In this How To Video episode, we’ll be breaking down different types of gear you can use to get the job done. We’ll show you the difference some easy and inexpensive changes can make, and contrast it with gear that could cost over $10,000. So, is it worth the investment? Let’s find out.

In the video below, Nick LaClair, Creative Director at Sproutvideo, will show you the main categories of gear to worry about, and how you can accomplish the best videos at various price points. 

Essential Home Studio Gear

When it comes to producing a great video, a lot goes into it, but without good sound, picture, and lighting, your production will suffer. These may seem like basic points, but without them, your viewers may not stick around to see your full video. 

In each of these three categories, depending on your budget, what you use can make a really big difference in perceived quality. The low and high end will be very noticeable, but the middle can be a bit harder to distinguish. This works in your favor if you can’t afford the top of the line equipment. 

Audio

Sound quality is going to be one of the most important aspects of your video. After all, if your video looks good, but sounds terrible, it won’t get your message across. 

Utilize Your Existing Tech

Assuming you have a computer, the lowest and most basic tier for audio would be just using the built-in microphone. If you’re recording with your built-in webcam, this is a great way to get started without any additional costs. 

Mid-Range Mic Options

The next tier would be purchasing a mic to add to your setup, which may range in price from $100 to $300 or more. A wired lavalier (lav) is usually the cheapest option. Since you have to plug it in, then clip it to your shirt, it will be visible in your shot. Since they are popularly used on live TV, that might not be a dealbreaker for you, but it may not be your desired look. 

An affordable camera-mounted shotgun mic would be the next level up. If you’re using a camera, this type of mic plugs into the audio jack, sits on top of the camera, and points at the subject. In a typical home studio, the mic would still be far from you when you’re filming, but thanks to the pickup pattern of a shotgun microphone, you will hear far less background noise than with your laptop’s built-in microphone.

In the $150-$300 range, a podcasting condenser microphone is a bit more expensive but will produce really great sound. However, similar to a lav, you’ll see the mic in the shot. Since this is a full-size microphone, it’s very noticeable, especially since it needs to be right in front of you.

For more on audio, be sure to watch our full run of audio-specific How To Video episodes.

Employ a Full Boom Setup

Last, but certainly not least, is upgrading to a boom mic setup. This would include a boom pole to hold the mic, a high-quality directional shotgun microphone, and potentially a phantom power adapter to power the microphone. This setup will allow you to capture the best audio while keeping the equipment out of your shot. However, this will be the most expensive option in the $300+ range.

Video

When it comes to video quality, you may have more options readily at your disposal in contrast to audio.

Webcam Recording

As mentioned before, using your built-in webcam on your computer is a no-cost option, assuming you have a computer or laptop at home. Yet, just like the built-in microphone, this is going to be the most basic option, and the results won’t be all that amazing. 

The built-in webcam has a really tiny sensor, so it won’t capture high-resolution footage. Also, it will shoot a really wide shot, which might not be desirable since you have to worry about what’s in the frame. If you have a perfectly appointed and organized home studio, that might not be a big concern, but for the rest of us, less is sometimes more.

To get the most out of your webcam, place your laptop on a stand or some books so that the webcam is more or less in line with your eyes. If your laptop is usually on your desk, this will result in a more flattering angle.

Use Your Smartphone

Another item you most likely already own that can be used to capture video is your smartphone. The newest smartphones capture high-quality video with the front camera, and even better video with the back cameras. Even if your phone is a couple of years old, there’s a good chance it may outperform your built-in webcam. The best part is this won’t cost you any additional outlay either. If you go this route, an inexpensive smartphone tripod, usually $20 – $50, is well worth the money.

Purchasing a dedicated premium webcam is another good option, ranging from $100-$200. You’ll be able to plug this right into your computer, which adds a convenience factor. Without having to buy anything else, you’ll also be able to easily use it for live streaming or all those endless video conferences. 

Opt for a Professional Camera

Lastly, while upgrading to a DSLR, mirrorless camera, or camcorder will set you back $1,500 or more, you can guarantee your image will be top-notch. Here at SproutVideo, we use Sony cameras, but there is an enormous number of options available. To learn more about what to look for when choosing a camera, explore our full post on choosing the right camera. 

If you want to use your external camera or camcorder for video conferencing or live streaming, you’ll have to purchase a capture device, and in the case of live streaming, encoding software. We just launched live streaming last year, and made an entire guide you can use to get on your feet. Take a look at our Six Simple Steps to Live Streaming for Business to get started.  

