Really Cheap Video Lighting: Exposure for Dark Backgrounds скачать в хорошем качестве

Really Cheap Video Lighting: Exposure for Dark Backgrounds

Lots of you have done a great job trying out the really cheap video lighting techniques we covered in our first video on lighting--that black backdrop with high contrast lighting on the subject/actor. It takes some practice and I realized that there are several common questions. For example, I get quite a few people that end up with grey background and light that is too bright and super harsh on the actor. In the last episode we talked about one way to fix that issue by placing your lights. If that still didn't help then today's episode is for you--we'll talk about setting your camera's exposure to get a pure, rich black background and nice lighting on your actor If you end up with video where the background is sort of greyish and ugly and the light on your actors is too harsh, like this, then you probably have the wrong exposure settings on your camera and we can easily fix that! The problem is that you're letting too much light into your camera and we can fix that by controlling the amount of light that makes up each frame. Almost every camera has three ways to control the amount of light you let into each frame. When we use automatic modes, the camera makes all the decisions on where to put these three settings. The problem is that most cameras aren't smart enough to know that what we're shooting here needs to be low-key and the background needs to be totally dark with no detail. Automatic modes assume you want things lighter than that, because that's usually true when you're shooting most scenes. So we have to be smarter than the camera and override this assumption. The first way to control the amount of light is shutter speed. In video, we usually don't want to mess with this one. If you're shooting 30 FPS, you want your shutter speed to be 1/60th of a second or close to that. If you're shooting 24 FPS, you want your shutter speed to be 1/50th of a second or thereabouts. There are special cases where you might want to deviate from this but for interview or VLOG setups like this these settings are good to stick with so we'll leave this one alone. The second is your camera's ISO setting. This is how quickly your camera's sensor soaks up the light that is hitting it for each frame. If you use an auto mode on your camera, it will assume that your black background should be lighter so it will set your ISO to a higher setting to soak up the light more quickly. This is probably the best way to fix your issue if you're getting a grey background and harsh, overwhelming light on your subject. Switch your camera to manual exposure mode and decrease your ISO setting. In a totally dark room aside from my video lights, I usually set mine to about 320. This may be different for your situation but around 300 is a good place to start. The third is your iris or aperture setting (depending on your camera) and they are effectively the same thing. This is a little metal hole inside your lens that can change sizes to let more or less light in. This is usually represented by a number like f/1.8 or f/5.6 or sometimes like t 2.8. The bigger you set this number, the less light you'll let in. When I have things set as described before and I have my lighting all set up, I usually set this to f/3.5 on my camera. Experiment with this setting on your camera until the background gets darker and the light on your actor looks right. If your camera doesn't give you a manual mode, it might have an exposure compensation setting. Just dial that down a few steps and that should accomplish the same thing! So quick summary: to fix a grey background or overly bright, harsh light on your actor, switch your camera to manual exposure mode, reduce your ISO setting (starting at around 300) and then change your aperture to a larger number to reduce the light until you get the right look. Shot with: Canon 60D Canon 50mm f/1.8 II ePhoto 4500W Lighting Kit Tascam DR100 mkII Rode NTG-2 Music and all content copyright 2013 Curtis Judd.