Thank you so much Adrian, I massively appreciate the support! And happy to hear you learned so much from the course - that is a great review! I'll pin this comment :) thank you!!
Always pleasantly surprised when someone says this - I bet you've made a ton of a good connections and learnt about other aspects of film though! I appreciate it! :)
Wow thank you so much! I would argue against being the best of anything haha! But I massively appreciate the sentiment and I'm super happy you're getting so much out of my videos - thank you!! :)
Love this series and the channel in general. You should create a playlist for the series, makes it easier to rewatch and try while watching🙏🏻 Looking forward to the next episode 🤗
Thank you so much! I thought I had made a playlist when I made a channel section for the series, but apparently it was an unlisted playlist - fixed it, so there is now a playlist! :) hope you enjoy the next episode!
@@RobEllisCinematographer Dude you‘re amazing! I love this series so much! Light is sooo important and your tackling this topic in an interesting creative way. You look mean all the time tho😂😅 Gonna save the playlist immediately. Thank you for doing this🙏🏻🙏🏻🙏🏻🫶🏻
How good in god's name is this new series of yours??? I'm so eager to see what else you got up your sleve. I particularly love the slow pace of your videos. It's a relief between all these fast pace nonsense videos. Thank you so much!
Thank you so much - I massively appreciate it! I've sped up the pace when compared to my old videos, but I'm beyond happy to hear I'm still getting the balance right and it's not too fast - so thank you for that feedback!! More videos to come, I hope you continue to enjoy them! :)
Amazing content! Would love to hear you talk more about how you expose this in camera, maybe show false color reference? Lighting is one thing, but I find the real challenge is balancing the ratios. Anyway thank you for your work!
Thank you so much! I try to primarily focus on the lighting techniques in these videos so I don't overcomplicate the topic - I did release a longer video a few months back talking about contrast ratios, measuring light and false color, in the context of lighting for darkness, both some of the principles can apply for many situations - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-AVGx-LCvSFE.html - hopefully that helps in some way!
You've been extremely helpful and have had a big impact on my cinematography. The way you break things down really clears out all the noise. Appreciate you! @@RobEllisCinematographer
Amazing video, Rob! Never disappoints. For moodier shots like this where there's also bright windows, do you find it difficult to overexpose enough to avoid noisy shadows, without blowing out the windows? How do you go about that? Sometimes with slog3 I can't overexpose enough for a clean image without blowing out windows or other bright sources, and end up with noisy shadows. Would love your thoughts on how you solve that?
Thank you Steven! In situations where there's a big contrast like this, with highlights that I can't control, and with less powerful lights - I often just shoot at native ISO, expose how I want it and noise reduce in post!
I recently started watching your videos, you are amazing with light and cinematography. It is rare to find this good content for free on RU-vid, so high value and great stuff. Looking forward to your next videos@@RobEllisCinematographer
I have been looking sor a specific tutorial on how to do a accent light! Please look up Malcolm in the middle Roller skate Spot light. I know you have to use a DMX board to get the effect right but I would love to know how many lights they used and the setup to get a perfect spotlight with fill light in a black void room.
Great to hear, as it's the next video! I know which scene you mean - I assume a lot of the lighting would be coming from above in a studio setting (so total control over all lights) and the light on Malcom and Hal were separate lights compared to the rest of the fixtures lighting the scene. So a case of turning the rest off and keeping just those lights on. Probably helps that back then things were lit a little harder than they are now, so easier to control where all that light was going!
@@RobEllisCinematographer I thought they would have a different setup from the rest but do barn doors control that much spill? They seem so evenly lit but there was almost zero spill on anything around them.
Hi rob, I am just starting out in cinematography. I already own some camera equipment but i am lookin to buy a bicolored lighting fixture. Do you have any recomendation for something in the 400-600$ Price range? Btw the daylight course was great ❤
I would recommend something like the Forza 60B II - a super easy light to use if you're just getting started and versatile enough for a few different situations! Very happy to hear you enjoyed the daylight course - thank you so much for your support!! :)
@@RobEllisCinematographer thank you! The 60b II looks like a great option. Do you think i need something like a Softbox or frenel or is getting some cheap bounce and defusion material good enough?
hey love the video! what tripod do you use? dont wanna spend over 300 on one but I do want a good tripod that has a decent enough fluid head and can hold some weight
Unfortunately it cost me about £650, it’s the Benro BV8 - I suffered with cheaper tripods for years so I took the plunge and it has been doing very well!
