Lighting Cinematic Interiors 🎥 ZHIYUN MOLUS X60 RGB + M20c

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CHAPTERS:
0:00 - Two cinematic interiors
0:38 - Interior Night Scene
7:17 - INT NIGHT - Result
7:44- INT NIGHT - Close-Up
9:42 - INT NIGHT - CU Result
10:00 - INT Day Scene
14:03 - INT Day - Results
14:13 - Review of the X60
17:22 - Review of M20C Lights
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#sonyFX3 #storytelling #cinematic
In this video I use the new Zhuyun X60 and the Zhiyun M20 lights to light two cinematic interior bedroom scenes. One night scene. One day scene. Stick around because I also give my thoughts on the pros and the cons of these lights. For this video I color graded with my own made-from-scratch brand new SLOG 3 film LUT. Would you guys be interested in this LUT being made available? Let me know.

[@ScottJeschke]

X60- bit.ly/3TFpnYH - 10% off - USE X60 CODE - ZY10AC36 Amazon: amzn.to/3TEmAze M20C - bit.ly/3TF602c

[@zgriffin22]

I know these probably take ages to film, but more of these full lighting/ scene setup videos are so enlightening and its awesome to see your process.

[@ScottJeschke]

Thanks, brother! No that's great to hear. I have to do these anyway when I do my other videos (just without the breakdown aspect), just x100 so this format is a bit easier haha.

[@ramonbmovies]

I agree

[@DeepSnap]

The lighting on your A Roll/talking head shot is so well done 🔥

[@ScottJeschke]

Thank you so much 🙏 I had to reshoot it twice for technical reasons so that's great to hear 😂

[@artroomx]

This video was AMAZING! You got a new subscription brother! Could we get a breakdown of your talking head lighting? Its honestly so impressive

[@ScottJeschke]

Thanks so much! Welcome to the channel. Re, the talking head, I may just do that... if I can remember, ha! It's pretty simple though. Just a softbox w a 60w . I think at 4800K , 40% and then a COB backlight at 5600K, BG lamps dimmed at 3200K + haze. Camera probably balanced to 4700 or 4800. The lighting is really simple. It's the color contrast that gets a bit complicated ha. Might have had a lightbar matched to the key light for fill. I can't remember tbh

[@dukecha]

Excellent breakdown! I'm glad I found your channel!

[@ScottJeschke]

Thank you so much! Likewise. Welcome

[@TheForgeStudios]

Another great and informative video!

[@ScottJeschke]

Thanks, man 🙏🙏

[@davidclein]

Thank you great tutorial

[@ScottJeschke]

Thank you, David!

[@DawidTkoczPL]

Fantastic review and the walkthrough. Thanks Scott!

[@ScottJeschke]

Thank you so much! Really appreciate this kind feedback

[@chelo111]

dope video broddy....I'm ready to star filming novelas

[@ScottJeschke]

Thanks, friend! Heck yeah

[@quantumstudio4425]

Great video, as always! 👏🏼🎬

[@ScottJeschke]

Thank you, friend! Appreciate you watching and commenting

[@JeroenReumkens]

Amazing! Such a helpful video, thank you so much! Do you have any tips on buying diffusion frames and the stand to go with it? It seems like having these frames is very versatile when adding extra diffusion. Thanks!

[@ScottJeschke]

Thank you! These particular diffusion pop ups Just called 5-in-1 reflectors. They come inside A case that has A case that has black and white on the outside, and silver and gold on the inside for reflecting. And then within the case it's just two stops of silk diffusion. They come in different sizes as well. I have a big one in a small one. For mounting I just use cheap clamps, but also the knuckles on c-stands are really useful as well. Well. You could even buy those separately and add them to any run-of-the-mill stand. The diffusion is super light 5/1 diffusion/ reflector: amzn.to/4awuCRO general clamps: amzn.to/4awuCRO c stand knuckle: amzn.to/4awuCRO

[@JeroenReumkens]

@@ScottJeschke thank you so much for your quick and elaborate answer. Really appreciate it! 🙏 Gonna watch more of your content tomorrow! Almost midnight here ;)

[@VK_DOP]

Yes, thanks, this is pretty good set up for a beautiful static shots. But in movie scenes the cinematographer has to think about actor movements 🤷‍♂️ so you light it completely differently.

[@ScottJeschke]

Thanks! Yeah, spaces not faces. I've DP'ed a movie and many shorts ha, so I know what you mean. but in this case I'm catering more to solo shoots for folks making their own content etc. I think I mentioned this in the video that a movie scene wouldn't be lit quite this way. I think "spaces not faces" slows down or trips up a lot of solo shooters though, because they are way overthinking setups that should be much more quick and dirty. No point lighting a moving master, when you are just getting a few shots of yourself for a KZbin video for instance

[@VK_DOP]

Yes, absolutely agree 👍 thanks for reply 😊

[@ramonbmovies]

2 questions. 1) You mentioned the X60 wasn't bright enough for that fake window light trick. Is there a small form factor light that you would recommend that would serve the purpose? (i.e., focused light.) The 20 watt ones also seemed a bit underpowered but I like that they have barn doors. Are there other lights for bkgd purposes that are small and higher powered? 2) You were adjusting shutter to fine tune the exposure. I thought you should leave shutter alone once it's set because changing it could modify the motion blur. Do you have a video that discusses this issue, or discusses how to use shutter beyond the recommended formula (shuter = 2x frame rate)?

