I have some personal preferances such as uing a 4.4 on a stand rather than those huge softboxes which I see as slow, also a 600 has loads of wires and a stupicd box. working this close you might get away with a no transformer smaller light. Also if you need more time and/or an assistant that is your skill to get it cleared and paid for. Everones setup is of course hugely different, driven by vehicle size (i have a van so can carry scrims) location to vehicle difference and much more.
These videos are so much more useful than super long youtube tutorials from people that clearly don't ever actually work in real work situations. These tips are fantastic and seeing the process is really where the magic is. It is so easy to just "buy" the right gear, but to walk into an ugly room and transform it is so helpful to see.
Another great breakdown. Thanks, Griffin. Random question ... does SmallHD own a patent on their false color design? It's so much easier to read skin tones on a SmallHD than on my Atomos Shinobi. I basically want a SmallHD for the false color display alone.
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“It’s not a vibe” That’s super analysis right there
Nice run through of a very common set up for corporate filming. Sadly they always stick you in those boring white meeting rooms. Biggest challenge in the UK is there often aren't light switches in rooms like this at office buildings. They are either motion controlled or the entire floor is one on system. It can be frustrating to controlling the lighting so I always make sure I have bi-colour lights.
I love those videos from „in the middle of it“. Maybe a bit raw but so much to learn from seeing how you guys do it.
Guess i better safe up to get some lights!
Hey Griffin, enjoy your content as always. I feel in this instance, having the talent in front of a lot of white wall didn't help you but I can imagine staging the shot so talent was on the other side of the table (and the camera was flipped too) was not practical or the background there was not nice? I think booming a toppy soft backlight in there and trying to flag off some of that light on the white wall behind talent would have gone a long way. I've done many shoots like these and it's often very difficult to have the time or resources to finesse anything so I get it.
One other thing I have to say is that I find the statement 'having a colder light from outside and warmer light inside is not as professional' not really true. Sometimes having color contrast even with a corporate shot can look really nice and is what happens in the real world. It just depends whether you can sell it and how you motivate the lighting with practicals etc.
Just my two cents. Hope it is helpful and constructive. I appreciate you putting yourself out there!
8:48 am I crazy or did you create horizontal streaks from vertical blinds?
You were lucky to have access to the cntrol of the psudo tungstens - Ive had to black wrap them because only 'office services' could turn them off - or pull the globes while they were on - probably that would text the maintainace company to come fix them for $500! The glass walls seems to be green which might be a head scratcher - something to think about - (1/4 green on your int lights+ magenta swing in post?) also the mid room was a bit dismal .. a barndoored ap 150 (20%) or dedo could have been pinged in there a 'skidmark' down that middle area. The white wall behind the talent was a bit in yer face - maybe that could have been flagged down a bit (with a flag or potplant cookie for subtle leaf pattern) or a colour 'skidmark'
Always room for improvement on every shoot. We did the best we could given the time and resources we had available to us. I always second guess whether I should release these video on my channel or not, but ultimately my goal is to share raw content that might be helpful for someone trying to grow in their career. Hopefully it was able to do that for some.
@@GriffinConway Its a great video and very useful, just a couple of thing jumped into my head when watching it. But then there is stuff I dont know.. like you might have wanted a light in the middle room but not been able to put one in there in a safe way with a crowd of people running around and no runner to guard it. Start explaining sublties that and the video might become a mess, where as here you went through in a fast efficient manner :)
How do you do 1/4 green on your interior lights ? And what tool is used in post to add magenta ? What do you mean by “skidmark “thanks ?
@@creativegreats If the ext lighting is cominging through some tinted glass (green) you could match your lights to this by maybe dialing in a green bias on the control (only some lights) or adding a 1/8 or 1/4 green gel to the lights. Your footage is then consistently a bit green. You then straighten this out by swinging the footage by a doing a magenta tint in post using RGB slider, rgb curves, tint slider or however you like to work. Shooting a grey card will aid this correction. A skidmark is a strip of light usually created by ussing a dedo light with the barn doors nearly shut so that the light projects a blurry but narrow beam, you could also use a 'cookie' to to add some broken light patterns in the medium ground.
