Today I'm recreating a recent H&M ad that I saw starring Pete Davidson from SNL. Now while I don't really care about the celebrity that they use, I do care about the bright interior look that they went for in this commercial. It's a classic lighting style for a lot of commercials and movies like romantic comedies. I'm gonna go ahead and play the ad that I made, but if you wanna go and see the original H&M ad, I'll leave a link up here or down in the description. Alright, let's head out. You're gonna be late. Perfect, let's go. Are you wearing a suit to the dentist? Of course, doesn't everyone? You're nervous, aren't you? No, who are you? I'm not the one getting my teeth drilled. Right. You got this man? Come on, let's go. Wish me luck, little boy. The bright interior look is usually defined by having a low contrast ratio between different sources of light. For example, the key and the fill side is usually about a stop or maybe a stop and a half under. The key and the ambient lighting is also relatively close, maybe a stop or so under. And this just means that the amount of light between something like the key and the fill light are gonna be very similar with the fill light just being a little bit darker than the amount of light coming from your key. And this will still give you some contrast in your frame because every shot does need a little bit of contrast in order to give it definition, but it'll still maintain that bright look. Now, whenever I'm trying to copy or take inspiration from someone else's work, I'm always looking at the lighting ratios that they used. And lighting ratios is simply the comparison between two sources of light and seeing how bright one is over another. And for me, that's how I'll be able to closely replicate what they did for the lighting. And otherwise, I'm gonna be literally guessing at how much light I'm gonna need for my shots. And I'll link a video up here going over what lighting ratios are. So I'm gonna take a couple still shots from the H&M head and I'm gonna put the false colors overlay so that I can see what the IRR values are. Now, when the wide, anchless of shot of character one, we can see that the key light is sitting around 60 IRR, and the fill light is sitting somewhere around 30 IRR. So if we divide 60 by 30, we get two, a two to one lighting ratio, which just means that the key light is two times brighter than the fill light. And if it's a two to one lighting ratio, then it is a one-stop difference. Again, if you're confused about what I just said, I have a video up here that goes over lighting ratios and just how powerful they are. Something else to pay attention to is the ambient lighting for the shots of character one, which are hovering around 40 IRR. So if we take the key light, which is around 60 IRR, and divide that by 40, we get 1.5. The key light is 1.5 times brighter than the ambient lighting. So it is a 1.5 to one lighting ratio, which is just about under a stop. A lot of cinematographers use this technique of lowering down the ambient lighting, so that the brightest part of the image is the subject's face, and it just makes them pop out a little bit more in the shot. Now, when I'm looking at the false colors, I can see that the values around the subject and the background are pre-uniformly spread throughout the image, and that suggests to me that they only use one huge source of light to light up this entire shot. In my commercial for my shot of character one, I'm shooting into the corner of my living room, and there is a big window on the left, and a smaller one on the right. On my Canon C70, I'm shooting at F2.8 at 800 ISO, which means that I have to end the down two stops. What I also did is I pulled the curtains on the big window and closed up the blinds on the smaller one, so that not as much light is coming through those windows. And I'm not getting any clipped highlights. For my key light, I used an aperture 600D with a quarter CTO Joe to get that slightly warmer light, and I'm shooting it through an 8x8 diffusion. And I'm adjusting the brightness of the light and monitoring my false colors at the same time, so that the key light eventually sits at 60 IRA. Now, for my fill side, in order to get it to one stop under the key light, I had to actually bring in another light. I wasn't able to bounce any light back into my face because there would be too far away in that wide shot, especially to get any level onto my face, and just get it even to one stop under. So, I brought in my Godox S150 with a soft box on it, and an 8 crate, so that it concentrates all that light into one area, instead of having its spill all over the place. And again, I'm just adjusting the brightness of the fill light in order to get it to sit around 30 IRA on my false colors. Now, if we go back to the H&M and you can see that the light, the key light, is almost a side light on the character one's face. Not much of that key light is wrapping around past the nose of character one, so that means in my own shot, in my own commercial, I'm adjusting the 8x8 frame, so that it's side light to my face as well. And that's basically it for the wide and close-up shots of character one. You can see it in the original H&M app, they didn't really change up the lighting at all, so for my own shots, I didn't do anything special with them either. And the lighting for character two is basically the same as well. For the key light on character two, I just adjusted the 8x8 frame, so that again, we get that side light on the face. And the fill light is just going to be off screen right, and I'm making sure that my false colors reads around 30 IRA. One thing I did in the wide of character two, is that I added in another light using a small rate RC120D, in the right corner over here, so that it wasn't so dark. Now, I do wish that I had a couple more lights, so that I can light up some of the darker areas in the bottom left corner of the screen. On my false colors, they're only hitting about 20 IRA, or sometimes even 10 IRA, which is not as bright as the 40 IRA that the original H&M commercial had an act. And then in the close-up of character two, I kept the key and fill light the same, but I moved the small rig RC120D over to this corner over here, and tried to bounce some of that light onto the other side of the other wall. However, in hindsight, I don't think I would have done that again, just because I don't think that light is really bouncing anything across the other side, and it's a little too hot, and it draws too much attention away from the face. But that is pretty much it for this breakdown. It's a really simple add. The original add didn't really have any special things going on in terms of the lighting. They had a nicer location with a lot more practicals going on in their shot, and their set design was also really good. But the key to this specific look is to have a nice, big, bright source of light that not only acts as your key light, but it also helps you raise the ambient level around your room so that you can get that brighter look. And adding a fill light that is about one stop under your key light gives you some of that contrast without making your face too dark and moody. But that's it for this video. Let me know if you have any other questions down in the comments. If you liked this video, hit that like button, and make sure to subscribe for more videos just like this. Until the next one, my name is Alex Chung, and I'll see you later. Bye!