 Hello and welcome and welcome to Scene Lighting. Today we're doing a cinematography breakdown for the video I've been thinking by the artist, Tyler. And I think it was shot by the director, Mejiela B, and cinematographer, Matthew M. Vinn, EMVIN, I don't know if I'm pronouncing it correctly. But yeah, here's another break video falling up from the lighting breakdown where I will just catch up and do some of these interesting ways on how you can approach your lighting and take some concepts from these talented artists and creators and say how you can apply to your own local library of projects and see how they can help you get more out of it. We're also running a competition whereby we're giving out $8,000. You could check in the link below to see if you've not joined. It ends by June, so get in the family, get in the tribe and let's all make great wins together. So without going much, let's just first of all scrub through the video. This one is quite interesting because one of those video whereby the camera move played a lot, although the lighting actually was still amazing, but a lot of the interest and the energy came from how the camera motion could deliver such kind of energy that translated into the visuals that we see. So we start with a pullout shot whereby the camera just pulls out and we cut to some other bureau shot and we continue to pull out and we continue some beauty shots, creating interest, body frame, slake, everything. It continues for a bit and we go into some performance shot and some more bureaus and just dynamic camera move. So we're just like scrolling through it just to have an overview of what the entire video is. So she's dancing and she's been thinking. I do not know the lyrics of the song, so but yeah, it's just more in objective visuals. Look at me shaking, shaking, shaking. Have a great body. There's this cool guy. He's all sweaty and oily and he has snake eyes and I'm on a pedestal. Like it looks like a cake and there's... Oh yeah, there's this one Kawaii effect where he's in slow shutter. You can see here and everybody's like all hazy and the guy's like looking moving slower. This is usually done by shooting at the very slow shutter speed. So you have more motion blur in frame. Like you can see here, you have like more motion blur and a lot of the levels in this video is a lot very low. Like there's a lot of underexposure going on but it's really talented artists. So there's a lot of really separation that's happening. So if we turn on our first color for this bit, you would notice like, you can see how low the exposure is. Like it's just the skin on zone and it's set around one stop underexposed already and the next side is like already going to three stops underexposed. So most likely to be able to get this cleaner shadows, you may have like shoot at lower eyes. So it's like maybe at your 400 or something that's below the normal rated so you can move the dynamic range of the camera down into the shadow parts you get and I will just scroll through it so that we can like scroll through faster. So we have like performance shots. We have like the camera moves and back to that same scene that's by the car in different costumes, the same scene. So it's just a call of several scenes on different camera angles and we'll end at the end of the video. Okay, so let's go to the beginning and actually now break this properly. Great. So we start with a pull out on a steady cam and this is like the same room setting but if you look, you can see like, this would be the top view of the couple of shutters yet to come. Presently, if you look at this shot, you can see the light is coming from the right hand side and it's quite hard based on this pillow shadows that you can observe here and there's also like some other light source here that's also diffusing this shadow here that's coming up on the rails which becomes more evident when we go into this shot as this shot also is also a continuation for another interesting shot I will show in the future. So yes, if you look at this shot now you can see what I'm saying. There's a soft hop method that's going here soft on the body. I mean, hard on the body, soft on the face. You can see the oils is picking much of the highlights of the light that's coming through. We can see the shadow that's coming here and also on this rail, we have like foreground interest that is adding dynamicness to the frame just to eliminate the whole boringness of the shot. And we have more beauty shots that's just designed to show calls and sex appeals or beauty appeals. I guess that's like the bane of most music videos. That continues for a bit. We caught back to that same shot again. We continue, yes. Now here's an interesting shot that we're looking together. So if you look at this shot, there's a lot of things that's happening. We have this neck wall that's happening across the frame here that's creating the negative side, the downside you can see on her face. Over the neck wall, we have like some HMI or sky panel that is lighting this wall creating the entire wash that creates the contrast against the cold temperature of tungsten that's coming in from in the windows with hard light creating these lines of visual interest. What do you have leading lines that's created by this building to create like a vanishing point in terms of the framing? And we have like a side key source that is, we have like a side