How to Shoot in Harsh Sunlight | Cinematic Exterior Lighting

[@SWATxPolicy]

I’d like to see a video from aputure about solo-gaffing. These are always good info but a video about “less is more” that deals with what elements to cut and what elements to focus on for low-budget sets would be the biggest help.

[@lazarkumaar9935]

Bounce with different colour is good technique.....very usefull tip....

[@aputurelighting]

Jorge is next level!

[@farzadshahab5312]

The most important thing in day exteriors is timing as mentioned briefly in the video. I would shoot close ups in the worst sun positions (because you could use smaller and cheaper diffusions with faster setups) and I would shoot the wide shots when the sun is in a better position or backlighting. So I would have special location scouts and meeting with scheduling team about those scenes. Butterfly frames (be it brand name ones or DIY ones) are a must have for these situations, but never forget DIY and cheap diffusions which you can Hollywood around.

[@simransidhu3444]

I thought you were going to avoid talking about the wide, but was impressed how you waited for the Sun to drop to help it match. Good job!

[@mykaelnazare]

1. Studying the location, sun position, and how the light changes over time. 2. Finding the best direction to shoot through. 3. Sucking light with Neg Fill. It is always easier than adding. Also a lot of times easier than making it softer.

[@timidavid239]

Thanks for the amazing Checkerboard tip! My favourite & go-to for sun diffusion is 12x12 lite-grid

[@CHALADEITALIA]

A tool that changed everything for me was a regular 20 dollar bounce disk. It's deceptively powerful in an environment where we are constantly being peddled with the idea that expensive things are necessary. But just having a simple bounce turn scenes around dramatically. I've always felt that a backlight with a bounce soft fill can create wonderful images.

[@olefilerabolele5160]

Love the socks at the end of the 12by12.

[@lovestuck97]

That sky is Nuclear! I'd probably try to use the sun as the key with a heavy diffusion, neg on the other side and use a shiny board to give some kicker.

[@SomewhatAbnormal]

I’ve never tried to shoot video in such harsh daylight, but now that I’ve watched this video I feel I could. I’ve always used trees, buildings, and ND filters to get the lighting right. But then again, I don’t have a crew of 11 people! Now, off to my sewing machine to make a checkerboard light blocker!

[@SouthpawAutoworks]

Kevin Reyes, you're killing it, man! Great tutorial!

[@Weensy]

i'd like to see the shots with all the equipment and then with all the equipment added. that would be cool

[@carljoseph507]

I second that ND Filters can be a saving grace for outdoor shoots. One fun, creative and compositional technique to try is relying on the set. Daylight and the sun can be manipulated by architecture and the natural environment around the subject or talent. Look for natural frames or screens to see how the light beautifully casts itself.

[@sergiofilmmaker94]

This episode is Gold

[@aputurelighting]

Like the sun! ☀️ ❤️

[@justinwilliams2919]

In a pinch I've used new sheets and rigged frame with a bounce in broad daylight. It got the job done 👌🏾

[@aputurelighting]

Make do with what you've got - that's crucial!

[@KaceyBakerFilms]

This was great. More of this approach and this guy is tops! First time in a long time we’ve seen a tut that’s finished product looks like a real movie. Especially considering the Alexas and high end gear that’s been used lately. Thanks Aputure! 🙏🏼🙏🏼

[@aputurelighting]

Glad you enjoyed it! More to come.

[@DanielRentzsch]

I often encounter situations where I can not decide the shooting time and direction. When the sun falls on my talent from the side or almost hits it's face I like using a large (48x48 inches) scrim. That retains the natural look of the sun while lowering the contrast. It also helps the talents not being totally blinded. Plus, since the air can flow through the scrim it is not as vulnerable to wind as reflectors. It's not suitable for wide shots though since the scrims usually are limited in size. Or probably I just don't own the right sizes ;) For close-up interview shots I got fairly pleasing results so far.