[@ScottJeschke]

Yeah, for 1. I'd look at the new Zhiyun 300-500w lights. For their output they are really small/ lightweight and don't have ballasts which is utterly mind-blowing. GVM also has affordable big lights like 650bs etc but they are way bigger and heavier. For 2. Yeah, I wouldn't recommend using shutter if you can help it. In this case I just didn't have ND on hand and it was a small enough increment that the motion blur reduction wouldn't be discernable. I think that rule is a best practice but people often treat it as a hard rule that can't be broken. At the end of the day the only downside is that it increases it reduces motion blur. So it's useful for creative uses (like the battle aftermath in Gladiator for instance is like like 1/20) or cranking it up can have a cool effect for high octane action. For me if I absolutely have to use it to tweak exposure as long as it's not extreme or noticeable I don't think it's as big a deal as people treat it. I recently cranked it up on a paid shoot where we didn't have ND and wanted a shallow depth of field and no one died ha

[@ramonbmovies]

@@ScottJeschke Thx. That answers my questions.

[@faticabello]

Great video🔥as always👌🏼Thank you for your efforts🙏🏼 I have a question! Please, what is the name of the font types used at the end of the video?

[@ScottJeschke]

Thank you so much! Yeah, sure thing. The credits fonts is Lemands Bold. The "More Videos" font is Zingende Regular

[@DeFeliceVideo]

The color density on that red shirt! I see you being cinematic in more ways. There were times I though 8 bit-ness showed banding on the wall, but looking at the colors I didn't believe it. Was this all shot 8-bit then a lut applied or did you do your dehancer voodoo?

[@ScottJeschke]

Thanks! 10 bit s log 3 and a LUT that I made from scratch to emulate my favorite film looks

[@DeFeliceVideo]

Oooo the HLG3 you already offer is different from this new yet to be released lut. Yes, this is very cool, I would pick this up. @@ScottJeschke

[@ScottJeschke]

@@DeFeliceVideo Yep! Thank you, friend! Yeah, regarding the banding, that's all youtube compression nonsense. It's a shame because the footage is sooo clean on my computer. oh well

[@eike.zender]

Very cool - looks dope. The only thing that confuses me is the motivation of the keylight in the interior night scene. Do you monitor with a creative LUT, gamma assist or just the log view?

[@ScottJeschke]

Thanks, man! Yeah, fair. When it comes to motivated light, I'm of the belief that If I'm not showing the motivation, it's kind of Occam's razor, ie whatever the most simple explanation is, is probably what's being inferred. So in this case, I'm establishing that there are warm lights in the room. And without showing the other side of the room, I'm suggesting that there's some sort of lamp to the right of me. Not all motivated light needs to be shown. Often. DPs will suggest Street lamps etc. That are not actually there. Re monitoring , Yep. I monitor with a creative LUT. The one I created for this video/I'm using for this scene, is very light hungry. So I might adjust that at some point. But I like shadowy scenes

[@eike.zender]

@@ScottJeschkeThanks for your thoughts and your explanation. got ya ;-) really appreciate your work!

[@ScottJeschke]

@@eike.zender sure thing! I appreciate you watching and commenting 🙏🙏

[@wexwuthor1776]

Lighting on a budget. You read my mind. Please don't go any deeper though. It's best for everybody. 😮

[@ScottJeschke]

Ha, what do you mean? 🤔

[@ScottJeschke]

Ah, I misread haha 😆

[@elizaj2371]

❤

[@MegWeck-yx3vg]

Hey there- why did you decide to go for a 160 ISO?

[@ScottJeschke]

Sometimes it's a choice I make out of laziness. Not having rings to adapt ND etc. (which was the case here). So I'm often just accustomed to it for quick and dirty shoots vs using the native iso + ND. But I'm usually just pleased with those lower ISOs. I wouldn't do it always, but i find I don't always religiously stick to native ISO, and I get really nice clean shadows

[@MegWeck-yx3vg]

Interesting! It would be fun to do an ISO test and play around with the footage in Davinci to see how the shadows look at various ISOs. I'm sure many people have done it but would be interesting to see with your setup @@ScottJeschke

[@ScottJeschke]

@@MegWeck-yx3vg That's a good idea! Yeah, now I'm curious. I usually don't obsess over it much, just because it doesn't make too much of a difference. But I bet there's a lot more Shadow detail at 800. I'm definitely going to explore that