How to Adjust Lighting For Wide and Tight Shots 

I agree! Great job on this one you two.

The look is fantastic, masterpiece 👏

and I just want to thank you for supporting!

Thank you so much!! Im really glad I did

No way!! Thank you

If you actually motivated light like it was top light, it would look very flat and provide no dimension, so that's typically why that directional motivation is sacrificed. The untrained eye wouldn't tell the difference.

Sara is always the real star!

Thank you so much!

Yeah!🙏👏

Glad it helped!!

Thank you so much

Thank you!

No you are right, sometimes I bent continuity just to improve a specific shot. Only slightly thoigh

You’re welcome!

3350 WB! Sorry!

The camera White Balance setting makes that specific Kelvin number pure white, so setting 2700K in camera while using 2700K lights would make the light look pure white. Using a higher (cooler) WB setting in camera, like 3350K (which Brady used in this video), would make 2700K look slightly warm. If using 5600K (daylight) lights, you could achieve the same warm look by setting your camera WB to 6250K. In both of these examples, the lighting used is 650K warmer than the camera's WB setting, so the result will be slightly warm. If he were to have used 2700K lights, but instead set the camera's WB to 2050K, the image would look slightly blue and cold because the lights were a higher Kelvin than the camera's WB setting. These things are done intentionally by cinematographers based on the look and feel you intend for the image and mood.

@@TheSpecterRanger how do you land on 650K when deciding, like is there a technique to be able to come to that figure is it more a creative choice by eye? I guess I'd like to know, in which situations, would I know when to use 650K vs for example, 700, 800, 900 warmer etc, if that makes sense. Is it a case of adjusting in camera until it seems right, or is there a rule of thumb? Great explanation by the way. This all clicked with me recently about setting in warmer/cooler white balance in camera to achieve warmer/cooler lights so reading your explanation, I knew what you were going to say so it was a good moment that I knew I understood it. :)

@@tom_quinlan I'm glad you appreciate it. I think the exact numbers are less important than what feels right by eye (as long as you're viewing a somewhat accurate/calibrated monitor). I often see tungsten and daylight color temperatures used in the same scene, with a WB of around 3500K or 4500K to accentuate the warm and cool contrast between the different light sources. For a less dramatic effect, it may make more visual sense to white balance to the cooler temperature, so that only the warm tungsten light is off-white. Or you may even key light with 4500K, and white balance to that, while having cooler and warmer whites in the scene. Different color temperatures can be used to separate the subject from the background and create more "cinematic" depth because visual separation between layers is a key to making a shot look 3D and cinematic. For example: a 4500K key light on a subject, with a 5600K+ "moonlight" rim light, and a tungsten practical lighting up a wall in the background. This would really separate the subject from the background not simply with differing luminance/exposure levels, but additionally with different color hues. This is what color temperature can do to help make a shot look good. The visual temperature of lights on screen can also help inform the viewer about the setting of the scene, the orientation and intention of the subject, and the mood in a way that monochromatic lighting can't. Take liberty with it, but make sure the colors are motivated and make sense in the space for it to look good, otherwise it could be distracting or confusing. If you want to add different Kelvin light your subject, feel free to create sources in your scene that will allow you to create the lighting you want. In some scenes, sources can be assumed off-screen, but you always want to make sure that the light sources make sense to the viewers without thinking about it. So if you want to add a specific quality of light that doesn't initially make sense, alter the scene so that it does make sense. Move a lamp into frame to motivate a soft warm background, or go near a window at night to motivate harsh cold backlight, or in the day to motivate big soft key light, or show a doorway with light spilling through for directional and contrasty side light, or create a fireplace for a warm rimlight, etc.

@@mfjae If you could do unlimited color adjusting in post-production, setting your white balance wouldn't really matter much. This is somewhat the case for some high-end cameras, but the reality is that your camera is limited in its ability to capture a range of light and color. The closer you can get your camera settings to capturing the image how you want it to look in the end, the better your image quality will be. Think of it similarly to your ISO. If your ISO is too high, and you blow-out your brightly lit scene, in coloring, you can lower the exposure but much information will be gone and the image will look terrible. Or if your ISO is too low, the image will trend dark, and in coloring, you can brighten it up, but darker areas of the shot will have lost information and potentially be missing completely. Color does essentially the same thing, it is just less noticed by amateurs. Try setting your WB to the highest (bluest) it can go, and in color grading, change it to be very warm. You will be reaching the edges of your color information, and the quality of the colors in your image will diminish; sometimes to an unusable level. The hue saturation is also tied to the luminance brightness, so losing color information can effect your luminance (black to white) information as well. Color correcting is not necessarily exactly what it sounds like. Color correction is done to match different shots to each other so that an entire scene has a cohesive look, and so that the color and exposure between the different shots are accurate with each other, not necessarily accurate with real life. Once all shots are corrected to have proper exposure and look the same, that is when grading can be done more easily. If you are shooting a scene that is intended to have a warm fire light, you should set your white balance higher than the Kelvin of the fire light so that the fire appears warm in your camera just as you want it to appear warm in the final edit. You don't want to "white balance" your camera to the fire light, so that it appears pure white in camera, and then color grade it to look warm--in this case you will be unnecessarily pushing the color information in your image, and losing color detail in other parts of the shot that were on the blue end when captured. Also, if you shot the fire to look warm, but then "color correct" the fire to be white, only then to color grade the fire to look warm again; in many editing programs this would lose color information as well. If you shoot a scene with matching exposure, color temperature lights, and WB setting in every shot, you wouldn't even really have to color correct at all before color grading. In that case, you'd only color "correct" if your initial capture was inaccurate. Hope that makes sense and helps.