Lighting 

Last but not least, the all-important element of lighting. Most likely you’ll only need one light source for the videos you’re producing at home. If you can swing it, the free option is to use the ultimate light source: the sun. If you can set up your home studio such that you can face a large window with even light, you’ll be all set. The downside is that sunlight isn’t always reliable, and of course, you’re also restricted to filming during certain daylight hours. 

Upgrade to a Ring Light

One of the best alternatives to going all-natural is to invest in an entry-level ring light. We use one that is about $150 dollars, including a stand, and also features adjustable color temperatures so you can change the look if needed. 

The next step up from this would be a three-point studio lighting setup, with a key light, a fill light, and a backlight. This may be a bit overkill for your at-home studio, but if you have the room for it, you can produce that perfect glow-y lighting that the pros deliver. To learn how to pull that off, head to our video on the Best Practices for Studio Lighting. 

As you can see, some small changes can make a big difference for your footage. No matter where you’re starting from, there’s probably a change or two that will be worth your while.  

Still, the underlying lesson here is that you shouldn’t let your gear, or lack thereof, hold you back. If you have a good message and get the most out of your gear, you can produce great work with whatever you have. 

Let us know in the comments below what you’re using in your at-home studio.

The post How to Upgrade Your Home Video Studio appeared first on SproutVideo.

However, we also had to operate with a very small crew, with everyone’s safety as the very first priority. Some of our ideas were just unworkable with COVID-19 protocols.

Here’s what we came up with, and how we pulled it off.

228 Days Later

For those keeping track, Halloween falls roughly 228 days after life in the US was upended by the global pandemic. Before we go behind the scenes, watch the frightening final cut below:

The Concept

We ran through a lot of different ideas before arriving at our winning concept. This year has felt particularly apocalyptic, so at first, we explored themes around natural disasters and zombies.

However, we quickly realized those plots would’ve required quite a few extras, make-up artists, and more crew members to pull off the way we wanted. In order to keep our shoot as safe as possible, we needed to come up with a script that didn’t require as many people in front of or behind the camera.

Enter the ultimate villain. After trying to come up with a different evil character for our heroine to fight, we realized nothing is scarier than 2020.

After all, our lives are still in upheaval, and the year isn’t even over yet. We also thought it would be really satisfying to see someone square up to this particular evil-doer and fight back.

The Script

Once we had a concept, the script came together fairly quickly. We only planned one spoken line of dialogue since we mainly needed to build up suspense until the big reveal of our villain.

We decided to use the spacious house to maximum effect. Our heroine wanders the halls and peeks through a seemingly disordered array of rooms as the threat becomes more tangible.

The pinnacle of the storyline is the confrontation with the source of all the horror. The abject terror in her eyes says it all: this year is the actual worst.

As it turns out, you can run, but you can’t hide from 2020. The final scene is a classic, 80’s-inspired shot of the heroine facing up to this awful year with everything she’s got.

The Shoot

In order to create the right atmosphere, we needed a dark set. While there are other solutions, the easiest option is usually to shoot at night. We planned two night shoots to capture all the footage.

While night shoots are tough because of the hours, you wind up with plenty of time to prepare before the camera rolls. If you’re diligent, they tend to be pretty efficient.

Night one, we tackled most of the simpler and atmospheric shots. For instance, most of the scenes with Alexandra walking around were filmed on night one. This approach allowed us to more meticulously plan the action scenes for night two.

Leading up to the first night, we staged rooms, charged batteries, and set up lighting equipment. For night two, we worked on props and put the final touches on certain rooms where action would be unfolding. On both nights, when the sun went down, we were ready to film.

The only footage we shot before sundown were the scenes in the garage. Since it didn’t have many windows, it was possible to black them out with garbage bags and gaffer tape. This saved us a few hours at night on day two.

Tradeoffs On Set

Since we were operating with a really bare bones crew, we had to make certain tradeoffs. Nick LaClair, the creative director at SproutVideo, was our director, camera operator, and art department. Brandon Ivey handled lighting and sound, and Alexandra Riley Morton was our lead actress.

For the scale of the shoot and the amount of equipment we were using, you would typically have at least three assistants. Ideally, one person would be focused on audio, with another on lighting, and another would handle props, costumes, and staging.

However, due to COVID-19 safety precautions, we decided to make do with a smaller crew. This meant on-set audio would be harder to capture, but that fit with our concept since we only had one line of dialogue.

