Shadowing Practice: simple tricks to hiding lights in a scene - Learn English Speaking with Video

Something that I haven't really seen taught that often is how to hide your lighting on set.

This is actually quite a crucial skill to have

because having lights everywhere is sometimes unavoidable and it gets you the best shot.

There's a few drawbacks sometimes of just having tons of grip gear on set, especially for documentary.

For one, this is just not how life is.

We're not used to just seeing lights around and if you're working with real people, it can be intimidating but also they can get in your shot

and limit the style of your shooting and

so i'm going to break down a few different ways of how you can have lighting in your shot

and get cinematic footage without ever having to actually have a footprint on set of

that lighting gear i'll talk about the gear in a sec

but i want to break down those four ways you can

hide your lights right away the first is just in plain sight with practical the second is through windows

and and coming from outside of the building.

The third is using overhead things like pull cats and suction cups.

And the last one is having someone what we call Hollywooding

or hand bombing a light right near your camera and following you along the shot.

And actually this technique you will see on huge Hollywood sets all the way up to projects like Wes Anderson's films.

There's often a person running around with a China bulb right beside their camera.

so one of the goals of today was to see

if we can light without seeing the lights trying to do

as much of a 360 approach always for my documentary work the less lights i can have on set

that are seen to me feels more real

and i always believe i'll get a better performance out of people who are non -actors

when there is less lighting on set

so first let's talk about the overhead lighting We used a device called a polecat

and this actually pushes into the sides of your walls

and you're able to get your light above your subject and sometimes pretty big lights like this Nanlite Pavo Slim 360C.

It's actually quite the big light and using a pretty small polecat, we were able to push that in.

You'll hear some people also calling these auto poles as well that go in there.

I think there's just different companies or different terminology for them.

There's just a few drawbacks about them.

For one, I'm always kind of sketched out by them.

They always feel like they might just fall, not because they actually seem to be doing that, but the longer the pull you get, the more it bows, and it just seems to be defying gravity.

But there's a few things you can do to help mitigate that.

Incredible Grip, who was also acting as our gaffer that day, Gabe, puts a little bit of tape around them just to help the actual padding to not slide down.

It's just a little extra catch.

And the drawback too is you do need the width of your room

or the width of the space that you're pushing up against to be somewhat narrow.

Now, I've used polecats for a long time.

If you remember that one shot I did in Battleground for the dinner table scene, I kind of cheated.

I put it into a cabinet and on top of our pull -up bar in our office, but I was able to hang the light above.

It allows you to get lights above your subject without having to use huge 750 combo stands

and big long boom poles over top.

What I really love about using autopoles and polecats is you're able to create that pool of light in a bigger space.

And why I like that then is you're able to do 360 shots.

You can see Nick and I working around here with Elisha with having that light there, that Pavlos M360C on that slight angle.

We threw a grid on there too just to give it some more directional light and take away the spill.

But I like lighting from above when I can

and adding a bit of an angle so that we're getting more shape

and it doesn't just feel like a pool of lighting.

now talking about lighting from above gabe actually had one of the tilta suction cups

so i think it's called a hydra tilta hydra electronic suction

cup i hate names of gear i'm just going to call

it whatever i want this electronic suction cup from tilta we

stuck to the ceiling we were able to add in one of our pavo tubes above

because when i was looking at the shot we were getting daylight coming in from those windows on her face

but we wanted to accentuate it we wanted to exaggerate it i think

that every documentary filmmaker should have one of these suction cups in their kit

because it allows you to rig a small light to any ceiling no matter the room

and a big part of this scene too is we're trying

to balance out like a very interior part of our kitchen's

exposure to where we are never going to get right next to a window

so by having an extension of our window light

or this tube we're able to shoot kind of a one -er shot where without having to adjust aperture yeah

and which is nice because especially

if you're controlling in a dock setting for someone who might be doing an action

that you can't predict everything

and you give them a range of motion like you can

be in the kitchen you can be in the living room

this is kind of like balancing you almost 360 from shooting everywhere

so by adding that tube there we are able to emulate the idea of that blue

cool daylight coming onto her face with the warm tungsten on the back

and then we change all of the lighting from the app

it's really an exciting time to be doing lighting on independent small films right now

because even in this room right now i have swapped out

all the bulbs in my office for these pavo 10c bulbs

and we actually had a full kit on set

so i think we had about 10 in the end

and we actually needed those because when we were down in

that big ugly conference room space we wanted to swap out all those ugly fluorescent bulbs

and those fixtures were nice we actually could end up using

that fixture when we powered our lights to full power as one of our additional lighting sources

so I'll just jump into

that next thing of hiding your lights in plain sight using

practicals I highly recommend grabbing a bunch of lamps every cinematographer

or filmmaker should have a stack of lamps ready to go

desk lamps tall lamps have them as part of your kit treat them like C stands

because they're so handy to put into a room.

