 Pointing the most expensive camera at the dump here won't transform it into a palasin. While the camera may yet get a lot of recognition, it's just a small piece of a larger puzzle in the film workflow system. Want to learn more on what comes next? Keep watching, because in this video, we're going to show you the importance of lighting and how it can emotionally contribute or take away from your sins. Welcome to Pie Major will help filmmakers like yourself take their craft to the next level. Today, we're going to be talking about the most important element of a film production, lighting. As a filmmaker, we know that lighting sets the mood, tone and the atmosphere of the scene. It's a difference between a flat shot, a boring shot and a visually stunning shot. But where do we begin when it comes to lighting? Because they're quite a wide scope that ranges from a lot of factors that goes into it. But first, let's think about lighting and approach it from the mood and the atmosphere you want to create on the scene. If we take a romantic scene, for example, the essence of the scene or the design of the emotional content of the scene detects the quality of light will bring it into space. Because we are trying to entrap our audience or keep a little bit of mystery while we actually make it more pleasant, things like soft light or the warm light or creating beauty lighting will be required in this kind of scene. As the hard contrast that can exist, assuming you're shooting an action film whereby things are moving very fast and all you're trying to do is capture the visual interest that exists within the scene. In those kind of cases, you'll be able to deploy either environmental lighting or lighting for the space, which means because it's an action scene, you can light it in such a way that it is constricting the talent to a specific pose or specific area. So you ended up designing the space that however the camera moves, it plays into the entire interest of the entire scene, which is designed to just capture or hold the audience and also give them a sense of how or what it's been seeing in the action. Like you can see from the grandmasters or from several action scenes that exist in several action movies, such as Baby Driver and a lot more. Next thing to consider is the color temperature of the lighting. Warm colors such as tungsten lights or candle lights can create cozy and intimate atmosphere. Why cool colors such as daylight can create a more clinical and detached feel. But all this is subject to the filmmakers' interpretation and intent because you can flip the rules on its head if you've set the scene from the beginning. And what I mean by that is that if the story detects that the cool lighting becomes the reverse, becomes where we feel more safe, the story can actually lend itself to that direction and the lighting gets to support the narrative, which could actually flip this definition that I just gave previously. So it basically means that there are no rules to the game. You would have to understand that you're actually creating an emotion and creating a feeling, which you can actually follow the rulebook in designing but have to feel it, which is why we paint by light. Meanwhile, all this is relative in relation to the base color temperature that's been set on the camera because that's what ultimately determines how much warm a camera could feel or how much cold it could feel. Because take for example, now here's a technical example. If a camera is set at 3200 Kelvin, which is at the tungsten bulb and you put the tungsten bulb in that scene, it will not show as a warm light, it will actually show as a white light because the camera and the Kelvin source of the temperature of the fixture in the scene, they align. But if it goes lower below 300, then it begins to gravitate and shift into the warmer territory. And if it goes the other way, it begins to shift to the cooler territory. So all these definitions and descriptions are all relative to the base color temperature of the camera that's been set. Now move on to the next thing, the quality of light, which is determined by the size and the shape of the source. The reason why the size is important because the difference between a large light and a soft light is actually attributed to the size of the light. Take the Sun for example, it's a very small source that is kept away from us by a billion miles apart between the Earth and us. And because of the size in relation to what is lighting, it creates hard shadows and that's how hard lights are formed. When the light source is small in relation to the subject that's been lighting, you get to see hard light because it gets to cast hard lines across the face. But when the source is larger, take for example the clouds, when they cover and they actually block out the Sun, they scatter the light evenly in several directions that allows us to create more pleasant quality of light, which ends up becoming what we call soft light because in that instance, the shape of the light is way more larger than the subject has been lighting, so it gets to become a soft light. And we get to now experience things like wrap qualities because light is now soft, this scattering capabilities of the light gets to diffuse all those other shadow elements that exist in the subject's face. Hard light gets to create strong shadows and high contrast light. We see in popular films that are done in black and white and new ones that actually benefit from those kind of hard lighting because back in those days, film was lit at a lower ISO and they had no option but to actually use hard light to make it to key the scenes and create separation. Soft light, like we know, diffuse the shadows and lowers the contrast. This can be evident in most of your beauty lighting in your fashion film because the goal is actually to diffuse the shadow and to diffuse the element. And this gets to create what we would respond to as beauty lighting. Power draw is also important to consider, especially when walking on a location or a place