Indie Filmmaking: Creating Moonlight

published on July 17, 2020

Hey it's me from the a-team and on today's four-minute film school we are going from this to this it is night interiors on any budget let's go I'm here with hunter Gulen who is a commercial director photography in the music video and fashion spaces so

Today what kind of scene are we putting together so for this scene we wanted to do a night interior where there's a girl sitting at home waiting for her significant other dude comes home tries to sneak in right when he shuts the door

The lights turn on he's caught it's busted so four night interiors obviously you want to have some kind of moonlight coming in to signal that it is not yeah we had a 120 D camera left coming through the window through an opal frost

Just a light diffusion since we had the 120 D coming through the opal on the side we put the Nova panel with full CTB through the back window since the 120 D coming through the window was balanced at 5600 Kelvin we

Put a CC TV on that to give it that blue feel so to match the Nova panel we actually adjusted the internal settings to full CTB and 5600 as well you also had a third light which was practical and that was her cell phone we had her

Hold a phone as if she was texting but was giving her some light on her face as well now for her partner that enters the room through the door how did you light him for his medium shot we started out with a small MC rigged overhead and

Slightly behind him as a backlight to give him some definition around his hair and his shoulders so then our key light was the Nova we positioned it so I was hitting a talent more from the side and giving that high contrast ratio you did

Something really cool here for the lighting gag you did it on an insert of his hand instead of in the wide or any of their close-ups why did you decide to do it in the insert because it was a lot more feasible to do with one or two

Lights that way then doing it in the wide shot with five or six lights simultaneously turning on or off so the insert was lit solely with the Nova panel coming through the curtains same position as it was on his medium shot

When the lights turned on we went up on a lantern rigged overhead with CTO to make it match the lamp practical which also turned on simultaneously so what did you do for the practicals we had the practicals on

Because without these practicals it wouldn't give us motivation to bring up the scene with the tungsten lights that we had in places we cut a small square piece of diffusion just to spread that light a little bit more and get rid of

Those harsh shadows on the wall so how did you meant those practicals we started out with two or three hundred DS camera left and camera right cross skiing talent and generally giving a little fill throughout the scene to

Augment the practicals a little bit more we had the lantern rigs in the back corner camera right giving our male talent a little bit of definition so our female talent we had a 672 with a CTO filter giving her a little bit of a

Backlight little a bit of a definition popping her a little bit more alright let's take a look at that scene so we also care about your wallet and we

Want to show you how to do this with more budget-friendly lights so hunter what did you do as far as substitutions in the scene we replaced both the 120 D and the Nova each with a set of 3 MCS all set to the same bluish color for

That moonlight look they're magnetic so you could just magnetize them directly to the C stand and group them together which is really cool so in the second version we swapped the lantern out with a 672 with the CTO gel slid into it just

To match that same color temperature as the lantern so in the master you also had that cross lighting with the 300 DS so we replaced the two 300 DS with one 672 with CTO bouncing into a four by phone bounce card back into the scene to

Kind of lift up the overall ambience to the scene that the 300 DS were providing in the first version so to compensate for the smaller unit obviously you don't have as much output so I just opened up a couple stops on my lens and that did

The trick so let's take a look at this whole scene now with the more budget-friendly lights so of course it looks good you say with

A cinema camera but I don't have a cinema camera we also want to show you that you can still use a phone and have cheap lighting and have it look good today technology is so good that any camera can shine with good lighting

Let's see all right hunter so when you're shooting a scene like this that is indoor but with moonlight what are some takeaways so some takeaways are number one using a

Soft blue light source to emulate moonlight and number two is contrasting that blue light with something warm like the practicals inside to give your image a more dynamic look the third big takeaway is work smarter not harder

It was a lot easier to do the lighting gig in a close-up with two lights as compared to a wide shot with five or six plus lights work smarter not harder that's a really good tip and it brings me to the comment question of this video

Which is what is the time that you had to use moonlight in your scene or if you haven't used moonlight how would you use it let us know in the comments below and the best answer is going to win an MC Lyte which is our little RGB panel that

We used in this video if you enjoy four-minute film school if you thought this episode was useful to you then go ahead and give it a like and subscribe to our Channel that's it for us our social media links will be down below

And have a great day bye

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