And then especially when you put your own bulbs into it and you can control it with your app, you can begin to create pools of light around the room

and take what would be normally a boring corner and suddenly have a nice pool of light there.

So we did that in everywhere.

When we were back up in the condo, we swapped out all the bulbs out of all the fixtures.

Now what's fun with those 10C light bulbs is although they don't have a battery inside, there is a little pack that you can have

that will power it off USB -C and then you can dial in your lighting that way.

Those packs have a battery power so it's external so we used that

when elisha was sitting there on her laptop we just needed

a little more of a catch light on her face again

without having to bring a light onto set we just threw

one of those bulbs there on her laptop we could have

100

rigged something smaller had we had a little light pad like

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that but in this case we were just using the bulb there's actually one more really interesting feature with

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that bulb i thought this was kind of cool they have

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this little like flywheel pinwheel here you can stick this to the top

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and now you have this in a fixture

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and you want to cut some of your lighting you could put this in there

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and then use this little as b5c that's the technical term for this i call it a pinwheel now i'm dutch

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now quick rundown of all the lighting gear we used today

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for our outside fixtures was the nan lux 600c lighting we

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also had an analogs 150c light on the interiors often above

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or for our main key source we use the new pavo slim 360c this is a light

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that i hadn't had the pleasure of using yet

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and this was my first time on set using it we also use some tubes the pavo tube 230xr

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and as well for our bulbs on set we are using the pavo bulb the 10c bulb

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and for our camera we had an alexa that's very fun.

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Nick happens to own one, our DP, who was working with us, and we were using the Arcana Dizio lenses because Nick hadn't tried those out yet, so he wanted to test those out.

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You see a little theme there.

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All of our gear, in terms of lighting, was provided by NAN Lux and NAN Lighting, so I wanted to disclose that in this video, that they did provide the gear we got to use on set.

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And I gotta shout out Nick Pilecki, our cinematographer on this.

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He's become a good friend a great collaborator we have our power grade

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that we've made together whenever i call him up

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and say hey do you want to do a camera test he's all in

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because we get to try new things and mess around

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and learn and when we were doing this interview setup

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which i'll do a separate video on that there was a bunch of stuff

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that immediately we realized wasn't working but then i got to sit there with him

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and discuss it and actually learn a new way of kind of setting up

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that interview space the way i hadn't thought before these are the chance for you to have a a calm mind, a calm set, and no pressure on deliverables,

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and mess around and try new things.

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Your favorite Hollywood cinematographer and directors spend months before they go into a feature film doing camera tests, and these are veterans of filmmaking.

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Just like an athlete takes so many shots in practice so that when they're in the game time, they're ready to go.

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Think about Air Bud.

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They practiced all the time.

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That dog was a champion so that they could win every game they played, and in fact, every sport that we end up seeing

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that dog and or ape play air bud practices so so should you by the way

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if you like lighting guides i threw a couple free resources down below these are checklists

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and guides we have with full breakdowns lighting plots

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and step -by -step checklists for you to go through your lighting whether it's small interviews

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or big ones these are free resources that the art of documentary provides

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so i have those down below if you want have some extra knowledge for

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when you're going out there and hopefully doing camera tests

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the next lighting technique to eliminate stands on your set

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and this is the most common way you'll see people hiding lights

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and it's not even necessarily really hiding it's just emulating sunlight and that's bringing your lights outside of your set, on the other side of windows,

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punching them in through those windows and back into the set.

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There's just a few quick things I wanna say about this that you have to watch out for.

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One is obviously your pole.

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This is again now going to be in your shot if you're not careful.

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We were shooting on anamorphics, so sometimes that helps because your background bouquet is so blurry, but there's still some times that we did catch it.

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Sometimes just had to hide those poles with foliage, can look a bit goofy, but a person's eye may just see it as a bush.

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The bigger the light you have, the further you can put it away so it can be out of your shot and punch it back in.

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We had the Nanlux 600C light and that was helpful, but we still had to have it somewhat close in because it was a giant, giant room.

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But I love punching lights from outside of windows.

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It's just nice to have those pool of lights there and you can break it up with what we call dingles, putting some foliage in front of that window.

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In the case of the condo, we didn't want to directly have it right onto Elisha.