where power source is limited because putting an 18K fixture on a household lamp would just lead to more disasters or having a generator that cannot actually afford to power up the light with the load that's been put on it would also lead to more disasters. Which is why in such scenario, it is usually advised to shoot with either on higher ISOs or shoot with cameras that have more low light gathering capabilities that will allow you to use smaller fixtures like the LEDs to be able to play in such spaces, whereby you can go in with compact solutions such as battery lights or using an inverter such as the EcoFlow lineup inverter which you can use to power source up to 1,200 watts which can easily mimic daylight in the right circumstances if planned properly. Consider the efficiency of your light fixture in terms of the amount of light that it produces in comparison to the power that it draws. Where this becomes an important factor is when you're using a 10K tungsten light that actually draws 10,000 watts of which same output and brightness can be achieved from an LED light that probably uses 1,000 watts of light or less. So you get a benefit of less power draw but also more outputs. Considering the quality of the light spectrum that's been produced on the fixture can also affect the accuracy of the overall look of the final image. And in simple terms, what this means is that the quality of light that comes out from the light source if they are deficient in the replication of the color spectrums that they are trying to achieve, it could end up making the skin tones of your subject look off or look weird leading to unnatural skin tones that would create unpleasant experience for your end users. So the quality of the light actually goes a long way to actually improve the viewer's experience. In some cases, setting manufacturers actually provides lights that come to the ROGB-WW spectrum. Why that has been great and has helped us achieve higher standards in lighting, better standards have also been made available such as LED lights that has the ROGB-CLA light which is red, green, blue, C for cyan, L for line and A for amber. And this actually creates more robust spectrum in the light when you actually measure it with your color meter to be able to see the spectrum distribution across different fixtures. That could help create more pleasant images in the scene and avoid more skin pollution that happens. Heat generation is also another important factor to consider as it affects the talent comfort and safety. Make sure you have a cooling system in place that prevents the discomfort of the talent or use other lights that are not as hot that would allow you to be able to design a system that allows everybody to cohabit and actually create creatively. Because using hot lights could lead to situations whereby your talents are comfortable and you don't get the best performance out of them. Your makeup is angry with you because hard work has been ruined by your own source of light and at the end of the day it just makes a whole jumbled experience that actually limits the output of the entire creativity of the project. As we are there to contribute to the vision of the story and not to take away from it or to become an impending problem that others have to solve to actually get to their destination. Key light, feel light, back light and gels and light measurements are also important factors to consider when planning your film project. Light can be used to create shadows, highlights and depths in the scene. Make sure to experiment with the lighting setups and angles and find the best thing of what works out for you. A little bit of in-depth on the above that I've discussed in terms of key light, back light, feel light and gels is there. We all know that the key light is actually the main direction that tells us where our source is coming from. It can be motivated by having an element in the scene that actually explains why the light is coming or it could be unmotivated, which can defer to any reasons that the story actually champions for that scene. Why the feel light helps us diffuse the shadows or expands or creates the more dramatic elements that we have in the scene because when we have less shadows, we have high contrast image which lends itself to interpretation of more dramatic imagery as opposed to more diffused shadows that actually leads to more of the beauty lighting setup. While we have the back light that actually creates ultimate separation or actually add drama into the intensity of the scene by helping us to identify the shapes and elements that exist within the scene, that also helps move the entire narrative forward. Exploring gels could actually allow us to achieve more depth and complexity to the entire color scape of the scheme because we actually can now paint with light in relative to the camera color temperature, whereby we can achieve the artistic intent and design for each look and purpose of the scene, emotionally conveying intent that can drive the story forward. In summary, lighting is an important aspect of a film production that can help set the tone, mood and atmosphere of a scene. So in all of this, I would encourage you to experiment with angles and experiment with light placement sources and diffusions and see what works out for your design. We would in further videos dive into some techniques and also experimental forms that you could probably copy and put in your own process and see how that can elevate your own interpretation. Don't forget, if there's anything we've missed in this discussion, please leave it in the comment below because I would like to know how you also use your own lighting elements and your lighting equipment. Don't forget to like, subscribe and comment if this has been useful to you in any way as we hope to put out more film tips and tricks that would help elevate your own experience. Also, we'll be running a contest whereby we're giving out $1,000. Check the description below to see how to join. Until next time, improvise, adapt and overcome.