How are you doing guys? Lewis here with Fedivo. Filming in a studio with a white backdrop seems like a fairly simple concept and to be honest it's pretty much quite like filming in Golden Hour. It's a location that can give you good results with very little investment. However, there are going to be some best practices that you're going to want to follow to ensure that you get new money's worth. So let's just jump into it. In this environment, let's talk lighten. In most circumstances, the studio you hire should have lighten available to illuminate the background in a basic fashion. However, if you rock up to set and it looks like something like this, well, you're going to need to light the background and the subject. Now, you're going to want to avoid hard light, as that will generate shadow and shadows can be distracting as they shatter the boundless white background. Likewise, hard light typically has a small falloff area, so it will be challenging to illuminate a background evenly. So we want to make sure that only light on set is soft. Soft light minimises the shadows preserving the backdrop's integrity and many LEDs with a large source as soft in nature. But if you do only have hard light, you would need to use modifiers like a softbox or even a DIY solution like a makeshift shower curtain to help you achieve this. But all in all, you want to keep the lights on the background soft and on the subject soft. However, even when using soft light on a subject, shadows can still occur. Therefore, the subject's position is important. So tip two. So the goal when filming on a white backdrop is to maintain the illusion of the infinite white background. In its name, you want it to look infinite. Two things that can throw that off is if there are shadows from your subject being projected onto the backdrop. But also, if the white background is perhaps scuffed, there's some dirt that hasn't been cleaned. It's going to cause havoc in post. So you're going to want your subject just to step forward so we can throw the white background out of focus, even though it's not inherently going to look that much different on the image itself. And I would also recommend in filming at a focal length of, say, 50mm or at depending, of course, on the size of your studio. So you're going to want to position your lights strategically. And I think it might be in nature to just take your most luminous light, position it nice and close to the backdrop in order to get that stark white finish. That's not what we want to do. We don't want to overexpose the background because the NAS is going to start causing issues when we're looking at our subject. And in fact, what you're going to want to do is distance your light. So the light becomes softer and then in turn creates an even spread of light across the backdrop, which is what is going to help contribute towards the infinite backdrop look. Don't be dismayed if you don't have a pure white background off the fly. Take a look at these adverts and tell me what do you see? All of the models and shots they take place in front of a white cyclorama. Yet if I was to pause and take a handful of these shots into Photoshop, then use the colour selection tool. We can see the hardly any of them are actually truly white and they linger in the ground between white and grey. This is fine and often this will still be perceived by the audience as an infinite white background as it's more white than grey. But if you did want a pure white background like what you see in the wide interviews, you would need to ensure that your contrast is well spread over the scopes, which you can achieve with the gain and lift wheels as well as the contrast slider itself. Now this will result in a contrasty and saturated subject so bear that in mind as it would then require further correction. But this is also why when we do see a pure white background in commercials, the video is usually black and white. So while the goal is to make sure that we have our background evenly illuminated to create the illusion of that infinite background, what we don't want is for our subject to look like it's from a 90s infomercial where both sides are just brightly illuminated. So we want to actually introduce some contrast in order to get a better looking subject for the interviewee or the presentation. So what we can do is if you are just working with lights on a stand, just knock down the power in order so the fill of the light isn't as intense, we're not just working with essentially two key lights. So now that's looking a lot better. Oh, alternatively what we can do if we wanted to create an even stark looking image is just bring enough lag. Just block off the light and the ambient light in order now to create a really nice looking image on our subject rather than again it looking like a 90s infomercial. Alright, I've been Lewis with Fidevo. These are some of the core principles that you're going to want to follow and in doing so you're going to get some great results when you've both done a studio. So be sure to subscribe a little bit. So be sure to subscribe and I'll catch you guys next time.