dining room fixtures

dining room fixtures

- hey, what's up guys? kris truini, here for kriscoart. welcome to episode three, our lighting workshop that we did in collaboration that we did with aputure. a lot to cover today,and we're talking about how to create an artificialsun, or augment the sun, and create a dramatic afternoon look. (techno music)

so we've set up a 12x12 frame above us, we're gonna be using this to kinda bounce some light back down.it's gonna be very subtle. you know, we don't haveto go crazy with the 300d, we can even use a 120gear, something like that. and kind of catch some of thatlight, bring it back down. and again, splashing a littlebit of that in our scene. - [gavin] so obviously at 100%, that's quite overbearing.

- [kris] we're allowingourselves to have some room to play with in termsof the overall ambience. - [gavin] and in an actual house, not in a sound stage set where you don't have any walls here,you can just be bouncing to the corner of the room,or just into the wall. depending on the level youwant, and the direction. so if you're not wanting it to hit this white wall as much, i mean,

just bring the light into the corner here, like this corner us the ceiling. and that'll just bring up hisfront level and less the back. - [kris] you can reallyuse this as a balance that can be your ceiling,that could be whatever, and that can raise theambience level up a bit. should we do brunch? brunch scene? some laid back scenes, yeah. - [gavin] change it up.talking without talent here,

he's kinda into doinga brunch breakup scene. - [kris] oh - [gavin] so that givessome kinda interesting stuff to play with, i think. - [kris] that's a great idea actually, so he's gonna be bringingin the coffee, for his lady. there's some bad news, so, the bad news hasn't broken out yet. - [gavin] we're thinking we should

bring the sun in from this window here. flip it from the side we were before. - [kevin] let's walk that lamp right. keep coming. keep coming. keep coming. oh! - [gavin] so he's kind of got a little indie filter for his eyes. so he can look exactly where the light is and place is so the shadowsare where he needs it to be. - [kevin] let's walk a lamp --

let's walk a lamp right even more. - [kris] keep in mind,wardrobe, that the set pieces in your scene, whatever you can control that you actually have access to, and that you can change, try to adhere to a certain color palate. that's really importantwhen it comes to colors, when it comes to makingsomething feel cohesive, but you can do that with table cloth,

with getting some utensils and cups from walmart, that you can return, of a certain color. curtains, wardrobe, youknow all these little tricks that you can do on a smallbudget, but that can -- oh, by the way, we're doing this. we bought a bunch of stuffthat we're returning. no shame in that, you know,we try to make it work. try to make it work.

but these are the thingsthat you can keep in mind when it comes to color especially. and that comes into your pre-prod too, have a color palette set, and try to fit in that asmany things as possible. - [kevin] let's get a, fresnel, on the -- fresnel over there, let'sget some barn doors on that. that dome can come right over here. let's pop that right onthe edge of our set. okay.

- [kris] i found a dollar. - [kevin] oh yeah, we can do that. - [kris] that's your rate for the day. (laughter) - [kevin] okay, can i seethat 120d with the dome on it? can i see that full up? and let's get a (mumbles) flop on standby. let's try this. oh there it is. love the dome piece. it's --

(speaking over each other) such as a 120d and we're opening up to a bigger source that's softer. - graham, can i see 50%? you got it? oh i need to, you know. (machinery moving around) here we go. flipped up a little bit. it's not bad, let's cutthat in half, go 25% -- gimme 15.

- [graham] 15. - okay, it's not bad. okay cool, can i get another 120 if wehave a fresnel knee, if not, can i'll take the open face. and basically, i want to just scrape it. - [gavin] you're gonna have sunlight coming out the back if youdon't have set situation. so you kinda have to set the camera to the outside of how youwant to outside levels to be.

and then bring thetalent up to match that. - [kris] we're doing drama,it's a little bit dramatic, so this is definitelya high contrast look. is this a dramatic afternoon scene, or is this an evenly light, cheerful afternoon scene? again that all depends on story, but he's trying to getthe most out of this scene with the information we have so far.

- [kevin] so my friends, let's say every single light except 300d. bang, bang, bang, great, awesome. so we gotta think aboutwhat makes daylight. so obviously we have our sun, okay right, and this is a sunny day. we also have to consider thelight bouncing everywhere else, and then our big blue skyso this is sort of how, in my mind, i was thinkingmaybe this is a day -

partly cloudy or just dark blue, we have a lot of blue coming in. so sky light's about10,000 kevin -- kelvin, give or take the day. - [kris] kevin - [kris] so we have this, ihave half blue on this light, this is a 120 with thefresnel attachment on it. so this is sort of our sky. so this is a cloudy daywith no lights in the room.

so let's go ahead and get that, the 120 bouncing in the 4x8 foam, yeah, so that also has half blue, so that's the rest of our sky. it's quite a bit under, that's like two stops under i think, so this is sort of giving abase in the ambience coming in. it's almost a 1.4 and we're at a 2, right? yeah, so it's stopped under.

i think maybe this may be too moody. so maybe a little toobold for this break up, especially if there's a twist, like we don't know it's a break up. that 120 with the cordstrap direct, high up. yeah, so this is gonna be our sun. so let's get that up. - this one? - [kris] yep. our scene just changed,

so this is doing a nicebit of work right here. so i got a little pitter-patter, this is about 3 and 1/2,i think, stops over. we have the light domeattached to the 120d, at barely any output. yeah, 20%. so what i did here iswe're wrapping this around. right? so if this is mykey, if you will, right, i have sort of wrapped my source around it to be a little more frontal.

