Skip to main content

Color Temperature and Cross Lighting

Lesson 15 from: Guerilla Filmmaking

Ryan Connolly

Color Temperature and Cross Lighting

Lesson 15 from: Guerilla Filmmaking

Ryan Connolly

buy this class


Sale Ends Soon!

starting under


Unlock this classplus 2200+ more >

Lesson Info

15. Color Temperature and Cross Lighting


Class Trailer

Day 1


Writing Your Story


Script Breakdowns and Shooting Schedules


Finding Cast and Crew


VFX in Pre-Production


Filming Gear: Audio


Filming Gear: Camera


Filming Gear: Lenses


Lesson Info

Color Temperature and Cross Lighting

Color attempt of lights we talked about a bit. We use a lot of daylight bulbs in our keynote. Kino here. Actually, you want to move that one to the side and bring the kino over from the kino here I have both tungsten and a light bulb so you can swap between which we're doing a little bit of yesterday. A daylight bold is going to go for fifty six hundred k, which is calvin, which is going to be the same as outside during the day. Obviously the golden hour is going to be maur warm than tungsten. We talked on that a little bit yesterday. You guys saw the example with very, very warm rim light on josh's face. Then on a cloudy day, it's actually going to be a little bit cooler on most cameras, you're going tohave settings like tungsten daylight, and then you'll even have shade, which will set it for that. So you're hitting that cooler colored time teacher. So a lot of this stuff, you're not going to worry about too much because there are those presets, but you might want to dial it in yours...

