How to, Light for Windows Interview | Aputure 1200D - Pro Vlog 62

[@NellerProductions]

"Client wants two mics, one pointing down, one pointing up" e.g. "The client has no idea what they're talking about"

[@305kubrick]

Exactly!

[@FilmedByHendrix]

Clients vision and person vision was one of the hardest thing to learn how to manage moving into freelance. You handled it great in this!

[@PDMokry]

When it comes to client work that is not in the world of storytelling, I lean on the decisions of the client. That's the secret to getting paid and a callback.

[@PDMokry]

Thanks for the continued support!

[@GatesRick]

Thanks for putting together the false color side-by-side. Very helpful!

[@PDMokry]

Glad this visual helps! Thanks for watching!

[@WillieShawFilms]

Nice work pro. It's a pain competing with these windows, but getting to see how you approached it is super helpful!

[@PDMokry]

Thank you! A lot of factors at play here. Lighting the talent, lighting the space, avoiding glare and getting the output high enough. Then framing to avoid the vertical frames of the windows.

[@videopromike]

If we’re exposing for the window, then we tend to use a Nanlite 720D with a Godox 600D on a doubleheader. If we need more output, then we’ll end up going with an additional 300W light on tripleheader.

[@PDMokry]

Great idea! I like using double headers when possible. Great to see a deep lineup of great lights in your kit! Thanks for watching!

[@orcapodmedia]

Great work, indeed. I do agree, I kinda feel like the big soft key should be on the opposite side, coming in from the window. But hey, ya know?

[@JulioBHJ]

I believe the last time I had windows in the background we actually brought out the Arri M18, so yeah, around 1800 watts of output to combat the outside levels. This much firepower can be challenging for the subject though, so next time I think we'll try it with less firepower and more control over the outside.

[@PDMokry]

It is very bright with that much light. But gelling all the windows would be a lot of work too. It is a tricky spot to be in.

[@joenicklo]

Another great video!

[@PDMokry]

Thanks for stopping by to support the channel!

[@jlin3924]

Another great one from the Great One.

[@PDMokry]

Thanks so much for the positivity!

[@squierplayer]

Always excited when a client suggests standing in front of windows for a video shoot 🫠 I don’t have enough lights to do it and don’t have ND film to put on the glass.

[@PDMokry]

That is always the. . . Uh oh moment!

[@squierplayer]

@@PDMokrydid your client ever mention that it was uncomfortable with how much light was on them?

[@edhughes8893]

Love these videos. Thanks for your hard work.

[@PDMokry]

Thank you for keeping it positive! Hope you stick around for more!

[@davidp158]

It's tough when the client wants a look that doesn't fit your inclination....but, doing the best job you can to make them happy is job #1. With the instruments you had available, I'm sure you could have come up with a really great look. I hope the windows didn't give you reflection challenges.

[@PDMokry]

Always have to put the clients request first and if it can be done, do it. Lucky we were at the right angle to avoid reflections. Thanks for stopping by!

[@WaltervanDusen]

Windows as backgrounds 😳 but successfully lite by you 🥳🔥

[@PDMokry]

Thank you Walter Wagon!

[@rickbiessman6084]

The client *requesting* such a flat look... that’s rough, man. How do you deal with that internally? Are you cool with that or does it annoy you when you know you could make something much nicer?

[@horandestudios]

Excellent man!.. Id love to see yoy explaining a little bit abut false color, what is it how to use it properly!

[@PDMokry]

I will see if I can tie it into a future video! Thanks for the idea!

[@erikpreston2393]

Always learn something from your videos, kind Sir. If one was traveling lean, would you see a 1200 with a Lightdome 150 as a viable option instead of the 8x8? Also, how did you manage color temps in camera given you were using daylight sources? Was everything set to 5600?

[@memostothefuture]

What a lot of firepower. Most recently I used a Aputure 300d in a Lightdome and two Nanlite 60II as hair and fill to achieve something like this. While doable it was of course less than ideal compared to what you got to work with. Wonder about transportation? All I had available on that day was one sedan. I suppose you used a van?

[@marcoaslan]

The reason you used the fresnel was to give it an additional punch?

[@PDMokry]

Control and it helps to make it softer.

[@marcoaslan]

Great setup, thanks for sharing

[@PDMokry]

Thank you for the support!

[@evanthecameraman]

300 watt light + tint diffusion (plastic or perf. cloth) on the windows themselves is faster for me versus big lights. Plus clients appreciate not being blinded.

[@PDMokry]

That would be a lot of window tint on my project! It was faster bringing in the lighting. But I like bringing in a smaller light and ND for smaller windows!

[@evanthecameraman]

@@PDMokry Yes on your shoot with that comp you did the right thing with powerful lighting.

[@PDMokry]

@@evanthecameraman I did have the 150 Dome ready on standby if I needed to get in close.

[@AnthonyOrsino]

Was the sky left “in the red” for the recording ?

[@PDMokry]

It landed in the orange during recording.

[@richarddzisiewski7197]

Great piece as always…the client gets want the client wants, however I’m sure you have had situations where its just not possible and a compromise has had to be found and that’s where good communication kicks in. Not had to match I/vs across countries tho

[@HakimZziwaTips]

Do you guys charge pre-lighting day too?

[@PDMokry]

100% it is a work day that I can't be working another gig or editing at home.

[@KenOja]

How is the heat from 1200d with fresnel, does the fresnel get hot on full blast?

