The Video Light Shows Of Seventies’ Stone And Roll

 

For all novice video producers, light causes lots of worry and seems very difficult. Lighting for video production MIGHT be difficult, however it certainly doesn’t HAVE to be.

I concentrate on making video as easy as you can while still maintaining a professional look. I can sum up all you need to understand about premiere light leak in just three round points:

1. Primary Light = Harsh

2. Diffused Light = Soft

3. What DIRECTION may be the light coming from?

I promise your lighting efforts will increase tremendously. , If you understand the meaning of these three principles

We’ll begin with the initial two factors. They are associated.

Light is available in two forms, direct and diffused. Strong light is harsh and terrifying looking while diffused light is soft and flattering for the face.

If you remember elementary school physics, light rays always travel in a straight-line. Imagine your self outside at night with a torch. You can view the complete beam of light and it is straight. If you wish to illuminate a subject, you’ve to shine the torch on it. This is an example of direct light It moves in one way, right as an arrow.

Diffused light is if the light beams hit something reflective and then bounce off it. They jump in straight lines but often there are a great number of straight lines bouncing around that the effect would be to have light rays bouncing around every-which-way.

To be able to diffuse the light The light beams hit the white paint and bounce. a typical, incandescent light bulb is painted white on the inside

Yet another prime example of direct and diffused light is to think of being outside on a cloudy day or perhaps a sunny day. You’ve strong light The shadows have specific edges. And There are plenty of deep shadows on the bright, sunny day

The clouds soften the light there will not be any shadows whatsoever, If it’s cloudy enough, on the cloudy day. Since the light is bouncing around every-which-way, any possible darkness is filled-in by the bouncing light and eliminated.

Broadly speaking, you need DIFFUSED light in video production. Diffused light will appear best. , Unless you are doing a monster movie

Most of the gadgets which come in a professional light kit exist for the sole function of diffusing the light If you do not have a professional light kit, a diffused effect can be achieved by you by pointing your light toward the ceiling or wall and bouncing it. Don’t place it at the on-camera talent. They’ll thank you for it. Not just will it make them look better, but it’ll keep them from squinting and being dreadfully uncomfortable.

Now let’s speak about the next bullet point. What DIRECTION is the light coming from?

Is the source of light facing your on-camera person? In it? Aside? Behind? What direction the light is originating from can have an enormous effect on how it looks.

Generally speaking, you want the light source to stay front of, or to the side, of your on-camera talent. You do NOT want it behind them unless you’re attempting to hide their identity. Light originating from behind will create an outline. Video manufacturers frequently hold that technique for sleaze bags who would like to stay anonymous.

More details is found on this article.

It is a mistake I see usually. People will stay right facing the window convinced that the free video light leaks coming from the window will add enough light to create their chance look good. I-t probably would, IN the event the on-camera person stands therefore the light falls on their face and not on their back.

There you have it, the fundamentals of lighting for video production.

Advertisements

Steps to make Natural Display Movies With Chroma Critical Effect – Backdrop, Use Light and Editing Software

 

For all novice video producers, lighting causes a lot of worry and seems very complicated. Lighting for video production MAY be complex, however it certainly doesn’t MUST be.

I concentrate on making video as easy as you can while still maintaining a professional look. I will sum up all you need to know about light leaks in only three round points:

1. Direct Light = Harsh

2. Diffused Light = Soft

3. What DIRECTION could be the light coming from?

I promise your lighting efforts will increase tremendously. , If you understand the meaning of these three ideas

We’ll begin with the first two factors. They’re related.

Light is available in two types, direct and diffused. Strong light is harsh and scary searching while diffused light is soft and flattering to the face.

Light rays always travel in a straight line, In the event that you remember elementary school science. Imagine your-self outside at night with a torch. You can see the whole beam of light and it’s right. If you want to illuminate a subject, you’ve to shine the torch directly on it. This is a case of direct light I-t moves in one direction, straight as an arrow.

Diffused light is once the light beams hit something reflective and then bounce off it. They bounce in straight lines but often you will find so many straight lines bouncing around the effect would be to have light rays bouncing around every-which-way.

To be able to diffuse the light The light beams hit the white paint and bounce. a standard, incandescent light bulb is painted white on the inside

Still another excellent example of direct and diffused light is to think about being outside on a cloudy day or perhaps a warm day. You’ve direct light There are plenty of deep shadows and the shadows have distinct edges. on a bright, sunny day

On the cloudy day, the-clouds soften the light there won’t be any shadows at all, If it’s cloudy enough. Because the light is bouncing around every-which-way, any potential shadow is filled in by the light and eliminated.

Most of the time, you would like DIFFUSED light in video production. Diffused light can look best. , unless you are doing a monster movie

Most of the devices which come in a professional light kit exist for the main function of diffusing the light If you don’t have a professional lighting kit, you can reached a diffused effect by pointing your light toward the ceiling or wall and bouncing it. Do not point it at the on-camera talent. They’ll thank you for this. Not merely will it make them look better, but it will keep them from squinting and being dreadfully uncomfortable.

Now let’s discuss the third bullet point. What DIRECTION could be the light coming from?

