100:00:00,170 --> 00:00:07,049when

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when I was in film school John hora was
one of my first lighting mentors and

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he's a brilliant cinematographer he shot
everything from gremlins to Michael

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Jackson's Moonwalker so I was honored
that he agreed to share some of his

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knowledge for the series

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many of you know that I was a
cinematographer for several years and

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I've been a commercial photographer for
over a decade so my approach to lighting

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is going to be a little bit different
from a traditional photography tutorial

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now because this is our first volume
let's talk about what mastering lighting

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is and what it is

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after years of teaching photo camp I've
worked with students of all ages and

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skill levels and I've got a pretty good
handle on not only what photographers

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want to learn but also how they learned
best my goal is to get you in the

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driver's seat as closely as I can as
often as possible and together we're

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going to tear apart the lighting setups
for some of my most recognizable shoots

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in my experience the fastest way to
learn is to jump in the water first and

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then worry about how to swim I think we
found a good pace but if you find any

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parts to faster overwhelming we've
broken into chapters so you can re-watch

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as you need to

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when I was a kid I was fascinated by
filmmaking but growing up in Baltimore I

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felt light years away from hollywood so
I learned most of my early knowledge

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from directors commentary tracks which
if you've never heard one is like having

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an incredible conversation with the
artist so some of the series will be a

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photographer's commentary as I walk you
through real-world problem solving under

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the pressure of an actual shoot in going
through the slick force archives we

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found hundreds of hours of behind the
scenes footage and tens of thousands of

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still photos so we're going to use some
of that too and finally will recreate

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some of the shoots virtually so you can
experience first-hand the same issues I

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encountered when I walked on set now I
already know there are going to be

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people who bring up the size of our crew
or the amount of equipment we use as a

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reason why they can't duplicate these
setups and I'm going to answer that in

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two ways

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first this is just the gear that I use
at this point in my career but I started

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with no crew and $10 Home Depot
floodlights shooting at fast ISO's and I

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gradually built my team and lighting
Arsenal as our studio became successful

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so don't let excuses stop you

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anything i show you here you can do
yourself with very little money

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in some creativity second if you want to
be taken seriously as an artist then you

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want to work towards using whatever
equipment allows you to tell your story

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most effectively my audience tends to
get most excited about our large-scale

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set-ups so that's what I'm going to
focus on first but nothing I'm going to

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show you is out of your reach this also
won't be all technical if I tell you my

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light is on FB that doesn't do you much
good because an FAA means different

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things at different ISO and shutter
speeds and you all know exposures can be

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manipulated in post-production so we're
going to focus on not only how to light

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but how to think about lighting and why
you like in a certain way because the

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most important thing is that you leave
here with tools that increase your

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creative control as an artist now I've
seen some of these lighting tutorials

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out there that are 10 hours long and I
really think that's unnecessary time is

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your most valuable asset and the worst
thing for your career or your art is to

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never leave the classroom I'd much
rather you go out and spend those extra

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hours shooting and gaining experience
and then come back to me and tell me

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what problems are running into and what
you'd like to see in the future value so

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with that said we've got a lot to cover
so let's get started

結果 (中文) 1:

100:00:00，170--> 00:00:07，049电影的时候学校的约翰费拉我第一次的照明导师之一和200:00:07，049--> 00:00:10，809他是一个辉煌的电影摄影师，他拍摄一切从到 Michael 的捣蛋鬼300:00:10，809--> 00:00:14，090Jackson 的月球，所以我很荣幸他同意分享一些他的400:00:14，090--> 00:00:15，790一系列的知识500:00:15，790--> 00:00:18，949你们很多人知道我是几年来的摄影师和600:00:18，949--> 00:00:22，680我已经为一名商业摄影师十多年来所以我照明的方法700:00:22，680--> 00:00:25，910就稍微有点不同从传统摄影教程800:00:25，910--> 00:00:30，060现在因为这是我们第一卷让我们来谈谈什么掌握照明900:00:30 060--> 00:00:31，390是和它是什么1000:00:31，390--> 00:00:35，620经过多年的教学照片露营我同所有年龄段的学生和1100:00:35，620--> 00:00:38，780技能水平和我过得很好处理上不仅什么摄影师1200:00:38，780--> 00:00:43，239想学，但他们也学会最好我的目标是让你1300:00:43，239--> 00:00:47，620驾驶员座椅密切尽我所能为我们经常在一起，以及尽可能1400:00:47，620--> 00:00:51，329会把撕碎的照明设置对于一些我最容易辨认的芽1500:00:51，329--> 00:00:55，879以我的经验最快的路学习是第一次跳进水里，1600:00:55，879--> 00:01:00，260然后对如何游泳的担忧我认为我们发现好的步伐，但如果你发现任何1700:01:00，260--> 00:01:04，500我们已经快压倒性部分闯入的章节，所以你可以重新看一遍1800:01:04，500--> 00:01:06，009因为你需要1900:01:06，009--> 00:01:10，369当我还是个孩子着迷电影但成长在巴尔的摩我2000:01:10，369--> 00:01:13，969所以觉得好莱坞光年我学到了我的大部分早期知识2100:01:13，969--> 00:01:17，950从董事评注跟踪的如果你从未听说过一个人，就像2200:01:17，950--> 00:01:21，890令人难以置信的交谈艺术家，所以一些系列将会2300:01:21，890--> 00:01:26，039摄影师的评注走边你通过现实世界的问题解决下2400:01:26，039--> 00:01:30，210在实际拍摄的压力通过光滑部队档案我们2500:01:30，210--> 00:01:33，729发现了几百个小时的背后幕后片段和数万名2600:01:33，729--> 00:01:38，560仍然那么我们就要使用一些照片那太，最后将重新创建2700:01:38，560--> 00:01:42，649一些芽几乎所以你可以同样的问题我的亲身体验2800:01:42，649--> 00:01:46，079当我走在集上现在我时遇到已经知道肯定会有2900:01:46 079--> 00:01:49，829人造就我们船员的大小或所用的设备我们用作3000:01:49，829--> 00:01:53，329为什么他们不能重复这些的原因设置和我要去回答这个问题的3100:01:53，329--> 00:01:54，649两种方式3200:01:54，649--> 00:01:58，880首先，这是只是我使用的齿轮在我的职业生涯，但我这一刻开始3300:01:58，880--> 00:02:03，840没有船员与美元 10 家得宝泛光灯射击快速 ISO 的和我3400:02:03，840--> 00:02:07，560逐步建立我的团队和照明作为我们的工作室阿森纳成为了成功3500:02:07，560--> 00:02:10，159所以，不要让借口阻止你3600:02:10，159--> 00:02:13，569什么我展示你在这里你可以做自己用很少的钱3700:02:13 569--> 00:02:18，159在一些创造力的第二个如果你想认真对待艺术家然后你3800:02:18，159--> 00:02:21，599想要致力于用什么设备可以告诉你的故事3900:02:21，599--> 00:02:25，579我的听众趋于最有效关于我国大型最激动4000:02:25，579--> 00:02:29，359这就是我要去的调校但我什么先重点4100:02:29，359--> 00:02:33，889你这也是你遥不可及的显示不会如果我告诉你的所有技术我4200:02:33，889--> 00:02:37，599光是在 FB 不会给你多好的因为美国联邦航空局意味着不同4300:02:37，599--> 00:02:41，719在不同的 ISO 和快门的事情速度和你都知道暴露可以4400:02:41，719--> 00:02:46，069所以我们在后期制作中操纵将重点关注不仅如何点亮4500:02:46，069--> 00:02:49，889但如何考虑照明和为什么你喜欢以某种方式，因为4600:02:49，889--> 00:02:52，989最重要的是你离开在这里与工具，增加你4700:02:52，989--> 00:02:56，739作为一名艺术家现在创造性控制我看到一些这些照明教程4800:02:56，739--> 00:03:00，930有的是 10 个小时长和我真的觉得这是不必要的时间是4900:03:00，930--> 00:03:04，769你最宝贵的财富和最坏的打算为你的职业生涯或你的艺术的事情是5000:03:04，769--> 00:03:08，459永远不会离开我的课堂而是你出门，花那些额外5100:03:08，459--> 00:03:11，969几个小时拍摄和获得的经验然后回到我身边，告诉我5200:03:11，969--> 00:03:15，909问题正在遭遇和什么你想要看到的未来价值所以5300:03:15，909--> 00:03:18，549与那说: 我们有很多，包括所以让我们开始吧