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It's not all the time that you see in a house where light is just hitting someone directly in the face.

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You can see my office, it's just ambiently pooling in.

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So sometimes you do want to have it just bounce into the room.

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In this case, we shot it off the ground because that is more common, the angle that a light would come.

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This is something I do a lot of times in apartment buildings where you can't necessarily

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get a light outside the window because we're up on the fourth or fifth story, is if you get access to a balcony what I'll do is I'll take the light

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and rather than point it directly at our subject I'll kind of point it into the ground

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and let the passive light bouncing off the ground just lift the face 10 to 20 percent

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so it feels a little more natural than

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if you took this blasted it right at your subject directly

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and tried to diffuse it there's always just like there's this

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uncanny part where like it still looks like you have a light out there

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so this just a way of like feathering it in

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and hiding more in plain sight the sunlight isn't always at

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dusk unless you're shooting on a vr stage like all these mediocre hollywood films these days

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but you can put the light above and bounce it off of the floor

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and then up into your character's face like we did

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so it becomes almost like that bounce that gabe was using earlier

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so in the condo nick had the idea of having a more aggressive angle with our 600c

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which we put out on the patio just outside the door there.

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We had that bounce off the ground into Elisha's face, which was really great.

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One way to hide those lights outside the window as well is just letting the window blow out.

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This is normal.

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Our eyes sometimes will see windows just as big, white, bright squares.

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If you remember when I had Stefano Ferrari on here talking about his Netflix cinematography, he often will just have a window blowout.

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So this is another way you can hide

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that light by just having it fully overexposed but be careful too

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that you're not shooting directly into the light sometimes it feels like suddenly there's a sun right outside the window

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which is weird the sun isn't just going to sit there 10 feet from your window

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so you kind of have to play with it

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and begin to really ask yourself does this feel realistic is there a way

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that we can shift it away can i sacrifice a perfect

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flare in order for the room to feel more realistic it's kind of a push

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and pull that you want to have

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and this is where i recommend doing camera tests

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and for you getting a feel of where you can place

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a light from an exterior window as i mentioned one of the other techniques you can do

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so you don't really have light stands on set is what we call hollywooding

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or bouncing this may seem quite obvious to you

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but it's still a technique used on all the major movie

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sets having things like gabe standing there with the four by

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four bounce just to get some extra catch light onto elisha helped

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and then gabe since he's handheld he is now the human c stand He can walk around pull

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that in pull that out

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and can listen to our DP saying waste it away Bring it in catch that light a little less.

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This is a way that you can get dynamic lighting on the fly We even had Gabe

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when he had an actual painters pole

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and had a clamp on the end of that with the pavo tube

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And we tried some stuff like

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that it can sometimes work kind of want to diffuse it

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can start looking spotty Something you want to be careful with

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that's why you'll see a lot of lighting techniques people using

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these big long bamboo poles with china bulbs on the end the china bulb is very soft

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and it has a lot of ambient light

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so you're not casting big deep dark shadows

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so having one of those around set sometimes can help

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or you'll see people using spotlights like

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when we did this vr shoot we had adrian our lighting

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technician running around with handheld lights powered by v -mounts getting

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us these spotlights it's quite fun you can get some dynamic shots

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and suddenly your light is acting like a camera picking off people

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and shooting different areas well i hope you enjoyed

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that shout out to nan light for providing all of our

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lighting gear in this video become a big fan of using their gear

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and they've also just helped support us shoot

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so many videos i don't know why i'm leaning away i guess i just wanted to show the bulbs again

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and uh thank you gabe

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or gaffer kim elisha landon nick just fun people find some people you like

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and get out there

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and get practicing all your lighting it's just Those are some of my favorite days the pressures off

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and I know I'm gonna get to grow

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and learn as a filmmaker Can't recommend it highly enough get

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into those resources down below their free resources We put a lot of time in them to make sure

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that they're practical tips that you can follow immediately in your career and on set I hate goodbyes, but I love Stroopwafels.

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Yeah, they're good the Dutch you and your windmills produce some tasty thin Syrupy waffles.

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All right.

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Have a good one

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24 cümleler

Bu dersin kelimeleri ve konuşma notları

Bu videoda gölgeleme çalışması için 231 cümle ve 3186 kelime var. Konuşma bölümü 15:13 sürüyor. Konuşmacı hızlı konuşuyor, dakikada yaklaşık 209 kelime; bu yüzden birbirine bağlanan ve zayıflayan sesler duyacaksınız. Kelimelerin %83’i İngilizcede en sık kullanılan 3.000 kelime arasında; geri kalanına başlamadan önce bakmakta fayda var.

