It’s Jordy here for
and welcome to Creative Tuesday! You guys asked for it, because
we put out a poll yesterday… …which kind of video
that you wanna see… …and you guys chose for… …a cinematic look with
household lights. And that is what we’re going to do today.
We got Justine, our studio model. She’s going to be the stand-in, while
we’re going to play with some lightbulbs… …and we got some other household
lights in the back… ground. So, let’s do it! Roll the intro! [Cinecom Intro music] So, here we have a couple
of household lights. We have a desk light, another
desk light from IKEA, we’ve got an LED strip, we’ve got this lightbox right here,
which is also pretty cool. You can put letters in here
if you want to. And also here I actually
took of a lightbulb… …from our technical space and
hang a cord to it… …so that we can plug
this in into the wall… …and that way we have
a lightbulb hanging. These are all household lights… …and we’re going to use these lights
to create a more cinematic look. There are two ways
of lighting a scene. The first one is to illuminate
your subject… …and the second one is to
actually light the scene. And there’s a very big difference
between the two. The first one, illuminating a scene,
is where you just wanna… …put up a light on your
subject so that it is lit. And that way your subject
is not dark. But it is not cinematic at all, it’s
usually considered to be flat. And the other way is to actually
light your scene. And the purpose of lighting your scene
is to create more depth in your shots. And then we are talking
about a more cinematic look. Now, it doesn’t matter if you are using
professional lights, like over there, or if you are going to use household lights
like we have seen previously. What is important though is how
you are going to use those lights. And you can divide them
into three categories: you have the key lights, you have the back
lights and then the practical lighting. The first light is going
to be the key light… …and I’m going to use the flashlight of
my phone right here to demonstrate… …on Justine, the studio model. So, the key light sits
off the screen… …but it will shine on your
subject on the front side. Now, having it to really shine on
the front, like I’m doing right now, …will just make it flat. Now we are illuminating the subject,
which is exactly not what we want to do. So we’re going to place the key light
on the side of the subject. And as we’re doing this you can see
that it kind of creates a shadow… …over the right side
here of Justine. We can also place it on the right side and
then we have the shadow on the other side. Now, which side
should we choose? Well, that depends on the viewing
direction of your subject. If Justine would look to the
left side in her shot… …we’re also going to place
the light on the left side, or the right side, depending
on how you look at it. By doing this we are shooting first
against the shadow side of Justine… …and then we’ve got
the highlight side. If that would have been
the opposite, like here, we are first filming against the highlight
side and then the shadow side. And this is again considered
to be flat. You always want to have
your shadow side first… …and then the highlight side,
like we are seeing right here. So, normally I would say it doesn’t
matter which light you pick… …as a specific type lighting. But for the key light it is
a little bit more important.. …because we are going to
illuminate skin tones… …and we definitely don’t want
skin tones to look bad. Now, usually these decorative lights
like LED strips or LED desk lights… …have a pretty bad lighting quality
in the term that I mean… …LED lighting, or cheap LED
lighting can cast a green color hue. And that is why I would always
recommend to go for tungsten. Right here we have a normal
tungsten bulb, it doesn’t cost anything and
usually you can just… …take them off the ceiling
anywhere in your house, and they always have a superb
color quality in their lights. So, we’re going to use tungsten
lighting as the key light. Let’s hang up a light bulb. So, I’m using a c-stand for this, guys,
because it’s just easier and convenient. We have these laying around
in the studio. But be creative, find any way to
hang up your light bulb, it doesn’t matter how you do it, just as long as your light bulb
is hanging somewhere. Now, usually you wanna optimize
your lighting for the skin tones, and that usually means
optimizing your key light. and you’ve already done that
by working with tungsten lighting, which is a much better quality for
skin tones than cheap LED lighting, which could give that green cast. Now, what we do see with tungsten lighting
is that it is a very yellowish color, as you can see. So, that’s why you need to set your
in-camera’s white balance to tungsten… …or to something around 3200 Kelvin,
if you want to set it manually. Now, what you are probably
seeing right now… …is a very bluish light cast
coming through the studio. And that is because we have all the
day light coming in in here. And that is something that
you want to avoid at all time, mixing two lighting colors,
definitely if they cast… …on the front or on the
skin tones of the subject. You can have different colors in the back,
but that is for later in this video. So what we’re going to do right now
is close the ceiling right there. So this is great now, we only have tungsten
lighting coming from the front, which is illuminating
the skin tones. So, that means we can set the white balance
in the camera to tungsten lighting. But what if you do have a
big window in your scene? Well, we’re going to take a look
at that later in this video, how you can deal with that,
with mixed lighting. The next lighting are
the practical lights. And practical lights can be
visible on your shots, or their light casts can be also visible
in the background of your shots. And these are considered
to be more creative lights. So, you can start playing with colors,
for example use an LED strip, or you can also have like a desk
light in the background there. But, important though, is that
the lights in the background… …are not going to draw
too much attention. So, usually, practical lights are going to be