[@Calgothits]

Checkered bounce to match tones is elite 🔥 Im going to make a few different combinations woo 🤯

[@mexigecko9226]

depending on what the story or scene demands, it could be aproach in many forms the daylight. The easier one to name its to get the golden hour with that more "expressive" light (while rising or setting) . the right next option is similar to what you got here, having the sun as backlight to get that edge pop up. Or have a more 50/50 with a side light and increase the contrast. The positive side of the exterior daylight is that you could have your subject well exposed (with the right amount of fill, with a hard/diffuse light) or as a silhouette and it will still look pleasing

[@edwardcrockett]

honestly diffusing from above and then using a bounce to wrap that light has gotta be the go to!

[@sahilchawla1137]

I like to shoot under trees on bright sunny days for some nice diffusion and I add in the fill using CLRS reflective panels to bring some light back in.

[@BoyBlessing]

I’d like to see this same look achieved with less gear, less people, and less $$

[@daniel.lopresti]

You might just have to limit yourself to close-ups or medium shots then. Not much else you can do to counter the enormous dynamic range encountered when shooting in broad daylight.

[@KtmDesignz]

you can't

[@BoyBlessing]

​@@KtmDesignz I think you can. They shot at mid-day overhead sun, which is the worst time to shoot. You can shoot at a later time in the day when the sun is lower & the light is softer. You won't even need to diffuse the light. Just use a white bed sheet for bounce and neg to shape the contrast

[@BoyBlessing]

@@daniel.lopresti not shooting mid-day with the sun overhead would be a good start. you can shoot on an overcast day or later in the day when the sun is lower & light is softer. that alone will lessen the amount of gear you need.

[@KtmDesignz]

@@BoyBlessing yeah but he asked for the same

[@shriviyasr3848]

Really learnt a very important lesson on how Performances matter more than anything technical

[@justinchen1512]

When I film, I would usually avoid such a day. A sun lighten daylight set is best at golden hour or when the sunlight is softened by a cloud. I am really impressed by how aputure actually filmed it the hardest possible, and without using any of products that you sell. If I shoot such a set, I would use the sunlight mainly as a back ligt and fill in the shadows more. I would also find something that might cast a shadow on the character's face to create depth. Another trick is when the shooting is on a low budget, walls can act as bounce boards.

[@ODHunte]

Absolutely love the image produced.

[@leroyjr9]

I needed this video! Thank you!

[@pammomunoz]

Thanks for doing this! I live on the border where it's always hot and sunny with hard shadows!

[@moritzbauer7563]

Wow! 15 people for a tutorial that is for free

[@samvargas8760]

Hermoso video. Saludos desde Cartagena Colombia

[@MadManchris]

I'll be doing it tomorrow on a solo shoot and what I like to do is setting up the largest blackout I own, as close as possible to the action and just lay a bounce cloth on the ground and over some of the items close to the talent just out of shot to make the bounce seem like it's coming from a natural direction. Then I'll be adding a 6x6, 1.5 stop diffusion when I push in to the close ups, pretty far back so the light is diffused, but still a little harder. Then, magic trick nr 1 will be to only stay on the dark side of the line with the sun slightly backlighting. Seems like alot of work for a solo shoot, but it takes about 10 minutes to set up!

[@aputurelighting]

You're gonna kill it!

[@MadManchris]

@@aputurelighting Thanks! Crossing my fingers for nothing more than a tiny breeze!

[@Mrim86]

wow, super ambitious setup. really impressive! great final shots

[@ConceptNewEra]

Love the tips in here! Definitely leveling up my lighting skills by watching these videos 💯✔️🔥

[@joshallred726]

This might the most important video ya'll. The information is simple but can apply to so many scenarios. You can utilize this technique with lights as well. Some people like the sun sandwich, but there's no denying that the wrap is more natural and pleasing to the eye. Look at most any of the top DPs working in the industry you'll rarely see a sun sandwich but you will constantly see backlight -> wrapping bounce -> neg fill. Set the camera's exposure to what you can't control, in this case, the sky. Then bring in your modifiers to create a contrast ratio that is right for the mood.

[@aputurelighting]

So true!

[@ImaginationFolder]

Anytime the Film Riot boys are in a video, instant love ❤ Great video. I love shooting outdoors, so any outdoor lighting tips are welcome.