[@PDMokry]

It can get pretty hot and does not work as well as the reflectors for output.

[@jessiemoore4897]

Piotr, the T-Bar you're using to hang your diffusion, is that a piece of kit you bought, or something you made?

[@PDMokry]

Here is more detail in another video. It is from modern studio: kzbin.info/www/bejne/d5-xpJ-CbKp9f9Usi=DKoitM0FhxftFzfu

[@jessiemoore4897]

@@PDMokry Thanks! It looks like you're using a double header with 1" square tube. I assume that's part of an 8' butterfly frame.

[@PDMokry]

@@jessiemoore4897 Modern Studio 1" overhead kit. Using the ears from it and then a knuckle from a c stand

[@jessiemoore4897]

@@PDMokry I got it. Thanks, man. That's a really great setup. I love how you're simplifying your setups to be more mobile.

[@PDMokry]

@@jessiemoore4897 I'm solo more often than not. So I like to keep it tight!

[@JoATTech]

My go to with window is just one 600D :D, I do not have any stronger lights :D. But usually with softbox as closest as possible, so it's ok.

[@PDMokry]

Did you return your GVM? You could use both to get you more output. I had the 150 dome on standby, so great point on the softbox! Thank you for the support!

[@JoATTech]

@@PDMokry Yep. Sent back the GVM yesterday. It was kinda ify. Watched great gaffer "vlog or podcast" yesterday and they used 1200D + 600D, both in one Light Dome 150 :D. Never thought before about putting 2 lights in one softbox :o BTW, how many stops over you allow windows in the shot to be? I got hard time judging if 5 stops over is too much (Sony A7IV).

[@PDMokry]

@@JoATTech GVM reached out to me about trying units, but things just seem off with their lighting at this time. The double light hack is a great trick! If I can land mostly in the yellow with false color, I am pretty happy. But it is all a choice, some like less/more.

[@JoATTech]

@@PDMokry Their new 1200 lights looks interesting. I would love to try them :D (1200C and 1200B). Although they do not disclose photometrics for them 😅🤣🤣😂😂

[@tomcattermole1844]

How am I supposed to understand the lighting breakdown if you didn't scribble a bunch of useless notes and arrows on the thumbnail?

[@PDMokry]

Shhhhh, trying to keep it a secret!

[@antoinetaouil]

nice video bro. thanks for the information

[@PDMokry]

Thank you for watching and being a sub!

[@TheRonellCross]

Not trying to be a hater, but that seems like a bit much for a Zoom call. That must've been one heck of a VIP. Either way, I loved the walkthrough. Very insightful, thanks for sharing.

[@PDMokry]

That is the reality of corporate gigs! Thanks for stopping by!

[@tomcattermole1844]

I think he meant that it was meant to be a conversation between two people at two different locations, not a zoom call per se. More like a back and forth interview done virtually.

[@rickskellig4652]

Yeah, and it didn't look very good for all that effort, that's what happens when the client demands their dumb ideas are done instead of listening to the professionals they hired lol

[@Pachiscruz2]

So difficult to use the windows, wow

[@PDMokry]

I was very lucky to get notice about the windows. I was able to come prepared! Thanks for watching!

[@Dfproductions865foryou]

I say this knowing that "the client asked for it," but this setup is both a mess and super inefficient. 1800 watts behind camera and sound and stands on the opposite side of the room makes no sense whatsoever. You could have easily achieved a similar high key, low contrast look with the key motivated by the window by using a 4x4 or 6x6 magic cloth (maybe double broken), or similarly sized large lightdome. Get the key closer to subject ON THE WINDOW SIDE, so at least the scene makes sense. Keep it close to the window side camera so it's flat. Use a smaller fixture for a window side edge light, just off frame, ideally boomed in. Then fill as needed, either with a smaller fixture or a bounce. Voila, a scene the client would like, that makes sense, and also isn't apt to start a fire. You threw 2400 watts at a setup that didn't need it, I guess for funsies. You're lucky you didn't blow a breaker.

[@PDMokry]

Third camera was over the shoulder and revealed the whole right side. So we would see stands. Easy to consider other options when you don’t know the full details and hurdles.

[@Dfproductions865foryou]

@@PDMokry I saw the OTS on the FX3. Doesn't change the fact that you could've rigged to the ceiling, or boomed in the 600, or done any number of other more reasonable things. It's a high angle and you've got plenty of space above it to work. Your video is titled "How to Light for Windows Interview," and as a how to, you're advocating a inefficient, brute force approach for a situation that could have been managed much more reasonably. I'd love to have a gaffer come tell me how wrong I am, but I've watched great gaffers manage similar situations with half the fire power and provide better results.

[@flaviopresutti]

I really didn't like that flat look! I know it's the client decision! But, wacala! (why!?)

[@PDMokry]

Nor did I! Client wins every time!

[@DynastyPlaybooks]

Because if the client is PAYING you and wants a specific look you do what they say instead of trying to impress them with your lighting knowledge or style. Dugh!

[@Jandjstudio]

In the future, put the rest of your light on the window side, don't look at the technical side, look at what looks good, because you have so much light surrounding the talent, it's completely flat, there's no "look" here. If you had out all of your light on the window side, fed off the natural light, you would have gotten a very nice creative look. This was way overkill for flatness.

[@PDMokry]

Can’t cut off the hand that feeds you. They wanted this and they got it.