How to Light Large Spaces | Cinematography Techniques

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Today, Kevin Reyes takes us through the process of shooting a one-take, from coordinating the steadicam movement to rigging lights overhead. The challenge? Also having to light large spaces without seeing lights in the shot. For that, we'll be using some new tools like the Spotlight Mini Zoom and LS 60 Softbox in combination with Lightbridge CRLS to achieve the effect of moonlight in an abandoned estate with a character walking around with just a flashlight. How do we use production design, anamorphic lenses, spotlights, and reflectors to get the job done?
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0:00 - Intro
0:36 - Story/Concept
2:59 - Production Design
4:12 - Camera
5:42 - Steadicam
6:59 - Lighting
16:42 - Final Result
17:37 - Outro
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Summary:
Aputure's KZbin channel provides free high quality cinematography, lighting, and filmmaking educational content to help you take your film projects to the next level.

[@docbenway0]

I think this is a great approach to lighting a dark scene like this-- and bouncing lights with focusing lenses allows a lot of flexibility in placement. For a scene that's mean to be more high key, you could use some of the same tricks, but you might try to introduce some practical light sources (such as lamps or more windows) and use similar techniques to build on or extend that practical lighting (overhead tube lights and bounces are great, you can also use thin, lightweight lights like Litemats). If you're using windows for "daylight," then it's also common to use high-powered sources to pump a lot of light through them (such as an HMI or the Aputure 600D).

[@tuckerkanderson]

Love this Kevin+team! I'm personally a sucker for large soft overhead sources for lighting big spaces. Especially for lighting large studio environments (like lighting a car), or even outdoor environments (using a blimp), big soft overhead sources can look great. Awesome tips guys, great video as always!

[@bensanders2101]

This is one of the best ones you guys have done. Nice work!

[@Guus]

4MINUTEFILMSCHOOL?? Ah well… the more the better I guess

20 minute film School 🤣

[@kathleencollins1578]

Going into a large space I would be sure to use the aputure 600d with a lantern and then another 600d through a silk for a key. Then I would place mc’s in the back for back lighting. Amazing video!! I always learn so much!

[@bbrunorocha]

the crls system is soooo amazing and paired with the 60d it's game changing !! lighting from above is always amazing, love using my 7ft umbrella !!

[@aputurelighting]

Right?!

[@tylermason140]

Definitely a great look. Though I had a few suggestions for the format of the video itself. At times, it was a bit difficult to follow and to narrow down what each light was doing. This was made especially challenging when the flashlight was introduced. I would have loved to have seen it light-by-light and also without the flashlight, so that we could get a feel for all the individual components. It was only really clear to me what all was going on and how the space was oriented after the diagram came up.

[@rossstansfield7580]

Very good video with clear explanation...I just lit an indoor scene where I replaced two overhead tungsten lamps with 2 B7c's and the final lamp that was around a corner with a one foot bicolor quasar mounted on a stand with a dimmer bouncing off the ceiling. I placed two Aputure MC accent lights facing wall artwork on a table and blocked by a chair or hidden and one Aputure AL MX as another wall art illuminator...the subjects were lit with two bicolor panels...all were set to daylight to be motivated by patio door. I learned about Aputure from my son...who has a large amount of Aputure gear in Atlanta. On the next day's shoot I used the Aputure 60D with some Rosco diffusion as key light outside with two batteries with overcast sky with a panel on the fill side...my HMI's did not leave the truck...the future is here...lighter and less complicated with control and power...plus bicolor or multicolor...

[@lifeasakingstonlaak8843]

Awesome content! Can't wait to try out some of these techniques.

[@MattAitia]

I have my very first one take commercial coming up next weekend! This was super useful and will definitely be applying some things I learnt. Can't wait to share!

[@asherhuskinson6815]

Wow! So many good tidbits in here! LOVED the chalk bits in the air. I’ve always wanted to know how you get atmosphere with “specks” in the air.

[@aputurelighting]

Our production designer Day knows what's up!

I love the broken look of windows with blinds and other window shapes. I'd definitely use this idea if the room had windows, either by lighting from the outside or by mimicking the shadows of the blinds. Even when there's no window, I like the idea of some lights lighting just the eyes in some parts of the shot. Something just like what a blind would do in the right position.

[@MarkArnett]

Love the mirrors used to spread out the light, yet keep it directional. I probably would have had more hard light coming straight down here and there to walk in and out of and make some truly darker areas, but that's just me.

[@aputurelighting]

Great suggestion!