[@juandiegozacarias]

Datazo Jorge! 👍

[@VictorHugoVieiraNunes]

I would use a bed sheet as a diffuser and a foamboard to bounce off the sun that comes from behind the characters. For the negative fill, I would probably use a black bed sheet. This for a more independent production without the pro modifiers

[@terezever]

i learned a lot from this than you! One of the rare times Apurture made a tutorial without needing to use any of its products which is awesome but you will need 11 persons to choreograph everything haha. But yeah, this is still amazing, thank you!

[@naziflatheef1066]

Always make quality contents 🔥

[@baileymartin]

I like to use a reflector to wrap some of the sunlight around the face while backlighting.

[@JoaoSilva-vz5ec]

Great tips, great final result! Thank you very much! However, at 6:33, the guy's hair seems to come out of a shadow of a tree that isn't there... I think I know why (probably when he crossed the overhead frame), but how would you prevent that?

[@andyk2456]

12' x 12' frames and a couple of Mathews high stands for silks/screens are your best friend when shooting outdoors to control sunlight on the actors IMHO.

[@YuVisualss]

I would use diffuser/s and nd filters definitely as a start. But would play around with shadows and backlight to make it more dynamic.

[@Supercon57]

That custom checkerboard muslin looks really interesting

[@saifalnaqbi2819]

I would shoot during the *"Golden Hour"* and use a *diffusion filter* to soften the harsh sunlight. This is perfect if you can't access equipment in certain locations. Edit: keep track of the short window of time!

[@deathinbloom2485]

This is perfect for my style of shooting, especially in busy places!

[@theactionstorm6408]

@@deathinbloom2485 It could work, but I'm not sure how well diffusion filters cope with the sun. If you don't have diffusers on set then sure, give it a shot

[@aputurelighting]

Golden hour is great! Make sure to track the sun carefully, have everything prepared to shoot and rehearsals done - it's a tight window!

[@manalmansour4213]

@@aputurelighting as long as the planning is there, shooting in golden hour or even blue hour could turn out great

[@saifalnaqbi2819]

@@aputurelighting I agree. Preparation is key during such tight windows.

[@BojanBojovic]

Great work!

[@eltalcuate]

Need that Jorge's checkerboard !

[@krisnaburiartha]

01:39 I think it's the same shoot from chadwin smith videos "15 Hacks for using Reflectors in Video" at 00:40 on his videos

[@tombpictures]

I’d go for using the sky as more of an edge light from the back/side and throw some diff overhead to give a little wrap around for a key , still throw some neg fill on the side though! I like bouncing but when the sun is that hot I tend to shy away from it unless I can get some to make the light bounce back really lightly and give you more of a full level than a key

[@vistamedialab]

Really nice & useful ideas 💕 Thanks a lot🙏🏻

[@Mr.LenardDrums]

I’d use the Sunny 16 Rule! :)

[@karlisbergs306]

I would use the sun as a backlight and add a bit of bounce, to fill up the shadows. I would want shadows to look pretty dark still, but so you can recognize the details in the shadows.

What I like to do is diffuse on my shubject, use longer lens aiming at trees & shady areas s so that I get less contrast. That will help a lot especially with cameras that dont have such wide DR As the Alexa

[@TJolley]

Ooo I’ll have to make a DIY bounce with those colors 💯👏🏿👌🏿

[@Shaedirector]

Some cool info in here! Love your products, I own a p300c and love it! In this scenario however think it looked fine without most of the lighting gear, and you would save thousands of dollars of crew and time. Maybe a little bounce is probably all I would have done.

[@dirface]

Beautiful!

[@NathanKatash]

Big Like!

[@aputurelighting]

Big thanks!

[@juwancaesar]

On a smaller scale I'd try to utilize nature's cover (trees) to maybe cut down the lighting some

[@melanienolley]

I think about the costs of this sort of tutorial. I would definitely use that patchwork bounce. Great Idea.

[@colet5836]

I would focus on the suns placement in the sky to film during broad daylight. Focusing on having the subjects placed so we can get a backlight with the sun would be the key, and then using a bounce card as necessary to get some soft fill on a subjects face. Side lighting can also be nice way to work with harsh daylight, but might give a more dramatic look, so it really just depends on what the piece calls for!

[@anniebreeze_]

I might try going backlit with a soft reflector on the front, maybe a neg on the side.