elf, which we'll get to in a minute tungsten which bring bring it over here. Tungsten eye's going to be thirty, two hundred? Calvin these roundabouts, depending on the bold that you have, how old the bulb is, uh, source it's all going to change a little bit. But you can see in these key knows here the color of top with the bold is going to tell you what it is. So obviously the orange color is going to be the tungsten. The blue is going to be the daylight. Then you have household fluorescence this's a kino flo fluorescent light. But it depends on the bulbs that you have in your fluorescent. They're not all going to be forty two hundred that's. More like that gross green look that you're going to get in some houses now. They have the, you know, bulbs you could buy from home depot that are all sorts of flavors, but most offices feel terrible inside because that's what they're riddled with just those gross green fluorescent lights, the white balancing and camera. I want to move this back a little bit. Josh, wanna jump up and help out here? Let's, move the camera right to here. So we're going to set it in in camera here, let's, start with bring this guy right here bill you want to plug that in you know I'm just gonna have you go back and forth that for the rest of day sam you wantto truck this guy back a little bit for me yep and then josh you can stand in for us let's get the sand bag on the back run the sting right here to the er to the kino let's set to tanks and we didn't these lights a little bit what you got daylight let's start with a light then cool so right now you could see that we just have these day lightbulbs going right now so just the two blue as we showed yesterday we have the four banks on this so you can select popping between either obviously you're getting half the power of this light but it's really nice for on the go being able to switch between for whatever you needed the time let's get that exposure gillen let's trim down the one light actually help him out cool let's go eight fifty cool just look over here from so we got a nice balance shot that's correct why balance in camera compared to what our sources but switch over to daylight are tungsten so now we got an extreme blue look which you could use to your advantage if you wanted to you could bring a tungsten light in here flip this to the back like we're talking about yesterday and create a moonlight look without any gels were just using daylight balanced bulbs and then tungsten lights setting to tungsten forgetting that like cameron blue sort of moonlight look, or if you're getting crazy stylistic like you see with drive or something, we could just kick tungsten back light on him, which starts once you do that once you plug it in real quick, let's see what that looks like? Uh, that guy actually want to help him out with this let's, plug it into right there, moved back to there probably gonna need to get a dimmer on that same wanna grab a dimmer for them? Why they're doing that? Why don't you go teo manual and start cycling through so we can see what the different balances will look like so you could always jump to manual white balance. You go right there. Right there you go. We're gonna go over one sore at daylight with the fifty, six hundred. We've got nice skin tone happening. Let's go let's, go up first and see what happens lost it so we're gonna click in you can actually just click in and it'll go right in. We're gonna get warmer and warmer so you can dial in, you know, if you want a really orange look you could start dialing that in you know you're not set to those presets go in auto and start fooling around with that to get some kind of crazy maybe you want like a mars field you're on mars and you want it very, very warm or the desert you trying to make it feel like the sun's baking down in your character that's how you can start uh getting that in on camera without even using any gels at all let's get back to daylight let's take that up you know, just just touch first all right? Let's get up to about here that's good. So we have a really, really warm backlight on him right now because we're balanced for daylight so we're getting that tongue tonight really, really orange and this feels very california to me now you know they have those street lights that pump out that kind of color so if you want to go again I keep mentioning drive because I adore the cinematography of dr but this is a sort of look that they went with that those california back streets kind of look and it's very, very easy to achieve just using your white balance only so let's switch over to the tungsten cut that off for just a second we got a nice skin tone happening thirty two hundred we're on daylight in here and let's go down and see what happens we're cool in an awful lot, so if he didn't like how orange that was on him? Uh, let's, take it up a little bit, keep going right there stop! So we're at twenty eight. We're still getting nice skin tone but were getting more of a cool look, we got that daylight spilling on the back or playing with that a little bit too let's kick on the back light. We're still getting a warm but were hitting a little bit more white, a lot more white than we were before. A lot more of a balance look let's, go up, let's, go start heading to daylight. So a lot of cinematographers like that land in this area, you'll see very, very warm skin tones and the balance, the background let's cut the back light. It'll balance the background out a little bit to get an extremely like, cool or warm look on the face. Michael bay movies how how orange their skin tone is. A lot of that is done and grading, but these are some trick second help you get it in camera. So when you go to grading it's a little bit more simple for you. All right, cool let's, move along, why don't we cut this we could bring the lights up a bit actually no let's leave the lights down let's talk about dimming lights let's bring this guy around to the front of josh let's get this right here bill you want to help him bring that around and why don't we swap stingers to make that easy, stark he's wrangle that back for me and sam you want to help him do that? Just grab the ballas for him. Awesome. Nice job. So you guys were listening yesterday we were talking about when you set a stand uh pretty much with anything but especially with heavy lights you always want to have one leg towards your subject so if this thing's going to fall it's going all this way towards the camera which isn't great but it's not going towards your talent uh so you always want to keep an eye on that and before you flip it on we say eyes let's take it up to about here solid let's truck it back say two feet let's just go thirty to any good and now let's take it all the way up with your eyes, josh. All right, now go to iris settings and let's just you're gonna fall along with him as he dims okay and just watch the color change as he dims the light on he's going to be you know, auto I are saying here manual iris in here to adjust for exposure so go ahead, start dimming start switching up and you could see as a dims how much warmer it's getting that's another way to sort of throw cto on your light without having it just in your life and if it's a tungsten light and contestant tybalt most household bulbs is going to start warming up a lot as you bring that down cool moving on again now let's do cross lighting which is something I really like to dio again we're talking about you know what if you don't have a lot of lights at your disposal some stuff that you could do so let's get to chairs and hearing this problem there let's move the camera back of it going to start with a master I think so we'll actually put the camera right there but we're with that you know what? Let's look this way let's move that over there let's get this guy set up right here bill you wanna grab a whip way to chairs and sam you wanna shift your chair out just for a second? You were gonna put that right there uh more back towards the wall. I think saying you want to try to grab some diffusion and a couple of c forty seven for me and you could just move uh that chair out seeking maybe get back just a touch more I'm gonna shoot this guy over here let's say probably right right here about here to say like six feet up yep let's get it on this guy I'm gonna bring this down what's let's move first then we'll clip that on so you gonna throw the diffusion up top and take the c forty seven stripped it down a little bit so we can make sure we get it all the way across kind of alone we're gonna take