a little bit more dimmed than a backlight, which we’ll see after this one,
or also as your key light. And now we have two types of practical
Lightings here in the background. We have an LED strip, which is shining
a blue neon light on the wall, and then we also have an Ikea desk light
here, which is actually visible in the shot. This is great because now we are creating
highlights in the dark background, which again creates
a lot more depth… …having these spots of highlights
in the background. Now, these practical Lightings
right here don’t really make sense. If you are shooting for example
an interview in a living room… …then do make sure that the practical
Lightings, which are visible in your shot… …also act to the story
that you are telling. So, for example, it’s not really so great
to put an Ikea desk light in there, it would be just
completely random. Make sure that there sits some kind of
a decorative lights in the background, that also fits within your
living room scene. And finally is the backlight. And the backlight is actually a little bit
optional, you don’t need a backlight. But it is pretty cool as it will create
this halo around your subject. I’m using again an IKEA
light for that. This one here costs around $10, so you
can find great lights everywhere… …for not much money. And backlights have to be
harder in their source. And because it has this cone
here around the light bulb, it’s more directed and that way
you have a more harder light source. I will place this in the back of our
scenery, is going to be off-screen, because if it was on-screen then it will
function more as a practical lighting. It’s going to be off-screen
and also… …usually you wanna place your backlight
on the opposite side of the key light. So, in this case we’re going to position the
backlight on the left side of the subject. But you can also position it
in the middle of your subject. Just don’t put it on
the right side. So, what we have created right
now are layers of light intensity. We start off with the shadow
side right here. Then we have got a highlight side
coming from the light bulb, which is the key light, then
we’ve got a dark background, and then we’ve got this rim light here around
me, which is coming from the backlight itself. And then we also have some practicals in the
back, which is breaking that shadow again. So, lots of layers of
lighting intensity, and that is what cinematic
lighting is all about, which creates a lot of, or actually
enormous depth in your shot. So, we’re bringing our knowledge to what
we’ve just learned to the office right here. I didn’t bring any
lights with me, I’m just going to use
the same principles… …and use the available light
that we have right here. So, there are some ceiling
lights, as you can see, we’ve got a big window
over there and everything. And we’re just going to
use those things. And those who are wondering why
we have Logan Paul against our fridge… …well, make sure to subscribe
and you might find out later. Buy my merch… I don’t have any merch. So, I wanna have a key light, a practical
light and a backlight. And I’m just going to use the huge window
right here as my key light. So, let me just grab a chair
and sit right there. What I don’t wanna do right now
is turn on the office lights, because then I’m going to mix
tungsten lighting with daylight. So I’m just going to
keep them off, turn my head that way so that we are
shooting against the shadow side, we got the window right there, and that is already
our key light. Then let’s turn on
the practical lighting. I’m actually sitting in front of
the kitchen. Let’s check it out, guys! Let’s turn on the kitchen
light, there we go. This is our practical lighting. And then finally I wanna
have a backlight. And for that I’m just going to use one
of the ceiling spots right here. I can just turn on it… …with one click or one
push of a button. We’ve got ourselves a backlight and
we just have to turn that a little bit. so, I’m going to use Yannick’s
chair and just stand on it… …like this. Damn it! And just aim it to… …where I’m going to sit. Something like that. And now we’ve got ourselves
a backlight! So, let me just sit
right here now, guys, and let’s have a look
at the lighting setup. As you can see it’s
awesome! We’ve got a shadow side right here,
we’ve got the key light right here, a highlight, then we’ve got
a shadow background, we’ve got a rim light coming
from the backlight… …and we’ve also got
a practical light… …which is braking again that
more darker background… …in the background. Looking great, guys! Now, before I’m going to leave you
guys, I first like to show you… …FilmConvert, which is absolutely
an amazing plugin… …for Adobe Premiere Pro. And its purpose is to emulate the
film grain on top of your footage. Now, because it’s a plugin you can just
drag and drop it onto your clips… …and it is not a replacement for Lumetri
but it kind of works as an extension to it. From the input you can actually select your
camera model and picture profile… …from which it will set
a default gamma. Then you can go through the various
controls of the color correction tools… …to really create a look
that you like. And once you’ve
created something… …you’re even able to export
everything to a lookup table. And having a LUT means that you can
load it into Lumetri or any other video editor. You can share it with your friends
who might not have FilmConvert… …or create several LUTs for yourself… …that you can load in
at any time. When you shot something that had a wrong
white balance, try and fix that with Lumetri. It’s very hard to do when
you’re not shooting RAW video. I have no idea how
this plugin does it, but their temperature
control nails it! So, definitely make sure
to give it a shot, guys. You can download a trial version
from their website or get 10% off… …by following the first link
in the description below. Thank you all so much
for watching, I hope that you’ve learned
something new from this tutorial. But most importantly… …stay creative! -So, let’s replace… Oh shit! Let’s replace Justine with
a real person now, so that you can see it
on real skin tone. You see here, much better. Very nice skin tones. This is really good
if you’re itching.


