 Hey what is up my name is Rebedium. Today we're looking at shooting outside in full sun with just diffusion. No lights involved. So I did a studio lighting tutorial a couple of months ago now. It's proved really popular. A lot of people asked me if I could do something for daytime exterior work. I didn't I don't have that many big strong lights to overpower the sun but I definitely have a 4x4 frame which I put up here with some diffusion on it some full grid and I have a reflective I have a like a DIY Home Depot reflector behind me on a lighting stand and it works out pretty well. There are much better ways to do this. There are more professional ways to do this. This is quick, it's easy, it's reasonably safe. Shooting outside in the sunlight especially outside of Magic Hour. I'm watching this light stand which is threatening to come down crashing down on me which we'll get to soon. Shooting outside in daylight in the sun is a really tough thing to do. It's much better to be in closed shade under trees under a building and then add light back in but if you have to shoot outside this is probably the way to do it. You're not going to get a stronger source than the sun. It's you know 70,000 lux at daytime. You're really pushing up against not so much what you can diffuse but what your actors can be in. The heat it's about four o'clock now. I tried this at 2 p.m. and I was only to be in the direct sun for a couple of minutes. I couldn't get through the whole tutorial so I put it off into later in the afternoon. Still we're about four hours from sunset so it's certainly not Magic Hour. You could tell that I'm squinting a little bit which I don't think is a bad thing. I think it's weird when you see daytime interiors where the person just looks like they're inside with studio lighting but it's not nearly as crazy as it would be if this diffusion wasn't here. I'll swing the diffusion away and you can actually I'll probably have to go up a few more NDs and you can see what that level looks like. So this is full sun obviously facing the sun and it's not just too bright to sort of shoot in but it's pretty much too bright to be interviewed in to act in to speak in. So I want to use I want to swing the the diffusion back in and you see what's I'll show you how exactly we construct this. The diffusion itself is stretched to come not very professionally I might add stretched on a 4x4 metal frame and rather than a t-bar which I've used before on this channel the metal frame allows you to come at an angle come at an incline and diffuse the sun on a much wider area. It now becomes the key and the ambient light bouncing off everything else in the backyard becomes the fill and then to accentuate that I have this I have this piece of foam insulation with silver on it on a clap clap clamp on the top of another lighting stand. Everything sandbagged and you can probably tell by the the leaves moving behind me that it's not a windy day but there are there is a gentle breeze there is quite a few gusts coming through and that tragedy of shooting outside in the wind is that this is just how things work you have to be very very vigilant you have to over prepare you have to put way more weight on things than you think they need because all it takes is one strong gust and something like a 4x4 essentially it's a sail so if you don't have enough protection for it it's going to be blown right over into your camera into your talent and to you just over on the side of safety put a lot as much weight as you have on these things when you're using them outdoors. You might notice behind me is nice and shady and I chose that for a reason in fact I probably should have gone a little bit more side on with my key but it's too bright over there because I've exposed for this diffused sunlight if I have pure sunlight behind me it's going to blow out kind of give that that white hot look that I didn't really want so that's a quick little tutorial about shooting in daylight sun diffusing it through a 4x4 and basically you know getting a nice usable appropriate image for being outside in daytime this is actually I've got the full grid but the old version they make a new one now that's soundless so you don't get that flapping in the wind you could put an ultra bounce here they cost a lot more money but they're a lot more angle-able meaning that you can kind of really focus the sun where you want to get it and get this nice hard edge on the talent side of the talent's head. If you wanted to do this with two people right you wanted to have me here and a second person here a 4x4 is just big enough some of the time but most of the time you're going to need something bigger like a 6x6 which creates a whole new batch of problems because it's a much bigger area you need two C stands you need more weight it's far it's at far more risk of being blown over and sometimes you just you know you go out to I've done that where I've gone out to shoot something it's just been too windy and meaning it doesn't need to be windy at all to be too windy but it just wasn't safe to set up the gear and put people underneath it for for for minutes at a time. Just for the sake of completeness I thought I would spin around 180 and show the other way that outdoor exteriors get lit this is a lot easier in my eyes I'm able to open up and look at things because I'm not I no longer looking into the sun I'm using the sun to give myself a rim light through the 4x4 which is above me and I'm using what used to be my bounce now as a reflector to become my key and ambient again for the fill. It looks pretty good you may notice that the the light stand is in frame now which isn't very professional if you wanted to do this you would probably get a a cutter or something else that is longer and put on a C stand but the principle would be the same I would just be able to get this back a little bit this paradoxically is easy to do in the middle of the day when the sun is high and I don't have to don't have to compensate for such an acute angle maybe not as dynamic a frame certainly not as high noon a frame but a lot easier on the actor and their eyes to be able to look off-camera and not have the blinding sun in their eye line I did bring out the matte box and had to put the eyebrow on to keep the sun out of the camera lens so if you watch my video on matte boxes you'll know all about that that's my daytime exterior lighting setup shooting raw you'll have to be able to craft this more in post much more than I would if I was in the studio I'd be doing a lot of that with lights because I'm using such kind of comparatively crude tools here outside I'm going to be able to do a lot more of that in post but thanks very much for watching hopefully that helped someone out there I know it helped me think about it I will see you next time