It also meant that while we had wanted to craft a physical representation of 2020 to use as our villain, it wasn’t feasible. With our team already stretched so thin, there wasn’t anyone to act with a 2020 prop beyond casting ominous shadows on a wall.

Instead, we decided to create the monster in post-production, which often feels like a gamble. In this case, we think it paid off.

Equipment

Considering the size of our crew, we had to keep our equipment equally as efficient. Here’s what we used on set:

• Sony FS7 Camera
• Fujinon 18-55 Cine Zoom Lens
• SLR Magic Anamorphot 65 Adapter
• Tilta Nucleus Remote Follow Focus
• Sachtler System FSB 8 Tripod
• Hollyland Cosmo 500 Wireless Video Transmitter
• Monitor with Stand
• Dracast Fresnel Pro LED 5000 Light
• Two RGB LED Panels with Stands and Smartphone App
• Three Arri Tungsten Lights with Stands
• Cardioid Microphone with Stand
• Fog Machine

The anamorphic lens imbued our footage with a cinematic quality to give it a more classic horror movie look. It’s subtle, but it’s apparent in the level of background blur and oval-shaped bokeh in the shots.

With such a small team, much of our equipment had to be used remotely. The camera was hooked up to a wireless monitor so Brandon could pull focus at a distance while Nick filmed with it handheld. Similarly, the RGB LED panels were controlled with a smartphone app, which meant less running around to adjust the lighting.

Lighting Design

Since our villain was figurative, and would only be added with CGI in post-production, we used a red light to represent it on our shoot. This enabled us to set up some strong visual contrasts from start to finish.

We used warm, ambient lighting for the opening scene. As it becomes apparent that all might not be well, our actress leaves the well-lit kitchen for darker areas of the house. When she finally encounters the evil villain, red light washes over her face for a classic horror movie scare.

The big Dracast light was used to illuminate outdoor shots, and to cast the shadow of 2020 on the wall. The RGB LED panels (seen above behind Nick) served as our monster because we were able to program an automatic on-off cycle for one light, with the other left on a constant glow, and control both remotely. The fresnels were mainly used to tweak background lighting within the house (also shown above, highlighting the pool table).

For more tips on lighting a scary scene, check out our guide to classic horror movie lighting.

Post Production

Beyond the basics of editing and color grading, we had to create a monster to represent the year 2020 with CGI. Sara Greene, SproutVideo’s marketing designer and After Effects whiz, had this to say about how it came together:

As a fan of 80s horror movies, the red glow of the room instantly reminded me of horror movie classics like Poltergeist and The Thing. With that aesthetic in mind, I applied various effects to the 2020 text in After Effects to make it warp, shift, blur, glow, and to give it an ethereal quality to essentially bring the monster to life. Along with Nick’s help in post-production, I think we achieved making the monster look as natural as possible in its environment.

Sound Design and Music Score

Without a dedicated person to capture sound on set, we wound up recording some noises after the fact. For instance, the zipper, wine bottle, door slamming, typing, bag dropping on the counter, and general room ambience were all captured after filming wrapped.

Ideally, we would’ve placed a lav microphone on Alexandra when she was running through the woods. Again, facing limitations in crew size, we chose to use a handheld boom for those shots. We also used a boom on a pole for a majority of the rest of the shots in the house, with the exception of the hallway walking scenes, where we were able to use a lav.

To learn when to use each type of microphone, check out our guide to the three essential microphone setups.

Terrifying Tunes

Picking the right music was incredibly important. With practically no dialogue, we knew we’d have to use music to transport our viewers and create tension.

Just like the lighting, the music helps transition viewers through the different stages of the film. We open with a warm, eclectic vibe, but quickly spoil the mood with some unrecognizable sounds. As they get louder, the upbeat music fades, and our actress investigates. As she gets closer to the source, we shift to much more dramatic music and louder monster sounds. Finally, when she retreats to the garage, we shift the mood with a big change in the score to signal her determination to face her fears.

By mapping your music choice to the emotions you want your audience to experience, you can help transport them along on your journey.

We loved watching this idea come to life, and hope you enjoyed it too. Do you have any special video tricks or treats up your sleeve for Halloween this year? Any horror movie film techniques you’d like to explore? Share your thoughts in the comments below!

The post 228 Days Later: Behind the Scenes appeared first on SproutVideo.

Think products, tutorials, or stop motion videos. These classic examples of tabletop filming require a certain level of perfectionism to get right.