the c forty seven which is a close plan and clip it on we're gonna clip on to the other side job let's get two more one here and one on the other side of the barn door on let's get mohr diffusion walter you want to grab some more diffusion forty forty seven let's get it on here josh take a seat here starting take a seat there how can we get we get in this whole scene getting both chairs that works what we want we go down out here you want to help them do that let's get it to right about there gets sort of eye level maybe just a touch above the eyes say three feet three inches above the ice okay let's take that up to about six feet high that's good let's bring it this way a touch good bill about six feet right here but before we do let's make sure we tilt it down this one's yankee alright take good right there let's get a dimmer on this one as well ok you can kick yours on but before you d'oh good let's take that up good right there you're gonna goto variable I'll take that up all right let's look look towards each other with love let's bring this guy tour and right there and let's take it up all right let's get a little more let's get right right about here same with this guy let's bring it over a little bit about let's say a foot and a half to your left good we're gonna have to back up a touch if you can let's go up a little bit more if you can let's go a little bit more on yours as well ah uh no I'm sorry with the dimmer we're gonna take up the intensity a bit on the light nice let's let's go up a bit for you as well perhaps a lights on why don't you scoot towards each other just to touch let's get a little bit tighter let's make it more intimate now hold hands I'm kidding I like you guys just go right to it don't mind if I do okay so we're at thirty two hundred but I'm not fully liking where white balance wise I kind of want to cool it off just to touch somebody take it down I'm assuming about three thousand three thousand ah in the shadows for me it's a little bit warm so I'm just going to take it down just a little bit actually split the difference and I'm liking that a lot better we are battling sort of that day light a little bit and we have full intensity there let's go up a little bit more stop takedown it's safer spot flood we talked about spotting and flooding right? You have these little dials on here and you're either gonna focus it in or flooded out of it. Okay, how about there that's looking good alright with two lights we have two keys and two back lights happening we have our whole setup with two lights and we're good to go so we got a master shot let's go ahead and roll on it and they do something actually till down a little bit and I think we're off kilter way are let's get that level all professional tripods when the phrase at all professional tripods we'll have a lever leveller on it so whenever you set your camera you always want to double check that level ifyou're monitors just a little bit off it's gonna look like it's off kilter so if you're doing it by eye sometimes you're still gonna have your horizon off so make sure you're using those eleven levelers the level of a little wolf all right, rolling all right, give me give me some give me some action show me something that's kind of weird e I don't know why I feel like you rehearsed it all right cutting and now we're not going to switch any lights around let's go ahead and move to our first we're going to get a single on josh and I wanted to help him do this we'll get two hands on camera you wrangle and then sam you want to help him make sure we're all good hey bill and bill you could uh take a seat for a minute all right let's actually go on a single note notice on this one over the shoulder its full single on him that's good and start once just lean yeah let's frame him right and by that I mean correctly right let's do it yeah you got that let's lose a little bit of headroom that's looking nicer alright let's slam him a little bit more let's get like let's just kiss the side of his arm there just a sweet aside kif I don't know if I'm comfortable with that a little less let's give it a touch of room a little less a little less right there all right let's roll on that and action same action let's get the same action from you guys now I want my patty cake man we got to cut this lets go go ahead and stay loose with it uh josh get that get that story one more time you're back every other, every other back back in, but double this isn't going on a double, I don't know just go ahead and cut it, lets slip, switch over and get the other we're going make. We're gonna start rolling on all the footage because we're gonna make it all downloadable with the course, so you'll be able to take this stuff and cut together, then patty caking, which is nice, and I'll probably do later on as well. Let's get now, let's get the other signal single single taking toe like the inception soundtrack. You know axel, johnny on the spot with the cords. Very good. All right, we're gonna get the same shot and I'm already liking this side better main reason for that is we have depth. We're playing with all these white walls right now. So you saw in the mice master shot didn't look really look that great. The lighting was fine, but we're just up against this flat white wall with no interest behind them. It's really killing the shot? We'll talk more about that later. This shots looking a lot more interesting already saying lighting but the backgrounds entirely different, we got more lines happening, got more contrast happening got more depth happening, we got lens fogging happening let's get c stand in here say you wanna grab one uh courtney and you want to grab me a little bit of black wrap and uh let's say it's pony clamp is well you got that you hear that one awesome good job let's just do it camera right right there and where the knuckles go for the hollywood head so we're gonna put the arm this way okay so we gotta make sure the knuckles are on the right I won't bend this one yeah people behind camera like please don't let ryan touch another c stand somebody made a sign where's my sign bill made a sign please don't bend c stands with your bare hands all right let's go ahead and set up the black crap right here awesome grabbed the perfect size to and why don't you go ahead and fly that and get rid of that lends fogging for me although I love this look I love it when this happens I usually let it play for this shot maybe that's not what we're looking for plus we didn't have it on josh aside it might be a little odd to cut back and forth with that so we're just going cut that off clean it up a little bit let's frame him just a touch more left just like the slightest bit just split the difference of what you have that I don't work and let's roll on it some patty cakes no no no no just let me get you to lean out of frame a little bit and then patty cake oh yeah so good. Just pure hand action start's more of a pro he's holding that that frame double back good. All right, let's cut on that. So our main problem with this set up right now is what we got a light stand and shot right so we could fly a c standing here, move it off to the side and have the arm going over put it on that or if we don't have a c stand another little trick lit compromise to get around that would be let's. Just move the camera right let's go for an over the shoulder shot and stan's gone. The only problem with this is depending on what you're shooting, this might feel a little more intense than your wanting. This feels a little more dramatic to me feels like a tense moment between them when you single them out it's just you're focusing in on that character in that kind of character alone here there's something a little more intense happening for me let's move it a little less right right there let's lean in a bit start can you move your chair to the right let's lean in a little bit but we could always loosen it up like that it's feeling a lot less tense to me now it's a lot more open. You could play with that a little bit more in a regular sort of not as dramatic setting, like a comedy or something like that. Let's, just roll on it. That's, patty cakes, more patty cakes, man, people got to cut this together, all right, cut. Great. So that's, cross lighting really, really basic. We could also get a bounce light in here if we wanted to. To fill in the side. We had a nice feel happening because the lights are bouncing off the floor. We've got some residual light from back there, so we had plenty of films, phil, so we didn't really need it.