[@clbazar]

Another great vid with at least a couple of highly useful tips. Love to see these. I’ve been at this for a while but we can always learn new techniques from each other no matter how long. Since you asked, for a scene like this, I would’ve focused on pulling the overall ambient down. Not only is it ok to lose your character for just a brief moment, but it heightens suspense as well as giving the editor options should evil production forces at work cause you to not have the time to get the perfect oner. Single frame of black in the same place or two can give you the opportunity in edit to comp your single gel, should you feel the beginning of one take was crisper than he end, and the end of another was better…you get my meaning - a while ago I’m sure. So moving from a light pool to another or into even just some motivated moon light edge lighting and not being afraid to be more judicious with the ambient would likely be how I might approach this particular situation - but I pick up me info from every video of yours I’ve seen, so please keep at it. Kudos to the teams involved in putting here together!

[@JoshuaFortuna]

My first instinct would be to use flex lights (Aladdin, LiteMat, FalconEyes, etc) up in the ceilings and connect them via DMX to have full control.

[@gandharjadhav6846]

My camera records 8 bit. So with this limited amount of dynamic range and to see details in zone 2 & 3, I bounce light from the ceiling which ups the ambience a bit and also works as a fill .Also bounce off of silver reflector, bead board ,mirror or the likes.

[@marcomarco2198]

Great educational videos from you guys...Please never stop them coming:) Just wondering what kind of bulb you had in the Flashlight? Did you try to find one that was more accurate in colour temperature?

[@drmatthewhorkey]

What a complex setup and a dynamic scene. Thanks a ton for this. How would I light a big space? I would have to use natural light because I don't have the crew or budget to do all this cool ass stuff.

[@lazarkumaar9935]

Happy birthday....and thank you very much....

[@DriveByEgos]

Love your content. Sometimes I would love to see some "raw" footage and a real quick overview over the grading. This time the grading to me looks better than some work you did with the Alexa. Keep doing great work! Thank you from Berlin!

[@bribraybrai]

I would bring more spotlights, in combination with practicals and windows to extend the lights. But it's a pretty broad question, what's the scene? Same as this one but bigger?

[@GriffinConway]

C500 + the kowas fare so good together. Great job Kev!

[@S9universe]

the clt killed it

[@miguelcollante1018]

I like using the natural sources of light to justify my lanterns, normaly i use windows as a way of getting shape from the light and with bounce bring up some of the blacks that tend to get lost in camera (this thinking on most DSLR), i like simple difusion because allowme to keep the cuality of the light and throw it further on the space.

[@hansmadula484]

My preferred way of lighting large spaces (assuming location has large windows) is by setting up something like a 600D Pro outside for each available window - pointed towards its own white bounce with its reflected light going through a white curtain set piece acting as a diffusion. Inside, I like setting up as many practicals (floor lamps, etc.) as the script will allow so I have more options to motivate light on my actors.

[@aputurelighting]

That's a great way to go

[@braxtonwoullard1188]

Interesting 🤔

[@MudreFilms]

Concerning safely rigging onto drop ceiling in the future, can you show how to move the panels and look into the ceiling to see where the support wires are? This is the safest way to approach rigging things to drop ceiling, as you want to rig the clamp within 8-12 inches of where that wire support attaches. If there is not a nearby support, you can use your own wire and add another one, and then rig where you wanted to, safely.

[@mmenjic]

4:37 and how did you clean studio after you chalked it all, obviously if you are protecting your gear it is pretty bad stuff but what about studio are all people after you have those particles in the air even if they don't want them ?

[@filmingthedark]

I’m a big fan of using a lantern overhead for more high key scenes, but I’m really loving the idea of combining spotlights with bounce for more pooled looks. I wonder how different this scene would have looked if the spotlights bounced had have had some organic/random gobos in the attachment? Happy birthday :)

[@aputurelighting]

Will definitely do a video in the future playing around with those new gobos!

[@DanielTuriman]

Thank you kevin

[@justinuriahphoto]

Would you still bag the camera when using haze? I've been using haze for years and have never thought to bag my camera setup. So far so good. I can certainly understand chalk particles though.

[@harpenfluit]

Haze is used all the time on sets and DPs never bag there cameras.

[@MRmediaiFilms]

Did he says Maggart Studios? I’d love to check out the location but I can’t find it!

[@julianwuerzler]

Great video! How do you call this oversize shower cap? :D Wanna buy some for rain cover.

[@creatives_y_kthefilmmaker5425]

for me i would have done what you did but worked on tubes mostly the same set of lights but most led tubes

[@NIKONGUY1960]

Lighting, cake, twist at the end, oh, and cake! Excellent breakdown

[@aputurelighting]

Glad you enjoyed it!

[@gordieborg]

I’d love to try lighting up a big space with a ton of mirrors like in cartoons!

[@xavieryt412]

My god this was so interesting.

[@fourth1000]

Whats the name of the studio? I tried Google it but can't find it.

[@LuqSD]

i would love to use led palens with a big lantern

[@sf-mediafilm1784]

Nice

[@byronchang4330]

I will light it from outside and haze the room, and I will have some tube lights on the roof. Also, I might have someone to Hollywood a fill light or a bounce board to the subject

[@malz]

The cake is not a lie.

