Dark Cinematography: The Beauty of the Upstage Key Light

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7 сен 2024

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Комментарии : 84

@TravisSzewczyk 3 года назад

Patrick, thank you for sharing your insights and thoughts on these shoots. I've learned more here on your channel about framing/composition and lighting than in film school.

@romekwatzlawik9772 3 года назад

Who would possibly give thumbs down to his content. Seriously... there is no one better on youtube that gives out his very high level knowledge for free.

@michaelkillebrew3114 3 года назад

Agreed

@BoyBlessing 3 года назад

Depressed & negative people that hate their lives and spread that energy in the form of thumbs down, negative comments, etc.

@holdmedear 3 года назад

THE FRAMEWORK BREAKDOWN: 1. Upstage key light 2. Shoot into the shadow side of the subject 3. Shoot into the "L" of the room 4. Light through the window you can't see 5. Salt & Pepper the frame (= alternate light & dark areas) 6. Keep the background interesting 7. Layer the shot (3-4 different layers of depth) 8. Use negative fill to influence the wrap of the light to get the contrast ratios you want. 10. Keep Contrast Ratios constant throughout a scene to endure consistency. 11. Inverse-square Law: softer light/farther light source wraps more around the subject (and the opposite is also true). Take into account when lighting multiple people. 12. Credit-Card Shot: over the shoulder Pack Shot of item. (using the rules of the Framework). 13. IRE levels very low = DOWN / LOW ...... IRE levels very High = HOT 14. Increase ambient light in the room to help you achieve the correct lighting ratios. 15. One large natural light source + practicals which support the ambience = Naturalistic shots that don´t look "lit" Cinematographer from the ad: Kasper Wind Follow me for more great comments haha

@richardprensner2127 3 года назад

thank you!!!

@alexbadeau5027 3 года назад

Thanks ! This helped a lot

@darthvini 3 года назад

Good Break Down Johan. Very useful information. I think you are confused on Item 11, though. Inverse Square Law means that every time you double the distance of the light source from your subject you lose 2 Stops (or divide the light "strength" by 4). The advantage is that your T-Stop remain constant in a larger area, therefore useful when lighting a group of people for example. Moving your light further from the subject does not alter the quality of light (soft or hard), it alters the area your beam covers. Hope I helped with my broken english, its quite a confusing point.

@roykim5559 3 года назад

good tip on lighting the wide shot and continuing to use that setup throughout the whole scene

@michaelleary8739 3 года назад

Best cinematography channel on the web, a wealth of incredible knowledge on here for free thanks for doin what you do brotha, you're an invaluable resource.

@aaronmassey 3 года назад

DARK!! Love it, great topic! + 'Old Man River' 😄

@parasympatholytic 3 года назад

Wonderful content. What I like is the way Patrick gives us multiple possibilities of how it could be done and dives into the detail of why one would be better/worse than the other and the challenges you will face. This is more than a step or two above the average you tube channel.

@Traffik74 3 года назад

Thank you for sharing much appreciated from Africa (Zambia)

@RafaelLudwig 3 года назад

I'm stealing the RGB cycle for my next video! Thanks! Great video!

@nauticfilms 3 года назад

I agree the video is great, but I kept thinking the bg light should be frozen at that point just before the dark blue goes purple.

@FutbolDrones 3 года назад

Great Video Patrick ! Also love your fearless reference to 85yr old song "ol' man river" ...4:48 ! Im not as brave and would opt for referencing "old man withers"... the guy who runs the haunted amusement park in Scooby Doo...Love your content. Thank you!

@melankolikfilms 3 года назад

Something something framework something something downstage key something something L of the room. 😊 LOVE IT. Totally my style of cinematography. Keep 'em coming! Fantastic resource.

@zayninseoul 3 года назад

Thanks for constantly sharing your knowledge and pushing out content...really appreciate it!!!!.

@Praxiszooms 3 года назад

wow so knowing - so effortless. you are really open up the curtains to a new world of cinematography! Thank you so much!

@jaymendes 3 года назад

Man, love your videos! keep 'em coming. Would you be able to share the links for the videos that you break down here?

@jamesroberts992 3 года назад

Love the videos!!! Any chance you could do some breakdowns of lens choices and camera movement???

@nauticfilms 3 года назад

Nice comment, but polite disagree. I LOVE the utter focus on advanced lighting on this channel. Many other resources out there for your requested topics.

@timovepsalainen4927 3 года назад

❤️ before watching. Every time worth it.

@holdmedear 3 года назад

Mercedes Benz - In the Long Run!! Great AD!

@Lisardust 3 года назад

Beautiful! Can you share the link to the commercial? Thanks!

@CarlosPerezFilms 3 года назад

Same!

