Hey, what is up? My name is Rubidium. Today we are going to try and do a daytime interior lighting setup in my studio. There are a couple of challenges of this. The real way to sell daytime interiors is to have the daytime coming in so that you can actually see outside. My studio only has one window. I mean, it's really just a glass door. So we're going to create some windows here on the right side. We're going to put some talent here in the center of the room. We're going to add a few different elements to give depth, to give separation. And then we're going to shoot something. So for our first stroke, we're going to sort of work out where the talent's going to be and put in a key light. This is our space. What I want to do is get talent sitting down, camera sliding in. We'll create some foreground eventually. I want to have a beam of light before and after the talent. And then we'll use a hazer to kind of visualize the beams of light. But my first light is going to go here and it's going to become our key light. But I want it to brighten the talent, but not the rest of the room. So we're going to put a grid on it. It is an uncharacteristically overcast day in LA today, but it's still going to be probably too bright. Our window for the scene. I want it's going to blow out. But I have two solutions to that. I have a two rolls of neutral density. One is a point six and one is a point nine. So this is going to take out two stops. This is going to take out three stops. I'm just going to hold them up to the window and see if they do what I want them to do. So I decided to go with the point nine ND and put this up against the window. We're shooting pretty early still. It's like 1030. And by the time we roll in like an hour, it's more likely than not that the summer have come out more. So I'd rather over-endee than under-endee. . . With this a professional shoot, I would probably cut the ND to size and then wet the window and put it on and squeegee it and make it make it much more refined. But for these purposes, we're going to kind of just throw it together and see if we get something good. So this is our first, we'll put up our key light here. Tell you take LC120, got it at daylight, which is what the camera is set to and we've got it a hundred percent up. We're getting a little spill. So what I'm going to do is snap on the stick on the egg crate. So that's brought my level down a little bit, but it's also brought the spill off the wall and the table a little bit as well. I may have to once I put my other pieces in here, flag that a little bit more, maybe off this wall back here, but for now, I think we're doing okay. So the next step is to add in some beams of light one behind me and one in front of me to give that feeling that this isn't an unmotivated light that there's actually light streaming in. I'm also going to warm that up so that it feels more sunlight. This is our backlight or one of our backlights that's going to be pretty much the only tungsten light we use. It's in fact 300 watt and my hope is that as well as giving some beam of light, it'll kind of hit the back of the subject's head and give them that feeling. We don't have any haze in here. Right now, but eventually, we'll get kind of like a cool smokey effect into the space and we'll be able to see the beams a lot better. I'm just going to put it on this same light stand with a sandbag and a sea stand arm. So now, the hopefully the stand itself won't be in shot now. So we have our camera on a slider now so we're able to go in and out, but there's no real foreground. So what I'm going to do is use a light stand and a sea stand arm to hang two pieces of cardboard either side of the end of the slider. So it looks like it. There's a doorway that the slider is the camera is moving through. Breed up these two flats. I can only find one black. So the other one is a studio sign, but I've put them on the end of the slider and they're going to create foreground as the camera moves through. We're going to just haze it up and really haze up the room a little bit and then do a test shoot. What's great about shooting in your own studio is you can shoot a shooter test, put it into the computer, look at it, grade it, see if it's what you want and then go and shoot the real thing. So this is our basic setup. We moved the key light a little bit further around so it's not so siding and it's more front-on. Also lowered it so that I'm getting more of an eye light. And this side was pretty much completely dark. So I added a light and motion stellar 2000 light on a sea stand. I didn't have any sea stand arms left so I'm just using a piece of plumbing pipe and I've got it gaffer taped to the end. Not the most professional secure way to do it but the way that we're doing it today. So I checked the exposure and the composition on the computer itself. I'm not sure about the flags either side of the slider. I don't think that reading has a doorway. I think it kind of reads as like flags. So we're going to maybe move them a little bit wider apart. Just have them at the start of the slider move and we're going to smoke this place up and shoot it.