Class Materials

bonus material with purchase

1080p Screen Insert
2.40 Aspect Wide Screen Template
Rule of Thirds
Storyboard Template
Storyboard Template
Class Footage - 1
Class Footage - 2
Class Footage - 3
Class Keynotes
Stark Assets
Guerilla Filmmaking Outline
Gear Guide

Ratings and Reviews

Samuel Befekadu

I bet this class will be awesome. the course is given by Ryan Connolly!! I have been watching this guy for more that 5 years. I just wasn't serous about film making then. but now since i love film making why not try to be one of them by learning form the best in the field like Rayn. he has been inspiration for a lot of film maker from his YouTube channel Film Riot. his way of teaching so funny and entertaining . I bought this course to learn Ryan Connolly's killer skill. Thanks creative live and Ryan Connolly!

Will Green

Great class! It starts at a very simplistic level and covers the full spectrum of filmmaking. I would not necessarily buy this course for advanced film students, however it is an amazing review for beginner students to intermediate students. I would love to see a BTS of a short film from start to finish. I've seen all of Ryan's BTS shorts and I would greatly enjoy a much more intricate play by play of the short. THAT"S SOMETHING I WOULD PAY A LOT TO SEE. An 18 hour compilation of prepro - post of a short would be awesome.

Jonathan Beresford

Love Ryan and everyone at Film Riot. Excellent course of the excellent quality I've come to expect from them. I just wIsh he'd act more. So funny.

Student Work