  1. Can you please do a video on how to properly film a movie with dialogue and how to film a wide screen shot where the mic operator can not be seen? Ive always wondered, do they do a close up film the dialogue then reshoot the same scene and just add the master dialogue ? But then how do they capture the same feeling for and tones to mimic the other scenes?

  2. i loved this episode so much. so were not suposed to mix the color tempeture but we can stack them on different parts of the talent. like day light as key or tugstain for backlight

  3. There's a song by Kendrick Lamar called King's Dead, in which at the very end there's this really cool scene where Kendrick is standing at the street while a bunch of cars and buses are moving around him. I wonder if you could show us how to recreate that, please! Love your videos, keep up the excellent work!

  4. Hi Jordie, I really like your videos because you're funny and you teach me a lot.
    as you are one of the best youtubers, I would like to ask you if you can make a brief video (as I know you use sony as well) about the gamma setting S-log2 as I am so dumb to do not really understand it, probably lots of people would appreciate.
    thanks and next time you'll be in Amsterdam I will come to your workshop.

  5. I like the format of this video! Nice change, more uncut and in-depth. Are you thinking of doing this more? PS – that skylight is amazing!

  6. Hi Jordy you did a great job thank you for this video , however i have a question ,the last time a shoot a corporative video for a juice compagny here in Montreal than i did have only a Fresnel ( tungsten light ) only , i did the WB automatically in the Camera ( Panasonic AF100) but the picture seem to be not correct( the interview the person was too close from the window ) , i have a link to the video , please give me your feedback 
    link :

    Thank you

  7. I really love your videos, the concept of asking for the video's topic is great ! 🙂 You're awesome, much love from France 🔥

  8. Hi, Jordy. My name is Malik from Kenya. I have been watching you and following your channel on YouTube and I would love for you to make a video on the different terms used by film makers and explain what they mean please.

    plz help me for the glow effect in the premier in attached link on 10 sec

  10. Really informative video but I am a little confused where am I suppose to put my lightbox when I film face front to the cam?

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