key source coming in from the left side of the frame that's actually becoming her key and also a top light that you can see but in no shadow and also the line that's actually coming to give this definition and shape to the face. You get, and I think it's a lot more isolated because it's not spinning over to the ladies on the side. It's just well on her. And I think for the side, yeah, for the side source is just merely chipping in and raising this side of the frame while we have like our neck that this wall's becoming our neck that's creating this contrast. If we check our first color, it's a lot more obvious that it's been lit from the top. You can see all the gray and the neutral gray is coming in from the highlight to the chest while most of the downside that's coming from the neck of the wall where we have like two stops on the exposure is coming from the right side of the frame as opposed to this side that is just one stop over one stop on the expose compared to that. So the contrast ratio here is not that much. You get, and middle gray is still existing on the wall but we have either the sky panel or the HMI that's making those levels and the windows are actually one stop slash, yeah, a couple of stops. Just one stop or some points that some hotspots are two stops over exposed but all it's just to create visual interest. You get, so the ones that are in shot like this ones are the ones that like two stops over exposed but the rest are just one stop over exposed. So everything is just within a small contrast ratio gap of like one to two stop which is not as steep as our last week video whereby we're working with sky, open-ended exteriors. Here's a lot more interiors and in this shot they're gonna repeat it later in the future but with a change of costume. Now you can now see what I'm saying of the side key that's coming in because you can now see there's like a red, a clearly red key that's actually adding to the tungsten field that's actually coming in on her. So just like the other shot wherever you can now see the headlights not coming up more to the face here. Same scene, more bureaus, same alleyway shot but I believe the same alleyway because of the walls but I may be wrong but you have Titan tubes for interest, a lot of string lights just to create visual interest, some toppy sauce. Now the cameras won't do most of the heavy work creating movement that actually makes it more appealing and all these signs that's on the side like the light signs on the left and the right that just also creating more visual interest. If you continue now there's a whip hand by Steadycam that creates more dynamic zoom into the next scene. We continue with some top lights and it's like oil skin is like the theme of the video to be able to catch most of this highlight since most of the time they're underexposing. So the shine from the oil gives us like the most interesting part that they want our eyes to go to. Yeah, so we get more of that with some DMX programming that's creating most of this pulsing effects which is the hallmark of a music video creating visual interest. It continues for a whole lot of it. As you can see, it's just way more toppy. You can see the shadows, the player defines almost like it's more smaller sauce due to the hardness of the shadows and where it's coming from. And the mirror creates depth because you have this in the foreground and that is like the main frame of the shot and the rest is like lost into darkness like you can see. Most of the shot, the room tone keeps it just barely underexposed so it doesn't fall just black into the shadows and it doesn't have a noisy shadows. So you have like the room tone that's actually keeping us two stops underexposed on the background and the key is just one or a half stop underexposed judging by our lackman zone. I really like lackman zone because it really allows me to see the ratio that exists within the entire image. Then we continue to the interest whereby we have the choreography and the pushing in with the wide angle where you have way more interest because it's just more interesting going through hands of people so that continues for a bit. Now here's another interesting one. So for this, we have our DMXC playing a role because you can still see the pulsing light but there's this whole toppy sauce and a small field that's actually raising up this side of her face you get that mixed up key light because if you turn on first color you can see just barely keeping it half stop underexposed here and we have like the background windows that are actually creating visual interest all to draw our eyes into this part of the frame in jet black. So that's why it's a low key video it's not like that noisy you get and we have like the main key like that's coming from the other side of the glass whereby you can see it's on the forehead and you have like a neck on this side the camera stays on the shadowy side to be able to go from like dark to light to dark again to light to dark and just keeping on creating visual interest. So the video continues, we're back at the dance hall if we'll call this a dance hall we have the chandeliers for interest most of this frosted windows to be able to give texture to the environment why it's been lit so those are like the I would like to call them the room tones why most of the moving heads are the ones that are creating like dynamic light into it so there's