結果 (中文) 3:

1
00:00:00170——> 00:00:07049
当我在电影学院的约翰霍拉是我的第一个
照明的导师和

2
00:00:07049——> 00:00:10809
他是一个出色的摄影师他拍的
从小鬼到迈克尔

3
00:00:10809——> 00:00:14090
杰克逊漫步所以我很荣幸，他
同意分享他的一些

4
00:00:14090——> 00:00:15790
知识的系列

5
00:00:15一切，790——> 00:00:18949
你们许多人知道我是一个
多年，

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我已经
十多年的商业摄影师，我的照明方法

7
00:00:22680——> 00:00:25910
将从传统的摄影教程

8
00:00:25910——> 00:00:30060
现在，因为这是我们的第一卷
一点点不同
摄影师让我们来谈谈如何掌握照明

9
00:00:30060——> 00:00:31390
是什么以及它是

10
00:00:31390——> 00:00:35620
后教学照片营年我
曾与所有年龄和

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技能水平和我有一个很好的
手柄不仅是摄影师

12
00:00:38780——> 00:00:43239
想学也学
学生最好的我的目标是让你在

13
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驾驶员座椅尽我能为
经常尽可能和我们一起

14
00:00:47620——> 00:00:51329
会撕裂的照明设置
我的一些最知名的芽

15
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以我经验
学习最快的方法是跳到水里的第一和

16
00:00:55879——> 00:01:00分开，260
然后担心如何游泳，我想我们
找到了一个很好的步伐，但如果你发现任何

17
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部分快压倒我们
断成章，你可以再看

18
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你需要

19
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当我还是个孩子的时候我非常
电影但我在巴尔的摩

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成长感觉光离好莱坞如此
我学到了我大部分的早期知识

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从导演评论音轨，
如果你从来没有听说过一个像有

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难以置信的对话与
艺术家的一些系列将是一个

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摄影师的评论，我走你的
通过实际问题的解决在

24
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压力对实际拍摄会
通过光滑的力档案我们

25
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发现数百个小时的幕后花絮和
数万

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照片所以我们要用一些
，也终于将重新

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一些枝条几乎可以让你
亲身体验同样的问题，我

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遇到当我走上集现在我
已经知道会有

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的人带来了我们的船员
大小或设备的数量在

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理由不能复制这些
设置和我要回答，

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两方面

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第一这只是我的齿轮使用
在我的职业生涯中，我开始

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没有船员和10美元的家庭站
泛光灯拍摄快速ISO和我

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逐渐建立我的团队和照明
阿森纳我们工作室成为成功的

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所以不要让借口阻止你

36
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什么我告诉你在这里，你可以做
自己用很少的钱

37
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一些创新二如果你想
是认真对待作为一个艺术家，那么你

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想努力用什么
设备允许你告诉你的故事

39
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最有效的我的读者们都
得到最兴奋的我们的大型

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设置UPS，这就是我要
关注第一但没有我要

41
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告诉你超出你的范围，这也
赢如果我告诉你我的

42
00:02:33889——> 00不可能所有的技术：02:37599
光FB，没什么
好因为FAA意味着不同的

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事物在不同的ISO、快门速度和曝光
你都知道可以

44
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后生产操纵，所以我们
去关注不仅仅是光

45
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但如何看待照明为什么
你喜欢在一种特定的方式因为

46
00:02:49889——> 00:02:52989
最重要的事情是你离开这里
工具，增加你的

47
00:02:52989——> 00:02:56739
创造性的控制作为一个艺术家，我现在
见过一些照明教程

48
00:02:56739——> 00:03:00930
在有10个小时，我
真的认为这是不必要的时间是

49
00:03:00930——> 00:03：04769
你最宝贵的资产和最糟糕的事情
为你的事业和艺术是

50
00:03:04769——> 00:03:08459
从来没有离开教室，我更
而你去花那些额外的

51
00:03:08459——> 00:03:11969
小时拍摄并获得经验
然后回来我告诉我

52
00:03:11969——> 00:03:15909
什么问题都跑到什么
你想看到的未来价值，

53
00:03:15909——> 00:03:18549
说我们有很多要
所以让我们开始