WEBVTT 00:00.290 --> 00:02.330 So let's learn about three point lighting. 00:02.370 --> 00:04.460 This is when you're going to use artificial light. 00:04.470 --> 00:09.390 The basics of this is a three point lighting set up and you can do this with any lighting kit from a 00:09.390 --> 00:11.670 homemade kit all the way up to a professional kit. 00:11.700 --> 00:15.860 It's really a great way to kind of start off and have a really base structure of lighting. 00:16.050 --> 00:18.540 So we're going to start by lighting myself right now. 00:18.630 --> 00:24.120 I'm lit by this very toppy kind of grungy garage like we're going to turn that off. 00:24.140 --> 00:26.340 We're going to see if we can make this look a lot better. 00:26.340 --> 00:34.020 So Sam is going to run around and set up our lights starting with the light. 00:34.670 --> 00:40.790 So typically I like to have the lights at a 45 degree angle just above the camera and to the side of 00:40.790 --> 00:40.960 it. 00:40.970 --> 00:42.610 This is going to be your key light. 00:42.680 --> 00:45.140 This is where your main source of light is coming from. 00:45.140 --> 00:49.250 And it's a good place to start whatever your most powerful light is. 00:49.310 --> 00:50.100 Move it there. 00:50.120 --> 00:53.890 That's going to be your biggest source or whatever your biggest light you have. 00:53.960 --> 00:55.830 That's going to be the best place to put it. 00:55.850 --> 00:57.170 Right now it's really harsh. 00:57.230 --> 00:59.260 We're going to put some diffusion on it later. 00:59.570 --> 01:01.970 But let's add in the Fill Light next. 01:02.260 --> 01:07.010 So they're filet is going to be just to the left to camera really just to the opposite side of the key 01:07.030 --> 01:12.180 light and what the Fill Light is doing is making up for whatever shadows the key light may have started. 01:12.320 --> 01:15.950 So if the Keela it's coming from this direction we may have gotten some shadows here. 01:15.960 --> 01:17.340 We'll go over this in a little bit. 01:17.450 --> 01:22.740 But the fil-A is going to fill in anything that the key light is not hitting. 01:22.900 --> 01:23.490 Same thing. 01:23.500 --> 01:28.960 I would love to have the fill light a little bit of a 45 degree angle just above the height of the camera 01:33.260 --> 01:37.200 so Sam has our Keilah and our Fill Light Up next he's going to put up a back way. 01:37.430 --> 01:42.680 The backlight really is designed to give a rim to the background and also kind of give a separation 01:42.680 --> 01:44.050 from the background. 01:44.660 --> 01:46.250 There's many different ways to set up a backlight. 01:46.250 --> 01:48.200 We're going to start with that like this. 01:48.200 --> 01:50.390 So let's start to break these lights down. 01:50.390 --> 01:55.100 First off our fill light is being diffused by some diffusion which basically lowers the intensity and 01:55.100 --> 01:56.740 makes it much softer. 01:56.750 --> 02:01.040 You can see that our lights have a little bit of cloth that come with it that we put in front of it. 02:01.040 --> 02:06.190 The key light right now is harsh it's hard light coming on me right now they're LCD lights that we have. 02:06.290 --> 02:11.900 So it's not as harsh as a tungsten for now light maybe or a Home Depot light maybe but we're going to 02:11.900 --> 02:16.730 put some diffuser on it anyway and make it softer make it less harsh and it will also help with the 02:16.730 --> 02:20.370 shadows on my face and it will help with spinning around the background. 02:27.830 --> 02:32.960 So it sanded here is he put on a grid diffusion So this focus is a little bit more light with still 02:32.960 --> 02:34.420 diffusing it at the same time. 02:34.550 --> 02:36.210 It's definitely softened things up. 02:36.230 --> 02:39.630 It's helped the shadows a bit and it's not as harsh on the subject. 02:39.650 --> 02:44.720 I personally like what they say in the industry double break it or put double fusion on it which is 02:44.720 --> 02:47.840 what we are kind of doing in our interview setup in front of our backdrop. 02:47.840 --> 02:52.080 I want to see if I can do double diffusion on this site right now to even soften it up more 02:57.710 --> 02:58.200 great. 02:58.260 --> 03:01.870 So now our key line is double breaks or double diffusion. 03:01.920 --> 03:04.050 And it's incredibly soft. 03:04.050 --> 03:06.480 You may notice the light is much even on me. 03:06.480 --> 03:10.860 There's hardly any shadows but that's helpful because of the fill light and the background has sort 03:10.860 --> 03:12.460 of softened up a little bit. 03:12.480 --> 03:16.950 What am I going to do now is he's going to dim down the fill light just a little bit to kind of match 03:17.160 --> 03:18.390 the contrast here. 03:18.480 --> 03:22.890 So there's different ways of evoking different emotions with our lighting but we're just trying to do 03:22.890 --> 03:28.880 a nice basic clean interview setup with three point lighting where there's a key light and fill. 03:28.980 --> 03:34.440 Now if your light isn't dimmable and you're in a big enough space the best way to adjust intensity of 03:34.440 --> 03:37.280 your light is to move your lights forward or backward. 03:37.380 --> 03:41.730 Sam is going to move the Phil light closer and you can see how it gets more intense without dimming 03:41.730 --> 03:42.130 it. 03:42.150 --> 03:46.860 He can move all the way in almost you can see how the film has gotten a little bit more intense just 03:46.860 --> 03:48.400 by moving the light closer. 