all of that going on to be able to highlight people like in the background thereby get like more hot sauce and stuff but you can see just the key but for some ever reason the face is in the shade though I was thinking maybe like a full spot or something to be able to just elevate the face but all this could be depending on the architecture that the cinematographer is just facing you get so you can see most of the light seems to always just come below the chest and there's like the hot backlight but nothing's really accentuating the face the camera dynamic movement and that could be like a crane that then we come into the real steady cam groove whereby we have like more visual interest of the rules of the camera and we have like moving lights here that you can see keep moving and we have the stained glass actually now create more texture but it's time to flip the color temperature to become blue and we have more higher contrast ratio and less fill into the shadows because there's some fill going here that's maintaining the floor at two stops under right it's only the people on black pants that are dropping like three and four stops which is like related here there's some level that's going on the floor and that creates that but the window still draws our eyes in and the framework is designed the entire frame is designed for being able to catch your interest and energy and stuff and that's like the theme of the video I think Tyler's been thinking of some party sessions visual interest continues which is the entire theme of the video then we'll come back to that same scene remember that car and the windows and the backgrounds you can see the wall that's at the back now we have like a key here this is probably either a magic slot or it's not a glitch Muslim because of the way the nose shadow is had so it could have been magic clouds satin or half green something that softens up the light but makes it a little bit more hard then the ambient light that's coming out from the entire ambience here is just casting this edge light on her that we can see here so this edge light that you can see here is the one that's giving us visual interest we have like light to dark to light to dark to light to dark to light so it's just layering the light in such a way whereby you can actually follow through you can see her face now she's not like properly exposed you get skin tones just belly on middle grey and a little bit of it is like half stop over exposed then drastically goes to like an undexposure of like one stop goes like under three stops you get key to fill is like one ratio three here and just the background is held at minus one stop you get an even the sky the ambience which is what this is is held at one stop and this is all beautiful stuff you get this how you make beautiful images here she's left her key light like you can see so she's going down into the shadows it's no longer as it's like way in the shadows now just because of the move she's making or the moving lights that's pulsing one of one or both of them is causing that you can also see the reflection on the car that suggests like this they're like top lights that's actually creating the room tone for the shadows so that it's not like all lost in darkness on the floor which is the same light but this time a different angle looking up and creating a frame an interesting frame and that continues for most of the video whereby we can now see more of the sourceness of the lights when we come into the shot it haze it up the cabin becomes god rays in the shot here you have the key light is also coming there still maintain that's in visual tone we still have our room tone now when I have more interest in the windows cause it's like a different perspective and you have like the background element keeping it busy and also the car itself is illuminated with its own RGB lighting music videos are actually fun there are no rules just make it as pretty and visually interesting as it can be you get using camera movements, lights and set pieces and some haze you get so that continues you get more of the dust of the earth and the whole haze giving this layered steaming feel and there's probably some ultra contrast that's been placed on the lens here to be able to like keep everything a lot more even and a little bit more easy to be able to maintain them and yes it continues like that for a bit till we get to the end of the video whereby we just have one strong magenta light going across the face not the favorite color I like but yeah it's not so great with skin tones nobody likes magenta skin tones at least I don't so that's it for the video being thinking by Tyler directed by Mejia Labi and cinematographer by Matthew Ebbvine if I pronounced that right if you found this useful leave us a thumbs up share it with somebody who can benefit from it and subscribe to the channel whereby we create this community in helping ourselves grow and become better storytellers if you haven't joined on the contest check the description below and join in and be part of the family and next video we'll try and work on something different but this was just like a follow up to some of the lightings we'll be doing if you have any video you're also interested in us for breaking down you can send recommendations and we'll look into it and see how we can break that down and until next time when I see you improvise, adapt and overcome