Bu videodaki önemli kelimeler

Videodan öğrenmeye değer 15 kelime, telaffuzu ve anlamıyla:

Kelime	Telaffuz	Anlam
bounce fiil	/baʊns/	sekmek
tube isim	/tuːb/	tüp
pole isim	/pəʊl/	kutup
nickname isim	/ˈnɪkneɪm/	takma ad, lakap
angle isim	/ˈæŋ.ɡəl/	açı
documentary isim	/ˌdɒk.jʊˈmɛn.tɹi/	belgesel, belgesel film
lamp isim	/ˈlæ̝mp/	lamba, ampul
technique isim	/tɛkˈniːk/	teknik
plain isim	/pleɪn/	düzlük, ova
punch isim	/pʌnt͡ʃ/	yumruk
swap fiil	/ˈswɑp/	takas etmek, değiştirmek
ugly sıfat	/ˈʌɡli/	çirkin
laptop isim	/ˈlæp.tɑp/	dizüstü, dizüstü bilgisayar
ceiling isim	/ˈsilɪŋ/	tavan
realistic sıfat	/ˌɹɪəˈlɪs.tɪk/	gerçekçi

Duyacağınız deyimsel fiiller

Kelime	Telaffuz	Anlam
go out fiil		çıkmak
take away fiil	/ˌteɪk əˈweɪ/	götürmek

Bu videodaki dil bilgisi

Konuşmacının en çok kullandığı yapılar, videodaki sözcüklerin aynısıyla:

Yapı	Videoda
Present perfect have/has + fiilin üçüncü hâli — geçmişte olan ama şimdi de önemli olan bir eylem	haven't really seen taught · have swapped · we've made
İlgi cümlecikleri who / which + cümle — bir kişi ya da şey hakkında ek bilgi	people who are · and which is · someone who might
Edilgen yapı be + fiilin üçüncü hâli — kimin yaptığı değil, ne olduğu önemli	are seen · was provided

Dikkat edilecek telaffuzlar

Konuşmacı you're, I'll, I'm gibi kısaltılmış biçimleri 59 kez kullanıyor. Bunları duyduğunuz gibi kısa söyleyin.

“th” sesleri: width /ˈwɪtθ/, thin /ˈθɪn/, athlete /ˈæθ.liːt/, feather /ˈfɛðə/
“sh” ve “zh” sesleri: shout /ʃaʊt/, extension /ɪkˈstɛnʃən/, exposure /ɪkˈspəʊ.ʒə(ɹ)/, shadow /ˈʃædəʊ̯/, crucial /ˈkɹuː.ʃəl/
Uzun kelimeler — vurguyu doğru yere koyun: documentary /ˌdɒk.jʊˈmɛn.tɹi/, necessarily /ˌnɛs.əˈsɛɹ.ə.li/, eliminate /ɪˈlɪm.ɪ.neɪt/, automobile /ˈɔː.tə.məˌbil/, terminology /ˌtɝ.məˈnɑ.lə.d͡ʒi/

Bu videoyla nasıl çalışılır

Videonun tamamını konuşmadan bir kez dinleyin ve bilmediğiniz kelimeleri not edin.
0,75× hızla başlayın, cümle cümle tekrar edin ve kolaylaşınca normal hıza dönün.
Kendinizi kaydedin ve orijinaliyle karşılaştırın; bounce, tube, pole gibi kelimelere özellikle dikkat edin.

Gölgeleme Tekniği Nedir?

Gölgeleme, başlangıçta profesyonel tercüman eğitimi için geliştirilen ve çok dilli Dr. Alexander Arguelles tarafından popüler hale getirilen, bilim destekli bir dil öğrenme tekniğidir. Yöntem basit ama güçlüdür: ana dili İngilizce olan bir sesi dinler ve hemen yüksek sesle tekrar edersiniz — konuşmacıyı 1-2 saniye gecikmeyle takip eden bir gölge gibi. Pasif dinleme veya dilbilgisi alıştırmalarının aksine, gölgeleme beyninizi ve ağız kaslarınızı gerçek konuşma kalıplarını eşzamanlı olarak işlemeye ve yeniden üretmeye zorlar. Araştırmalar, telaffuz doğruluğu, tonlama, ritim, bağlı konuşma, dinleme anlama ve konuşma akıcılığını önemli ölçüde geliştirdiğini göstermektedir — bu da onu IELTS Konuşma hazırlığı ve gerçek dünya İngilizce iletişimi için en etkili yöntemlerden biri yapar.

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