[@mannyjamz]

I shot an outside scene just today, it was perfect in a sense that the clouds were working in my favor the only down fall was the flat image but meh better than hard shadows, then on the close up I had 2x3 grid on a C stand to block the her from any sun rays leaking thru. It was a frugal shoot but it worked. I would've done this if I had the budget and the crew. 💪🏽

[@aputurelighting]

It's all about making do with what you have! 💪

[@mannyjamz]

@@aputurelighting facts right there but definitely steady progression is needed to take it to the next level if it's for the long haul. It all depends on where the project is destined for sure. 🤘🏼

[@AdamTV]

Where did you get the poly silk “socks” for the 12 x 12. I have never seen those used before and the look really useful!!!!

[@SomaliReact]

I would have both actors stand in a shade and use a reflector to bounce the sunlight rays to light their faces.

[@melankolikfilms]

Sun Sandwich? Someone's been watching their Patrick!

[@thejiggy]

Dope video! As for me, I'd probably keep the sun super harsh and real on the actor's face, with maybe a light bounce for SOME fill. But yeah, harsh - screw everyone's vanity lol

[@aputurelighting]

Gonna need some serious ND filters! It's all about knowing what you're making - if you're going for stark realism this could be perfect.

[@NatureBoyMk6]

These videos are great! It would also be helpful if you also posted the budget for the production.

[@DavidGriffin]

No it wouldn't. Lol. Ok I got you.... Alexa body $50k media lenses accessories $20k , sunbounce $300... Scrim and frame 12x12 $600-$1200, reflectors $100... Crew and truck 🚒 $12,000... Now go do this with a Panasonic GH5, a backdrop stand a white bed sheet and a 5n1 reflector.... I know what I'm gonna film for my next video... Hold my beer!!

[@gafferngrip5407]

For a moving shot in a broad day light. I would build a fly swatter attach to a back of a truck and the camera at the back of the truck bay. Of course this set up is for slow moving paces.

[@brittacurkovic]

California sun bounce makes a big one for two peole that can be carried by one person, then you just need two peole carrying bounce

[@sn00pyg]

I'm guessing in the WS you didn't use the setup? I didn't notice the shadow of the diffusion when he ran up to her. So only for the closer shots, yes? It's incredible how the difference is basically unnoticeable.

[@maiskorn123]

It's not very well explained, but he says in the video that to shoot the wide they waited until the sun was much lower, to avoid the harsh shadows that come from a high noon sun. Then you don't need to use a diff frame anymore. From my understanding this is usual business practice. Shoot the close ups during noon and diffuse, then shoot the long shot once the sun is low enough. When possible, always postion the sun behind your subject as backlight.

[@pierrejampy]

@Kevin - All these technicians walking while caring this gear must have been pretty noisy (03:05). What set up would you have done if you wanted to use the sound from the dialogues? 🤔 For the B7c contest: I would have just used a bounce and a negative fill.

[@KevinReyesDP]

Great question Pierre! If we were rolling sound I think I would've opted to rig everything on tracks. Plan b would be to choose a location with flat even pavement where we could rig larger all terrain wheels to all the stands.

[@pierrejampy]

Thank you @@KevinReyesDP!! Love your videos, keep up the great work ;)

[@olaraay]

could you explain the backlight -> wrapping bounce -> neg fill for interviews shot on sunny day please.

[@teacherofteachers1239]

I'm not sure of this, as I'm still learning, but I think one advantage of adding lighting to the talent would be that you could have a slightly less blown-out background. But that seems tough to "Hollywood" - i.e. to have an extra person to move the light if talent are walking.

[@TimmySheehyVisuals]

So the amaran boxes have a lot of white cardboard and black foam which I use for softening and filling 😂 it’s my ghetto setup for close outdoor shots BUT IT WORKS!