In this episode of our How To Video: Lighting series, Nick LaClair, head of video production for SproutVideo, will walk you through how to properly light a still life video shoot. We’ll specifically address the challenges posed by regular stationary objects, shiny objects, and beverages, with tips for enhancing the end result.

Still Life Shoots are Surprisingly Difficult

At first glance, tabletop filming seems very straightforward. Place an object on a table, film it, and that’s all she wrote. Turns out, there’s much more to it than that.

As anyone who’s ever attempted a still life shoot will know, harsh shadows can be very difficult to work with, as can glare bouncing off the object itself.

If you’re not experiencing those lighting extremes, you might be dealing with the opposite problem: an object that reads as flat on camera. A lack of dimension means a lack of interest for the viewer.

Not to worry, Nick’s simple trick for getting the lighting just right will ensure your objects take center stage, for all the right reasons. Learn how to bring out the best in your tabletop shoot in this detailed tutorial:

What Not to Do

Just as important as the right lighting choices are those you want to avoid. We recommend staying away from light tents, even though they are inexpensive and readily available online.

While light tents work well for very specific types of objects, they aren’t a good solution for most tabletop shoots for a few reasons. First, light tents surround objects with light, making them look flat on camera. Second, they offer few options for shaping the light around your object. This limits your ability to achieve a specific look on camera, or to add dimensionality.

The bottom line: working with a light tent is likely to result in a flat, one-dimensional image on camera. That’s not going to wow your audiences in a video.

Materials Needed

For a tabletop shoot, you don’t need lots of fancy equipment. Basic studio lights and a few extras will get you very far.

Since we were showing a variety of examples, our equipment list is much longer than yours is likely to be. Also, there are many inexpensive alternatives to most items on this list. A little creativity can save a lot of money if budget is a concern.

Here’s a rundown of all the materials we used for our shoot:

• Two Tungsten lights with color gels
• Two 1 x 1 LED light panels
• Clamps
• Stands to hold the backdrops and lights
• Silk panels (diffusers)
• Seamless backdrop in white
• Black and orange pieces of poster board
• Jib*
• Camera
• Tripod

* A jib is a flexible boom device that holds a camera on one end, with a counterweight on the other. It pivots on a fulcrum closer to the counterweight, enabling you to smoothly move the camera in a very controlled way. In our shoot, we not only used the jib for the camera, but also for changes to the lighting in certain scenarios.

You’ll note we didn’t need a microphone for our still life, and that’s typical for this type of shoot. Usually, the footage from a tabletop shoot is paired with a voiceover recorded separately.

Set and Repair

The basic concept behind Nick’s approach is very simple. It’s similar to classic three point lighting in a studio. The main difference is that your lights are typically much closer to your subject, and as a result, you might not need a backlight.

Here’s the basic process. First, set your key light and your fill light. Then, repair the result by adjusting the effect of the fill light until you get the look you want. What do we mean by “repair” in this context?

Sometimes, your key light casts unwanted shadows, or creates too strong a contrast between the highlights and low lights in your image. A fill light largely solves those issues by acting as an overall scene light.

However, sometimes the fill light is not quite enough to create a balanced, appealing image on camera. You might need to shape the light further by partially blocking the fill light, and/or panning it to reduce its overall impact.

We used a large piece of black poster board and two clamps to create a propped up flag for this purpose. Then, we panned the fill light to adjust the amount of light hitting the background until it looked just right. Check 1:02 – 1:33 for a demonstration of this technique.

Upgrade the Backdrop

Now that we have a grasp of the fundamental process to set and repair our light, let’s add some extras.

The first example uses a seamless backdrop – a popular choice for many tabletop shoots. For some types of objects, however, showing a surface and a wall as the background will make more sense.

You can fake this by using large, colorful pieces of poster board, found at many art supply stores or chain retailers. Simply slide one piece underneath your object, and prop the second card up behind it. Using two different colors usually works well.

Adding Lights

The first two examples in the video show what can be achieved with just two lights. However, you can create even more dramatic effects with just a few additional lights.

When filming stationary objects, it’s important to think about the focal point for the viewer. What really needs to pop on camera?

We used a typewriter to highlight ways additional lights can enhance the end result on camera. First, an overhead light cast through a silk provides a symmetrical, uniform glow across the whole scene. Because of the elevated angle of the main light, we don’t need a fill in this scenario. You can see this light at the top of the image below.