this is like, a little bit nice, a little more less moody. right? so it sort of wraps, whereit's still big and soft if i had a hard light here,it would feel really forced. it would feel lit. but this you can say,oh, it's another window, it feels motivated, and the motivation being the window we see. you can imagine, oh there could be

other windows in this place. 120 with the -- let's on andoff that -- off that right now. if we take a look at the ficasreal quick, on -- on 120. yep, and then off -- on -- just a little bit of something. just a little bit of spice right there. i'm sort of mimickingwhat this sun is doing. obviously if the sun was coming through, it'd probably be hitting that tree,

the direct light is quarter-straw, shifted a little warmer. maybe, you know, it's brunch time. the sun hasn't quite hit peak. noon is 5,600. as you go down, you warm up, and obviously sunset, youwarm up significantly. so just put a little tinge just to give it some warmth and some life.

and then, all the bouncedlight, the 4 by -- foam core above, pushing in, half blue, the background there, also half blue. on this, we just left it right at 3,200. and then, last but not least, oh, on it, and this, as gavin and i were talking about, he really wanted to feel a little shadow, he does have some right here.

which we probably wanna -- - [gavin] yeah, we could flag that off. - [kevin] yeah, can i get a 2x3 double? we'll bring it down,but obviously this side of his face here is eaten up a little bit so we just lift that up, with our, could be a ceiling, in this case, it's 12 by unbleached. let's go --

- [gavin] and there's the neti was talking about earlier. - [kevin] let's go, justsort of bring it down because this light is quite close. - [kris] and that's a double, right? - [kevin] yeah, that's a double. so we're just sort of --yeah it's good by that. right there. so we're justtrying to take it off his -- yep, right, right where i wanna be. the back of his -- so it doesn't look

so much like there's a light there. - [kris] yeah, it's allabout drawing the eye to what you want to be looking at. obviously you don't want to be staring at the back of his neck and all that kind of things. just bringing it down. - [kevin] yeah, that's enough.you want to double that up? wanna get another one? so we'll double up.

if you didn't know,obviously there's two holes in a c-stand, small one and a big one. you have two, the littleguys put it in the big hole. bam. little pro-tip. so now we have two holes, that's quite a bit -- lemme see. yeah, that's much nicer. just walk it back, just a hair.

whole fixture. got it. feel better about that. - [kris] yeah, i'd buy that. let's give him a hand.let's give him a hand. that was incredible. (applause) and again, because we'regoing with a dramatic look, we're almost excused to have his side a little bit darker.

which also adds a nice bit of separation with the lights thatplay with the background. because if he was perfectly lit, the backgrounds perfectly lit, again, you're losing some of thatdimension. and yeah -- - [kevin] i mean yeah,even by bringing this up, it just flattens it out, makes it look more like a comedy. no drama, no drama left.

- [kris] i kinda want to bring in the atmosphere cans real quick. atmosphere in a can,that's a little trick, i don't know if you guysare aware of that product. not sponsored. but it is great to haveespecially if you're doing, again, guerrilla style film making. i love using that, wheni'm urban exploring and i'm trying to get some

photography work with natural light. i have a can of those, and i'll spray it wherever my light source is. - [kevin] and if you don't have this, you just go to an asbestosfilled environment. - [kris] yeah - [kevin] that'll work too. - [kris] just stomp around a little bit. oh, nice, i just wantto join in on the fun.

this is also non-toxic. but yeah, one thing that this is doing -- (cough) this is adding particles in the air. so this is almost actingas a sort of diffusion. whenever you spray this -- - [kevin] i'm done. - [kris] light is reacting to this. and again, once you havethings more in the foreground,

now you see that it's taking off a little bit of contrast to background. - [gavin] yeah, it softensthe source basically - [kris] yeah, softens the source, adds dimension, adds separation, which is again, something that is key to making something feel cinematic. as tempting as it is to have these shafts of light in every scene,

and it is tempting,because it looks awesome, you also need to keep inmind what makes sense. did they just smoke aton of cigars in here, and are they breakingup in that sort of way? could be cool. and that could definitelymotivate the smoke. but you know, you gotta find that balance. because if its' too smoky, then the place looks dirty,

or looks like there was a fire. but i think this is nice and subtle enough where it's, again, addingsome atmosphere in there. and it's creating some of that separation. - [gavin] if you're using a haze machine, there's different kinds ofjuices you can buy as well, that have totally different effects. so some can look very smoky, and some can look more like this,

where it's kind of justadding a soft mirror on that. - [kris] alright, let'ssee how this plays, let's get rolling on this, we're ready to get rolling. great. - [gavin] yep. - [kris] and -- action. - [male actor] hey -- i got your coffee, and my coffee and breakfast. of course, of course.

- it's over. it's not working. it's -- we're done. - [male actor] like, wecan be done with breakfast. let's -- let's just go out. listen -- if you need more time, i'm willing to give you all the time in the world that you need. - oh no, no, no.

it's definitely not mewho needs more time. it's you. - [kris] nice, that's a cut. oh wow, oh, i felt that. right here. that was great. oh my god. (music drowns out voices) i'd like to thank again my good friends gavin ash and kevin terrell

for sharing theirinformation with you guys. hopefully, you learnedsomething from them. if you're new on this channel, definitely consider subscribing for more filmmaking stuff like this. and if you want to stay upto date with future episodes or future workshops coming up, follow me on instagram because i'll post it there first.

and as in the other episodes, if you want to get a quick recap and some notes of what wastalked about in this episode, check the description down below and there you will also find some links to all of the gear that we use for these episodes. alright guys, thank youso much for watching, my name is kris truini for kriscoart,

and i will see you next time. (upbeat music)

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