@SamZucker 3 года назад

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2z84UAUmVqg.html

@Lisardust 3 года назад

@@SamZucker Thank you, Sam!

@user-yx4wx4oq4g Год назад

I would love to know how this cine was using his ISO for that office scene.... maybe high ISO to protect the highlights on the windows?

@LeoArmenta Год назад

Breakdown of ur set!!! ✌🏼😜

@jtnfilm 3 года назад

Another beaut shot by Kasper Wind!

@GlenReed 3 года назад

Great stuff as always man! Keep up the good work. I’m learning a ton from you 😎

@MylonasFilms 3 года назад

that was great thanks. Just bought your course too

@LKVisualsCalgary 3 года назад

Great breakdown. When you talk about "shaping it in the grade", can you expand on that?

3 года назад

I think what he means is that you can make the edges of the face darker in post to "shape it". Like dodge and burn in photography.

@LKVisualsCalgary 3 года назад

@ oh okay thanks, I had feeling it was something along those lines

@asdfghjuyteqwe 3 года назад

Dude, please look at the new IWC commercial shot by paul meyers - break it down, it is freaking amazing. Paul is a master of the framework.

@matthewroper3432 3 года назад

He did: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-PFnDDY6wU2A.html

@asdfghjuyteqwe 3 года назад

True dat - but they just released another iwc spot, more of a period piece, it is amazing! Go check it out, the same director aswell

@matthewroper3432 3 года назад

Have you got a link?

@levit8 3 года назад

Great work, love these videos, can you please put a link to the video in the description 2 please.

@lacebolleta14 3 года назад

Hey patrick! I love these videos, thanks for taking the effort on making them, I am learning so much, and I love your subtle humor. There's a word that you use a lot and I don't know exactly what you mean by that. When you say 'this is framework', what do you exactly mean? My first language is not english so that might have something to do with me not knowing this... So could you explain, please? Thank you and keep it up!

@ryanjosephdp 3 года назад

I think he just means "textbook" or technique. Like this is top tier craft!

@dopbrass5914 3 года назад

Great breakdown as usual. Very informative, and your no BS style (but with a few jokes peppered along the way) is always appreciated. You said an M18 would be too small a source to key the singles in the office. What would provide the sufficient punch with the right amount of fall-off , an m40 ? Thx

@MARVScrew 3 года назад

It depends on the amount of the already existing ambience level. It looks somewhat bright in the room cause of three big windows, so i'm guessing you would need at least a M90, but better if you just have an 18k. In general, especially if you have the space, it's better to just go for the biggest lamp you can get and place it further away - it always looks better than a smaller lamp, thats closer. If you increase the distance that the source is away from the subject, the light becomes more even/the falloff is stretched over a bigger distance. It maybe sounds a bit complex in the start, but once you wrap your head around it, it's easy. Also google "inverse square law lighting".

@Traffik74 3 года назад

Your content is amazing

@ruankotze4186 3 года назад

Thanks for sharing! 😎🔥🤘🏼

@dylangintherofficial 3 года назад

I dont understand half of the camera equipment slang u say But the vid was helpful

@alexalexis7899 3 года назад

Patrick, I’m having trouble understanding what you mean by “separating values and levels”, when you mention it between 5:20 and 6:00. Any chance you - or anyone reading this - could explain it further, please? Also, there’s no link for the commercial in the description... Thank you so much!

@LochnessDigital 3 года назад

When he says "separating values" here, he's just talking about scene contrast. Interior design can play a HUGE roll in the amount of work you have to do as a cinematographer. In these sorts of old buildings, they often have dark interior design with lots of dark woods, which does a lot of the work for you. You can pump in light for your subjects and your backgrounds will be naturally darker because the dark tones suck up a lot of that light. You don't have to fly in as much negative fill in order to get a dynamic, interesting image. If the walls were all white, they would bounce the light coming from the windows all around the room, filling in your shadows and leaving you with a flatter, less interesting image until you spent a lot of work adding negative fill and flagging the light off of areas you don't want it to be. So it's important to remember that while your job might be to deal with lighting on the day, the work often starts before you even record a single frame. Location scouts are INVALUABLE and you also want to be really nice to your art director.

@nefsin4160 3 года назад

Can you make a review of last Kaytranada's music video named "Look Easy" please ? The Cinematography is incredible !

@WetheDepressed 3 года назад

What's a deep focus shot? One with a deep depth of field?

@Powersfilms 3 года назад

Question: Why does Patrick say, "You only have 7 minutes to light"? Is this referencing how fast the sun moves or I am guessing that he is just talking about those times where you don't have all day to setup lights and for example, he just picked "7 minutes"?