03:48.450 --> 03:51.450 Light starts to fall off as it moves through distance. 03:51.540 --> 03:56.640 So the closer a light to the subject is the more intense it will be the further away the less intense 03:56.640 --> 03:57.150 it'll be. 03:57.270 --> 03:59.700 Let's actually see what each light is doing. 03:59.700 --> 04:04.410 Sam is going to turn off on the key light and you can see the main light that's lighting me from our 04:04.410 --> 04:05.920 source right here. 04:05.940 --> 04:11.290 So let's turn it off see how much it's filling in here. 04:11.370 --> 04:16.600 The key light really is our main source of light and our Phil lights just filling in what it can hit. 04:16.620 --> 04:18.630 So let's turn it back on. 04:18.630 --> 04:19.200 Great. 04:19.410 --> 04:20.970 So that's what our key lights doing. 04:21.000 --> 04:23.010 Now check out what our Phil lights doing. 04:23.010 --> 04:29.070 Again it's filling in what were missing from the key lights off so you can see there's a little bit 04:29.070 --> 04:32.700 more shadow here and it's really not filling on my full face as well. 04:32.710 --> 04:35.990 I think it might be a little more menacing So let's turn it back on. 04:36.090 --> 04:36.540 Great. 04:36.630 --> 04:38.560 So now you can see what both lights are doing. 04:38.580 --> 04:39.620 You can see the shadows. 04:39.690 --> 04:46.630 Let's check out the back live so our Backley is giving me a slight rim Sam just turn it off watching 04:46.630 --> 04:51.670 turns back on its very very subtle but you can see how it breaks up the background and kind of adds 04:51.760 --> 04:54.710 not majestic but just makes it pop a little bit more. 04:54.760 --> 05:00.160 It's a lot like the gradient that we used in the interview kits but it helps break it up just a little 05:00.160 --> 05:00.790 bit. 05:01.180 --> 05:03.560 So just to see exactly what the backlights doing. 05:03.560 --> 05:10.370 Let's turn off the fill light let's kill our key line and you'll see exactly what the backlight is doing. 05:10.390 --> 05:15.530 Now here I'm probably very slow at it and all I can see all you can see is just a rim. 05:15.610 --> 05:20.440 But when you turn the key back on you'll be able to see exactly what the backlight sort of doing. 05:21.580 --> 05:22.030 Great. 05:22.030 --> 05:27.610 Now this is a nice one like kind of set up as well with the backlight a little bit more dramatic sometimes 05:27.610 --> 05:31.990 documentaries and dramas tend to use this for a very nice dramatic effect. 05:32.110 --> 05:35.200 And again we start with the base of our three point lighting. 05:35.260 --> 05:39.190 And from there you can decide just what you want to use specifically. 05:39.280 --> 05:41.450 So let's have another option for the backlight. 05:41.560 --> 05:46.060 What we're going to do is Sam's going to take off the diffusion on the backlight again not keeping the 05:46.060 --> 05:47.870 light from being soft as can be more harsh. 05:47.920 --> 05:48.870 Here's a little more harsh. 05:48.970 --> 05:54.620 And he's going to put it exactly opposite the key lie and raise it a little bit. 05:54.700 --> 06:00.810 So this is just a different type of back play that still adds separation and it's a little more Halo. 06:01.480 --> 06:03.480 Notice it'll hit more of the back of my head. 06:03.490 --> 06:08.080 The big thing is because it's opposite our highlight is we have the barn door kind of keep it off. 06:08.090 --> 06:12.760 The camera itself to avoid any flares if that's the style you're looking for you can always flare your 06:12.760 --> 06:14.120 camera up. 06:14.260 --> 06:17.200 So this is a little bit higher and harsher backlight. 06:17.200 --> 06:21.760 This light has no diffusion on it so you can see how hard it is right here it's very different from 06:21.780 --> 06:22.390 key light. 06:22.480 --> 06:26.740 Sam is going to put some diffusion on it you can see how it softens it up and it makes it much more 06:26.740 --> 06:27.310 subtle. 06:27.310 --> 06:30.690 It's a little more pleasing to the eye and a lot softer. 06:30.760 --> 06:36.070 The great part about three point lighting is it really is a base structure to kind of get your concept 06:36.070 --> 06:37.230 around lighting. 06:37.240 --> 06:41.260 The cool thing is that Always remember there's a key light a fill light and a backlight. 06:41.350 --> 06:44.790 And if you're indoors and you don't have any lights you might be near a window. 06:44.800 --> 06:48.820 Just pretend that window is your key light and you can kind of work off that. 06:48.820 --> 06:53.140 Or if you have a bounce card in your outside and you need the harsher light I always put the harsh light 06:53.140 --> 06:53.860 on the back light. 06:53.860 --> 06:58.900 Imagine that as your son Sam may have explained in the natural light section and use a bounce card to 06:58.900 --> 07:00.190 act as a fill. 07:00.280 --> 07:03.490 So it really kind of works your way in any concept. 07:03.490 --> 07:07.600 It's really a great way to kind of learn lighting and learn the basics of lighting because you can build 07:07.600 --> 07:10.060 off it throughout your entire video career. 07:10.060 --> 07:13.030 So we recommend three point lighting for pretty much any situation. 07:13.030 --> 07:17.200 It's a great place to get started when you're shooting an interview when you're shooting at your office 07:17.340 --> 07:18.490 or really anywhere. 07:18.490 --> 07:20.780 It's a perfect structure to build off of. 07:20.890 --> 07:23.910 And you should be able to always rely on it throughout your entire video.