Looking better, but we need the tone to be more menacing. Just as if the character were set within their dimly-lit household environment in their way-too-empty apartment. In doing so, we now have a more focused overhead light. Thankfully, the lantern comes with a four-section fully-adjustable light control skirt that allows you to shield the light in a multitude of directions. And, darkness is a core staple of horror. Due to the ambient falloff of using this particular tool, too much of the apartment is illuminated. Which is much better than where we were with the default 120d or the softbox. Placing the 120d and the lantern directly above the actor, it’s now given us this moody feel. Shadows form around the eyes, creating an ominous effect. When that window is closed off, it creates a level of uncertainty, even if the eyes we’re looking into are that of our protagonist. As noted by the famous saying, eyes are the window into the soul. When we can’t see the subject’s eyes or a person, in general, it makes us feel uneasy. But, primarily, it creates shadows under the eyes because the brow ridge blocks the light. Now, when illuminating from directly above the actor, it does several things like accentuate facial features and wrinkles. So, let’s attach a boom arm so the light can do just that. Meaning, light is bounced outward at all angles, and as such, it’s primarily used with the light facing directly downward. But, as noted, this is an omnidirectional tool. We’re still getting way too much light onto the walls and background. Now, initially, the lantern isn’t doing much better than the softbox. This is an omnidirectional diffusion tool, and infinitely smaller than the softbox. Instead of the overly-large softbox, I’m going to look at using the Aputure lantern. Therefore, let’s look at a different diffusion tool. Because the softbox has a large diffusion area, it’s illuminating the area in a manner that doesn’t seem right. While this is infinitely better than the light in its default hard state, it still doesn’t give off horror vibes. Of course, using a C-stand, I can raise the light and angle it downward. ![]() The first is that softboxes are large, and it’s not ideal for this tight framing. Therefore, you may initially gravitate towards a softbox. Light position slightly abnormal.īecause the space is small and the framing is on a 25mm lens, it’s not going to be practical to set up a diffusion sheet. Even if we increase the aperture to decrease the exposure, the light direction is also slightly abnormal for an interior. The issue is, using the Aputure 120d in its default state produces an extremely hard light, and this is at 10% power. And, initially, I’m going to place my key light 45 degrees to the subject. The singular light I’ll be using is the small, airy Aputure 120d. Equally, it should be noted, in typical low-budget fashion, we don’t have a lot of space between the couch and the camera. If this were to be a standard shot at night, I might look to illuminate the scene like this. It’s flat, boring, and downright uninspiring. ![]() This is our shot with just using household lighting. In low-budget fashion, we’re only going to use one main light, with two practical lights. Using this premise, we’re going to turn a normalized nighttime scene into something that sets the tone for tension. While it’s mesmerizing to watch, it’s also a perfect example of how the positioning of light can drastically alter not only how an actor’s face is perceived, but the tone of the visuals being presented-from light-hearted and welcoming, to downright terrifying. When the video was published, the snippet went viral with both filmmakers and casual internet users alike. The video below is a snippet from Opale’s music video Sparkles and Wine, which Nacho Guzmán directed. In the video tutorial above, we find out how to do just that with minimal equipment. This can be expressed through several mediums, such as music, camera angles, and-as the title suggests-lighting. This is because, throughout a horror film, the film’s tone still needs establishing. The audience needs to be visually told that the world the characters reside in is not safe, and they’re in danger. Yet, conversely, it’d also be improper to illuminate these normal scenes the same way you would if you were to light a romance or drama. However, during these moments, it’d be impractical to illuminate everything with a horrifying color pallet. The filmmakers will set the location’s geography, establish the lore, and highlight any important details relevant to the story. This is where the audience will bond with the protagonist and learn of the antagonist’s evil doings. You see, mixed in with the horror, there will be relatively normal moments of any scary film.
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