[@c0pyimitati0n]

Could you guys make a video on how to set exposure for night shots? I never understand how to meter a dark shot.

I'm not that pro, but my answere is make the expo on that you would see. The background sometimes over- or underexposed but the main theme must be visible. And ofcourse depends on the mood.

[@jamesburton1050]

What kind of flashlight is it?

[@otoshithekid2957]

Loved the end and all the tricks taught on this, but one thing that really bothered me was the flare on the anamorphic, everytime her lantern flared there was a HUGE white vignette on the corners. Why is that?

[@Onyeakak]

@Aaron Beasley Cinematography Exactly what he said. I believe Atlas has an adapter that allows the lens to cover the full frame image. That's what I used on the c500 which eliminates the vignette and gives you full control on how much image loss you want when cropping. That would of helped with this matter, but I'm not sure if they would be compatible with Kowa anamorphic lenses or just the Atlas.

[@anniebreeze_]

Overhead definitely seems to be the move for multiple large spaces

[@khaledfahmy9098]

happy birthdayyy

[@raildude270]

I was hoping it was the dead end cake haha

[@DominusFeles]

For how long did the chalk hang in the air? Like, did you just puff it around and then it worked its magic for an hour or did someone walk just ahead of the camera and add more?

[@aputurelighting]

We would puff more chalk in the air before each take.

[@TheOnly1Zalo]

a lot of lights, smaller lights for key spaces and have some reflective surfaces to add production value.

[@dopshooter4910]

The surprise he was talking about on 1:00 is revealed by steady cam operator on 6:09

[@masoncrowe]

lets gooooo

[@aebonstudio7193]

When's apurtue gonna make an 18k?

[@lorlooney1520]

I'd probably just tell the talent to have a lot of really good ideas, 💡 and throw a softbox on that light bulb that pops up. 😉

[@DarylChris]

For large scenes, I prefer, hard lights bursting though the windows and a haze inside to soften and create shafts of light, I use the Amaran 200d which is a really strong light. Then I add pockets of light using Quasars overhead and practicals. And I also use lantterns t follow the subject around

[@dqstudios]

love this series! I know you guys are teaching lighting but the bad audio is reaaaaallly killing the good vibes. maybe get your Diety buddies to help out or at least level up to 32-bit float to help things out. But thanks for sharing this stuff - learning lots ✌️

[@thewildernesshiker-howtose4438]

Lots of lights with each lighting a specific item or space.

[@sanilalkuttimon1755]

😍😍😍😍

[@polaroidsky]

Wait… how does bagging the camera not cause it to overheat? Isn’t it just recycling air at that point?

[@aputurelighting]

Make sure there's some circulation and to take the bag off between takes!

[@Sahibproduction]

Like🔥

[@7clandresg]

First, see the natural light in the environment and put the best Aputure lightings in the places where my characters have more volumen. Then I would try to generate the camera movement according the mood of the scene. "Wherever is a light, there will be an Aputure" #TurnTheLightFoward.

[@aputurelighting]

Good looks!

[@ErisedMediaCo]

I feel like using the 60d lights against a bounce board is pointless… Couldn’t you just use a flexible LED light panel and put some diffusion over it? I feel like you’d have more control that way and you already have something up there you have to keep out of frame anyways…. Seems like the bounce technique isn’t really the best option there. Am I missing something?

[@Onyeakak]

I believe these bounces, the CRLS, don't lose that much of light which is why they are different from a regular bounce board. This is the info I got from the website www.thelightbridge.com/. They look very interesting to use. I'm curious to see how effective they are myself.

[@VernardNuncioFields]

4 minute (x5) film school

[@cire30a]

with no budget... i would have a strong guy walk with a boom behind camera.

[@jeffreyhong6191]

I would light a large scene by hiring you. ez

[@jonnybigmuff]

Chalkdust Torture. I'm sure the rental house will be thrilled to have their glass returned from a chalk shoot. Sony's going to get 100 returns with chalk in the gears cuz KZbinrs put a Motel 6 Shower Cap on their ZV-1

[@Rotbartokanal]

You know?

[@TheAnitdote]

That guy talks fast lol.

[@sisterbrothers1677]

Why do so many KZbin "DPs" look like homeless people?

[@morganroberts379]

Ya'll should be ashamed by the exclusive amount of WHITE MEN working on your sets

[@tylorsweet2972]

AGREE

[@angelikabibikova857]

Very very that

[@jezersek_production]

I love the broken look of windows with blinds and other window shapes. I'd definitely use this idea if the room had windows, either by lighting from the outside or by mimicking the shadows of the blinds. Even when there's no window, I like the idea of some lights lighting just the eyes in some parts of the shot. Something just like what a blind would do in the right position.