@@sammorganmoore what’s a cookie ?
Always great information. I learn so much from your channel bro thanks so much for making this video.
I gotta say, I’m probably the best stand in you’ve ever and will ever have on your channel. Lol great breakdown Griff!
Using the ceiling as a bounce definitely helps with being able to help spread light. Side note, I have that same Pad Prompter shown at 7:54, and ended up just moving into a nice large high brite 19inch Proline plus kit from Prompter People. No more having to finagle nearly as much with setup, manually scrolling the text, and having the talent needing to stand somewhat close and having them look as if their reading.
Great stuff Griffin!! Nice simple bounce. Love the BTS.
Ugh, always excited to see these but I film in a SUPER Run n Gun world where I get about 20 minutes to scout location, 45 minutes to setup and all that is done by only me. Can you make some videos like that?
I'm in the same solo-operator position. I do doc work where I often have only two hours to set up cam, sound and lights, get the interview, and break down. My personal best was little over an hour for a 30-minute interview. It's very stressful.
This is a five minute set up for one person. Personally Id swap out the stupid great umbrella boxes as use 4.4 diffusion panel or (cheap version) a 36 in lastolight. The thing about a diff sheet is some light will bounce back and eliminate the need for the ceiling bounce.
@@sammorganmoore no it's not. They cut many times and had 3 big 600s moving around and were even able to have an assistant sit in. 5 minute video, not a 5 minute setup
@@jimee998 Yep fair point. My point is that if you are good at quick planning you will get lot done in your 65 mins. I have some personal preferances such as uing a 4.4 on a stand rather than those huge softboxes which I see as slow, also a 600 has loads of wires and a stupicd box. working this close you might get away with a no transformer smaller light. Also if you need more time and/or an assistant that is your skill to get it cleared and paid for. Everones setup is of course hugely different, driven by vehicle size (i have a van so can carry scrims) location to vehicle difference and much more.
Great breakdown, thanks! Also, what did you use to create diagram that shows the layout of the room and where the lights would be located?
wow great tutorial! learned so much! time to buy more lights!! lol
Great lighting breakdown And incredible job as always on the project bro!!
Thanks for having me on Ryan! Always love working with you bro
More bangers as always 🥵🥵🥵
So helpful
Thank you!
amazing info!!
Anytips on shooting vertical for reels and ticktock. And where to position the camera.
Great question. I will do a video on this soon.
When can that be i got a shoot coming soon .
Love your content bro. You present stuff so naturally. keep up the good work.
So good. Always love seeing a video of yours pop up because I know I’ll learn something!!
Nice video! Really solid walkthrough :) Love how you show the whole process!
✌...
Am glad I found this channel ,I really wanna learn cinematography and lighting
Hi if the ceilings too high, do you prefer using lantern diffuser for fill light?
These videos are so much more useful than super long youtube tutorials from people that clearly don't ever actually work in real work situations. These tips are fantastic and seeing the process is really where the magic is. It is so easy to just "buy" the right gear, but to walk into an ugly room and transform it is so helpful to see.
Thank you! I appreciate the kind words and glad you are finding the videos valuable!
This is really awesome tutorial. Thank you for sharing. I would love to see you light a two person interview.
Thanks for watching. I have a tutorial on that already! th-cam.com/video/irv1GnG2QCA/w-d-xo.html
Another great breakdown. Thanks, Griffin. Random question ... does SmallHD own a patent on their false color design? It's so much easier to read skin tones on a SmallHD than on my Atomos Shinobi. I basically want a SmallHD for the false color display alone.
What 7 inch small hd models use false colors ?
I'm always learning, Griffin! Great work!
Thanks for watching JohnMark!
@@GriffinConway THe pleasure is mine, Griffin!
What size was that soft box?
It was the Aputure 150cm. Big, quite heavy, but a wonderful softbox for this type of shots.
Love this stuff!
Thanks for watching!