[@bostonmuktuk]

Looks 👍🏼

[@MixedFrames]

I would like to know how much time it took for that one scene from building up to wrap

[@S9universe]

aweeesome

[@tronghoang1733]

it so cold. tks Aputer

[@gutlesslx]

Curious to know from a sound department expert how you might control all the feet walking, Diffusion frames moving etc. and keep that from being able to be picked up on the mics or if you'd approach it just knowing it would have to be an ADR situation

[@themikereda]

We did a walk-and-talk where the actors, steadicam op, sound op, and grips were walking on gravel. The shot was waist-up, so the camera never saw the ground (which helped a ton) but we laid down a few rolls of carpet which softened the sound enough to not be a problem. That worked for us, but might not be the BEST solution.

[@aputurelighting]

A lot of times in windy conditions sound has to make the call to ADR when a deadcat/blimp and/or lavaliers are too impacted. Check out Deity's video on this! kzbin.info/www/bejne/d5zHoqBne6iboLs

[@gutlesslx]

@@themikereda that’s actually so simple but smart! As long as it gets the job done. Thanks for sharing

[@toonheaded1]

Union mixer here I would ask for wild lines and ADR if the DP and director were adamant about the set up. Because this would sound like a paparazzi on rollers following them in a supposed empty grove.

[@deboentertainment2330]

I usually put a whit bed shit on the floor and backlight them with the sun if its not muddy or if they r not moving

[@jamesmugagga]

How would you deal with the sound of the footsteps of the 10-11 people on set of you've got to record sound for this scene?

[@aputurelighting]

In this case we did it MOS (No sound). If you need to record dialogue you'll likely have to use ADR.

[@vinjemmy]

I would ask production to schedule time for shooting during golden hour, making use of the light for lens flares if needed. Add a fill to lift up the shadows, or don't to create beautiful silhouettes. The sun is still the best light source we have today

[@creativevit5961]

Beautiful outcome. I wish you added a short dialogue to that scene though to lit it up. Anyways, great work

[@alexciprian]

It’s much easier to shoot with cloud coverage during the daytime. Not always possible but I’m always happy with the results 😅!

[@aputurelighting]

AD: Can we fly in some clouds? 😂

[@johnrossi8862]

its really simple, overhead diffusion, bounce, and negative fill.

[@marktomphotography]

Awwww man. I was hoping for some Magneto/Dr. Manhattan level tips on how to actually control the star that the planets revolve around. 🤪Next video?

[@aputurelighting]

Next time! 😂

[@Tedwardy]

Them moving all that stuff would be impossible for audio right? How would you fix all that moving?

[@TheJadedFilmMaker]

wow lots of effort

[@jpchovet9388]

What’s the negative fill used for exactly? Is it so there is for sure no reflection to fill in the dark side of the face?

[@arthurph9744]

Negative fill is used to change the lighting ratio key/fill. It gives more depth/contrast to the scene, since each side of the subjects face has a different light intensity. It prevents any other source of light/bounce from hitting that side of the face ultimately making it darker.

[@ramtinnazeryan]

I didn't know sun sandwich my poor actress was HOOOOOT :D

[@indeepproduction]

Is that technique usable for long shots ?

[@aputurelighting]

As long as you communicate to your crew and everyone can sustain the move then yes.

[@joshuagutzeit4690]

I use my 2-3m white bounce and backlight, im not big enogth to carry such large defusion rims with me hahah😅

[@smithhiller7199]

Well done~Would you like to share shoting video resource(LOG file)?

[@mhoulder59]

I'll use two five in one reflectors a bounce and negative fill, with the sun as a back light, and have two friends "Hollywood It". Who say "Indy"

[@gordieborg]

Strategically to shoot at a time of day when the sun is less intense. maybe even in a forrest or just under the overhang of a building. It really depends on the scene!

[@kafanozy]

I try to use trees or buildings nearby for negative fill and/or bounce, but then I'm not completely free with framing.

[@chicobraz4335]

A 50mm 2x i think would have been better here than the 40mm 2x

[@sanilalkuttimon1755]

🤩🤩

[@DavidGriffin]

4 minute film school... 7 minutes 15 seconds 🥇

[@kalaiarasan6906]

I used to floppy and simple diffusion

[@ohshowproductionsllc]

It would nice if you guys could show lighting set ups with little to no help, most of the indie filmmakers can't afford 10 grips on set to help! Love the videos, appreciate you guys!

[@Mutedimagery]

I would use a silk and plan according with the sun.