Then, we added a small Tungsten light to spotlight the background. This light is shown in the image above on the left, partially hidden by the silk panel. It helps draw focus to the typewriter and adds interest to the scene.

Finally, we added another small spotlight to highlight the keys on the typewriter. That’s the small light to the right of the camera above.

After all, the keys are the tactile part of a typewriter nearly everyone wants to tap. By highlighting them, you’re drawing the viewer’s eye to the keyboard and building anticipation.

Shiny Objects

Conversely, shiny objects are naturally eye-catching, but present unique challenges from a lighting perspective. The goal is to show off the shininess of the object without blinding the viewer or making it impossible to see the details of the object itself. Avoiding unwanted reflections is key, especially for anything with a mirror-like surface.

Ideally, you want to capture what are known as “catchlights” on camera. A catchlight refers to the light bouncing off a reflective surface. It also refers specifically to the reflection of a light in someone’s eyes, which is a flattering effect in photos or video.

To achieve a uniform, appealing reflection on a shiny object like our knife, you’ll need big light sources to cover the surface with even reflection. We’ve used one soft light as our fill to light the scene, then we added a lightweight LED as our catchlight.

In the image above, you can see the silk in the center with a light (not visible) directed through it to diffuse light evenly onto the scene. Then, the complicated looking light in the upper left corner of the image is our LED light on the jib, also with a diffuser on it.

Similar to how the keys are the focal point of the typewriter, the sharp blade is the key feature we want to show off for the knife. We mounted the LED to a jib so we could move the catchlight across the blade. This helped highlight the smooth, precisely engineered blade.

After all, you want to trigger excitement about the product you’re showcasing. Look for similar ways to draw attention to the most important aspects of the item you’re filming.

Better Beverages

Beverages can also be hard to capture in an appealing way on camera. In this example, we follow the general rules featured in our episode on filming food, and add a special trick to help the drink look particularly appetizing.

For starters, as with other food videography, our key light is backlighting our object. This gives the liquid in the glass a nice glow on camera.

Then, we add a soft fill light to illuminate the glass and the background. The combination of the fill light and the key light is working well for the beverage, but is causing some strange effects on the righthand side of the screen (catch it at 3:12 in our video above).

After adding the same black card we used earlier to partially block the fill light, we now have a nice even light across the frame. At this point, we’re almost ready to film.

For a finishing touch, we emphasize the glow-y effect created by the key light by adding an orange spotlight just to the left of the glass. This adds some ambiance and extra interest to the scene.

In the image above, Nick is about to pour the beverage, and all the lights are in place. Closest to Nick, you can see the spotlight with an orange gel on it. In the center, you can see the bright key light pointing at the beverage directly to backlight it. Then, to the right, there’s the fill light with a black card and a silk in front of it to shape and diffuse the light.

Adding Action

Except for the very first example, which we used to demonstrate the basic lighting technique, a common thread throughout our tutorial is to add action to your still life shoot.

Granted, that’s a little counterintuitive based on the nomenclature. However, action is required to captivate viewers and hold their interest. The key is to add action in a focused way that doesn’t distract from the object itself.

For instance, we poured the beverage into the glass to show its effervescence and movement; we moved the light around the knife, or rotated the knife itself to show off the blade; and we typed on the typewriter to highlight the fun aspect of using one.

Think about the object you’re filming, and determine which aspect your audience is most likely to be interested in. Which of its attributes are most appealing? Do any play particularly well on camera? What sets it apart from similar items?

Solving the Still Life Puzzle

The subject of a tabletop shoot can vary tremendously, and each object has its own story to tell. If you follow the simple process to first set your key light and fill light, and then repair the lighting until you get the effect you want, you’ll wind up with a professional result.

Set, repair, repeat.

Do you have any still life shoot tips or tricks we missed that are important to share? Sound off in the comments below!

The post The Simple Trick to Lighting Still Life Video Shoots appeared first on SproutVideo.

To help you set off on the right foot, we put together a primer on the basics of proper lighting for video.

What’s Wrong With the Lights I Have?

When you look around the room, everything probably looks nicely illuminated and normal. Sunny windows are pleasing, especially in an office environment. Even overhead fluorescent lights seem tolerable, though no one really loves them.

On film, normal lighting scenarios often don’t work the way you’d expect. For instance, overhead lights can create harsh shadows on subjects’ faces. Fluorescent lights sometimes flicker, or cast everything in greenish hue. Sunlight can work in your favor, or, it can create silhouettes that darken your subjects’ faces.