Is the supply of light facing your on-camera person? Behind them? Sideways? Behind? What course the light is coming from could have a massive effect on how it looks.

In most cases, you need the light source to stay front of, or even to the medial side, of your on-camera talent. You don’t want it behind them until you’re attempting to hide their identity. Light coming from behind will generate an outline. Video companies often hold that technique for sleazebags who would like to remain anonymous.

More information can be found on this website.

It is a mistake I see usually. People will stand right facing the window convinced that the free light leaks effects coming from the window will add enough light to produce their chance look good. I-t would, WHEN the person stands so the light falls on their face and not on their back.

There-you have it, the basics of lighting for video production.

Video Production Lighting Basics

 

Ever wondered how your local weatherman magically appears facing a road, simultaneously pushing high-pressure methods across the tri-county area and corny jokes across the studio at the rest of-the Channel 5 Wake-Up Crew?

The one-liners certainly are not from magic–more like candy wrappers and popsicle sticks–and neither is the man-in-front-of-map technology: it is green assessment (a.k.a. chroma keying), the video effect that enables Tom in Topeka to appear o-n the beach in Tahiti, sans plane ticket and sun block.

Whether you are making a green screen video for your own business or for your own amusement–or for telling Laffy Taffy jokes in-front of the Great Lakes Region–you’ll need to properly execute the three main aspects to the process, each of which will be essential to making the dream of chroma key appear true. Well, real in a fake-looking, news anchor’s smile sort of way.

Backdrop/Background

The Screen ‘You are telling me I’ve got to have a green screen for my green screen video? Get out of here.’ Yes, obvious, but not that simple. Beyond just natural, you need your backdrop to be three things: wrinkle-resistant, non-reflective and uniformly colored, that make creating the effect in editing much easier. Many accomplish this by not really employing a ‘screen,’ alternatively choosing a colored piece of plywood (a cloth positively resistant to wrinkles). There’s particular natural display paint, albeit significantly expensive, sold for this type of task.

Of-course, the easiest way to acquire a great green screen is purchasing a professional-quality one, usually made from muslin material, from the many online retailers who sell them in every method of dimensions (just do a Google look for ‘green screen history ‘). And dimension is critical: you must make certain you’ve got enough green to include all your foreground action. But, eschewing the way, I ordered my make-shift back ground at Sears–specifically, in the section designated Softer Side–in the shape of the queen-sized flannel bed sheet, notably flat, perhaps not fitted.

Holding I-t To hang the screen, you can combine two of the aforementioned background methods, attaching the fabric to a board, so as to help make the sheet as clean and flat as possible–remember, that’s important. I attempt task simply by taping my bed sheet to-the wall using masking tape.

Lighting

Evenness Lighting may be the most critical factor to the process, the one that, if done incorrectly, will sabotage your efforts completely, rendering it impossible to key out the given color range in post-production. And that’s just it: you’ll need as narrow a range as possible of green, so that the application can separate and remove it, while keeping in tact the entirety of your foreground subject. The narrow range is done by evenly premiere light leak the process that’s much easier to type about than carry to fruition, made tedious by these evil creatures called Shadows.

See, when you light your subject within the foreground–and you must, by the way–it’s going to deliver a shadow toward the background, which is going to destroy the evenness (yes, that is a word). It is possible to reduce the darkness of the shadow by, hear this, putting space between the subject and the backdrop, a minimum of a couple of feet, many or more ultimately. However the better basis for creating this place is to allow room to independently light your backdrop.

Setup For my movies, I make use of a basic setup of three lights, every one of which I bought at Home Depot. Toward the subject, I experience a 500-watt Workforce work light, offering two independently movable bulbs along with its extensible framework. To light the setting, I place clamp lights, keeping 200-watt bulbs, o-n either side of sheet. Getting the lighting right usually takes a little while, and you’ll definitely need a subject to test on, so, if you’re planning shooting on a tight routine, ensure you allocate the time beforehand and recruit a stand-in to help.

Editing

Software Any of the upper-level editing software systems–namely from the alleged A-team (Avid, Adobe and Apple), as well as from key players like Pinnacle and Sony–will include chroma typing as an element. I use Sony’s Vegas Pro 8.0a; I learned the particulars of making the keying effect from You-tube training videos. When you yourself have done your free light leaks effects properly, summoning the effect is much easier and frustrating.

More information is available here.

Background Image The background does not need to be a still image; it may be another video. The idea is that, before shooting, you must have in mind what you are putting behind your subject in post, as it can influence on-set choices, including wardrobe. For example, for a video I made recently, because I knew the history will be a darker red, I encouraged my video’s subject, a small business owner, to wear a white shirt, in order to develop the contrast necessary to make him stand out.

A significant note, also in regards to wardrobe: make certain your subject is not wearing anything with green in it, because which is keyed out along with the screen. Therefore, if you are subject includes a green circle o-n the chest of his fashionably small designer shirt, you’re likely to literally tear his heart out in the editing process, leaving only a hole through which your back ground image is likely to be apparent. I had suggest you avoid such a scenario–unless, that’s, you want your video to come across as having no heart.