@Efficiencyts 3 года назад

I'm not 100% sure on this so hopefully someone else responds as well. However, I believe that the 7 minutes is not about setting up lights but about balancing them. Listen to what he says at 11:44.

@romekwatzlawik9772 3 года назад

It just means you don't have the time to fiddle around forever. It cost a lot of money to go overtime. Schedules are tight. Its a money business in the end as well.

@sparkwilkie2577 3 года назад

Link to the commercial - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2z84UAUmVqg.html

@xuelongmu7265 3 года назад

How do you think that they lit that initial wide of the room? Did they use lights outside the windows or just use the natural light?

@romekwatzlawik9772 3 года назад

On a scale like that they control everything.

@faderhead 3 года назад

He is explaining this for minutes in the video ...

@portfolio641 3 года назад

Gear list yall like to use , for diffusion?

@bogdanbarbu7156 3 года назад

7:22 about the lighting technique, wouldn't it be an option to set the lamps low to the grond and shoot the into big pollys or 6/6 bounce frames that are situated somewhere in the upper part of the window?

@LochnessDigital 3 года назад

I've used that technique before. Lekos work best so you can use the cutters and guarantee the light only hits those bounces and nothing else. If you add any haze to the room though, you'll light up those beams so light placement can be tricky to avoid seeing the beams. You'll also have to account for blocking to make sure an actor isn't going to block the beam going to the bounce. These days, litemats and quasars/astrotubes are so light easy to rig in that scenario I pretty much abandoned the leko bounce trick for windows. But yes, sometimes you can't physically put a light where you need it and it's easier to bounce it in from a leko. Definitely a good trick to have in your arsenal!

@bogdanbarbu7156 3 года назад

might have not made myself clear enough or didn't fully understand your reply. I was thinking o using, i dunnoe, m18/m40 bounced into the frames, only that the whole setup is built outside the room/building, thus using the walls as cutters.Lift the bounce frames high enough so you can't see them through the window, and preserve the details in the windo frame. ofc the light shafts from an LTC used inside the room would be visible.

@LochnessDigital 3 года назад

@@bogdanbarbu7156 Oh, yeah. I was thinking you were talking about sources inside the room, not outside. But yes that's also a possible option. It can be tricky though because you can't fly the bounces too high above the windows because the top of the window also acts as a cutter, so you end up really only lighting the floor in front of the windows if you go too high. And if you go too low you start to see the bounce in the frame, so the balance here can be tricky. If you're shooting widescreen and don't have very low angles planned, you'll have an easier time avoiding that issue. Some locations with really tall windows can be really nice for this technique.

@LucasPelizaro 3 года назад

Hey, new follower here, What is the frame work?

@cinema-q 3 года назад

Still trying to find definitive documentation on this myself! He's referring to some staple commercial lighting techniques. But from seeing his other videos, I think some of the specifics are 1) shooting in the 'L' of the room for depth, 2) shoot shadow side/far side, 3) back lighting is also great for creating depth, and there may be a couple others I'm forgetting but yeah..

@philiphovensjo5011 3 года назад

It's mythical.

@faderhead 3 года назад

I only watched maybe 20 videos and I am not a cinematographer, but from what I understood, "The Framework" is a name he came up with for a combination of certain lighting/shooting techniques that he finds aesthetically pleasing. Just from the top of my mind they are: 1. upstage key light 2. shoot into the shadow-side of the subject 3. shoot into the L-of the room 4. light through the window you can't see 5. salt & pepper the frame (= alternate light & dark areas) 6. keep the background interesting 7. layer the shot (3-4 different layers of depth) 8. use negative fill to influence the wrap of the light to get the contrast ratios you want. I probably forgot something.

@SamZucker 3 года назад

Whyyyyy do you never link to the commercial you're discussing? Or even mention the name?

@SamZucker 3 года назад

Here you go haha ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2z84UAUmVqg.html

@cinema-q 3 года назад

He never linked the cinematographer! 😧😆🤦🏾‍♀️

@jtnfilm 3 года назад

Kasper Wind

@sanilalkuttimon1755 3 года назад

❤️❤️❤️

@fawwazallie7736 3 года назад

13:49 I would probably use a menace arm on a lightmat. Or might be a loser and skip bounce a leeko from a silver surfer with muslin.

@NikHem343 3 года назад

Can someone fill me in on what 'the framework' is?

@WillJauregui 3 года назад

what does "L of the room" mean?

@nauticfilms 3 года назад

Watch some more of his stuff, where it is more obvious. Basically, "L of the room" means "corner". Adding a third dimension, avoiding flat symmetry. Like, the exact opposite of what Wes Anderson would do. ;-) Look at how the WS with the three windows is not flat, but angled a tiny bit.

@WillJauregui 3 года назад

@@nauticfilms ahh I see thanks