To reproduce attractive lighting on film, you have to take a few extra steps beyond flipping the lights on in a room. There are three main factors in achieving your desired lighting outcomes.

• What is the mood of this scene?
• Are you indoors or outside?
• What light sources are available to you?

The mood of the scene will, to a large extent, dictate the color temperature and intensity of your lighting design. For example, a romantic scene would likely be glowing with warm lights – think candlelit dinners in dim restaurants. A tense scene might be colder, with bluish tones and stark whites, not unlike an office.

Whether you are indoors or outdoors will impact how you tackle your lighting setup. The fundamental differences between the two are important to consider when planning your shoot.

Outdoors

Outdoors, you’ll benefit from the sun’s rays as an excellent light source. However, you don’t have control over its exact positioning, or its intensity, or variability.

Consequently, you have to work around it by changing the angle of your shoot in relation to the sun, the timing of your shoot, using lens filters, or all of the above. Carefully planning the shots you need to get with a specific kind of light will help organize your shoot, and keep the lighting consistent.

Another complicating factor can be the power sources available to you outside. Unless you have tons of long extension cords, you’ll likely be constrained to battery powered lights.

Another option to keep in mind are reflective surfaces. Requiring no power source to work, they are very popular on outdoor shoots. Even plain white foam board can provide the highlights you need in pinch. Be sure to have a stand and some tape, or an assistant, to hold one in place if you plan to use it.

The time of day will largely dictate the color temperature of the sun’s rays. During the middle of the day, when the sun is overhead, you’ll be dealing with the strongest rays and whitest light. Since this can create harsh shadows, or wash people out on camera, consider shady locations for filming instead of working under the direct sun.

Early in the morning, or about an hour before sunset, the light will be warm and golden in tone. Beautiful on camera, this “golden hour” is a favorite time to work for film makers. Nearly universally flattering, it gives everyone and everything a lovely glow.

When working outside, plan to be flexible, time your shoots according to the angle of the sun, and be prepared to adapt quickly to changing conditions.

Inside

If you’re filming inside, you have much more control over the positioning and intensity of your lights. For many reasons, this can be ideal.

The drawbacks really depend on your particular location. Are there enough outlets? Are there curtains or blinds to reduce glare from windows? Can you position the lights you need in a way that seems natural on camera?

There are many tricks you can try to optimize on camera lighting. For starters, work with the lights you’ve got. Reposition table lamps and floor lamps, or tilt lamp shades to eliminate shadows and highlight your subject. That might be enough to get started, depending on your project.

Sometimes, the lights you turn off or dim are key to the best lighting setup. To minimize harsh shadows, turn off or dim overhead lights, or unscrew bulbs if you only want some of them on. Clip heat-proof parchment paper over bright lights to act as a diffuser if you don’t have a lampshade on hand. Swap out bulbs for different color temperatures to evoke different moods.

When filming indoors, make sure you have plenty of accessories handy, and try to work with what you’ve got.

Standard Light Sources for Filming

Nearly all professionals use three-point lighting as the foundational principle for their lighting design. You can adjust it to suit nearly any circumstance by tweaking the intensity of each light.

Here is the basic layout for three-point lighting, courtesy of Penn State University’s Media Commons:

Key light

This is the main light that will be pointed at your subject. A common placement for the key light is about 45 degrees to either side of the camera, and about 45 degrees up from the subject.

Fill light

This light fills in the shadows created by the key light. You will know the fill light is placed correctly when the shadows behind the subject disappear. If instead you see two sets of shadows, you need to dim the fill light.

Note: As a corner-cutting measure, you can use a reflective surface to bounce light from the key light back into the shadows. You can do this with a white foam core board, which is easy to find, and costs only a few dollars.

Back Light

This is optional, and is often used to create a warm, “halo” effect around subjects being filmed. Place the back light behind the subject, about 45 degrees up. The same effect can be created by filming outside, when the sun is about 45 degrees up from your subject’s head and shoulders.

Cost of Video Lighting Equipment

The type of lighting kit you use will vary based on your budget and preference. A set of studio lights can cost anywhere from around $100 to thousands. If you plan to integrate video into your company’s marketing on a regular basis, it will be worthwhile in the long run to invest in a solid video lighting kit.

If that doesn’t seem reasonable, we have an extensive guide to setting up great lighting on a budget.

Anything to ask or add? Leave a comment below!

The post Video Production 101: Lighting appeared first on SproutVideo.