You're shooting a video and the light is terrible. How can you make sure your footage looks great?

Zuerst würde ich analysieren, warum das Licht gerade schlecht ist. Was bedeutet schlecht? Schlecht = wenig Licht? Schlecht = ungünstiges Licht? Bei wenig Licht empfehle ich Festbrennweiten mit offener Blende und das richtige Kameramodell, das einen hohen ISO-Wert vertr?gt. Auf keinen Fall empfehle ich, die Verschlusszeit zu verkürzen. Die ergibt sich ohnehin aus der Bildrate. Sonst wirkt das Material schnell wie ein Stummfilm aus den 20er Jahren. Bei ungünstigen Lichtverh?ltnissen wie starker Sonneneinstrahlung empfehle ich, immer in den Schatten zu gehen oder Diffusoren wie ein Sun-Scrim zu verwenden, um das harte Sonnenlicht zu vermeiden.

When you're recording a video and the lighting is less than ideal, the key is to adapt and innovate. Initially, light design is a crucial part of pre-production, yet sometimes things go awry. To ensure your footage still looks great, start by minimizing ISO levels to reduce noise. Harness as much natural light as possible, positioning your subject to take full advantage of it. Utilize reflectors to bounce light and fill shadows, and don't shy away from using household lamps to supplement the scene. Pay close attention to light temperature; mixing different types can lead to unflattering results. With a bit of ingenuity, you can turn poor lighting into a well-lit set.

Lighting to video is oxygen to breathing- always carry the necessary lighting tools for any set up. A very ordinary camera can create great results if the lighting is optimal or creative.

Knowing the fundamentals of cinematic lighting, and light principles such as exposure, and aperture are the only ways to get accurately lit scenes every time. Whether you want a warm sunrise, or trying to achieve a day-for-night effect, understanding how to make the camera settings work in your favor will mitigate any surprises when you go to edit. If you don't know where to start, checking out YouTube tutorials or FREE online lighting and photography resources will give you the foundation to execute any desired visual composition.

When faced with challenging lighting conditions during video shooting, focus on maximizing the available light and adapting your shooting techniques. Optimize your camera settings by adjusting the ISO, aperture, and shutter speed to compensate for poor lighting. Additionally, consider supplementing natural light with external sources, like portable LED lights or reflectors, to improve the overall lighting quality and ensure your footage looks visually appealing even in challenging conditions. Experimenting with different angles and perspectives can also help mitigate the impact of poor lighting, adding creativity to your shots.

Using a tripod will take your videos to the next level. Unless it's a travel or walking vlog, you can keep your audience from feeling like they're on Noah's Ark but using a tripod. Tripods help your videos to stay stable and assist with any shot that you're trying to obtain. The remote control clicker helps while you're testing out your shot so you can see which angle works for you.

Die Entscheidung für oder gegen ein Stativ sollte vom Stil des Videos und nicht von den Lichtverh?ltnissen abh?ngen. Verwackelte Aufnahmen sind auch bei guten Lichtverh?ltnissen st?rend. Auch bei Bewegung im Bild sollte mit Schulterstativen oder Steadicams gearbeitet werden. Für Aufnahmen ohne Bewegung empfehle ich ein schweres Stativ, um nicht befürchten zu müssen, dass das Stativ mit der Kamera umf?llt.

Nicht immer ist ein Stativ n?tig, viel mehr kommt es drauf an, wie das Foto/Video wirken soll. "Verwackelte" Videoaufnahmen k?nnen an richten Stellen passen, oder im Schnitt als übergang genutzt werden.

Es ist besonders stimmungsvoll, mit warmen und kalten Lichtquellen in einem Bild zu arbeiten. Ja, es muss geschickt eingesetzt werden, aber es gibt dem Bild eine besondere Tiefe. Ein Tipp, um das Licht natürlich wirken zu lassen, ist, das Hautlicht direkt am Fenster zu platzieren. Dadurch wird das natürliche Licht verst?rkt und unangenehme Schatten werden vermieden.

If you are unsure of the lighting quality, commit to multiple takes using different lighting combinations. Obviously, this should be planned out prior to the shoot, but if what you are seeing in the viewfinder doesn't feel right, make changes big or small and try again. Even something as minimal as moving a reflector a few inches closer to your subject can make the improvements you need.

It's an EXCELLENT way to achieve professional-quality lighting. Natural light from a window for interview filming can be a game-changer, especially in rooms with poor lighting. I usually position my subjects so they face the window, allowing the soft, diffused daylight to illuminate their face evenly. This setup creates a flattering, natural look that's hard to replicate with artificial lighting. It gently brings out my subject's features and reduces harsh shadows, enhancing their expressions and engagement with the camera. It's also cost-effective and adds a sense of authenticity and warmth to your footage.

Sometimes, you might have no choice but to shoot in a dark environment without additional lighting. Get creative and utilize whatever you have at your disposal! This can include household lamps, candles, smartphone flashlights, computer or TV screens, car headlights, or even the lighting from shop windows. If needed, diffuse smaller lights with materials such as paper or cloth to achieve a softer effect. Be mindful of the color temperature of these light sources, as it significantly influences the mood and appearance of your scene. Always exercise caution with heat-producing lights like candles or certain lamps, ensuring that flammable materials are kept at a safe distance.

I’ve seen this a lot in the past as a news director when a camera operator will change position to improve their lighting. Talent always comes first. They must look good above all else. It’s their story on camera, let them shine. But be careful if your dynamic range. Don’t shoot in shade out into sunlight, if in sunlight into shade. You will crush your blacks or blow out your brights trying to fix it for your talent. Try and control your lights to be consistent across the frame. Avoid windows with lots of light.

In der Mittagssonne ist es besonders schwer. Da hilft h?ufig auch kein ND-Filter mehr. Nutze die Schatten von B?umen, H?user oder anderen Dingen um dein Motiv dort zu plazieren. In der Natur ist man meistens sehr felxibel. So kann man auch mit einzelnen Sonnenstrahlen im Gesicht spielen und einen einzigartigen Look erzeugen.

In my experience, Even with bad lighting, be resourceful! Reposition, use existing light, get close-up. In editing, adjust color, exposure, experiment with effects. Embrace the mood, tell a story with the light and cuts. Turn dim scenes into captivating visuals.

No. Don’t be lazy. Learn the technique’s in camera and save yourself in edit/save your edit department. Edit should focus on colour grading (which you can learn easily through YouTube tutorials, or using Lut packages if there is no other option. It’s okay, not everyone has big crews of skills) or applying effects. But you want most of the work done in camera. At most, warp stabiliser is possibly the best post production fix for camera shots that move, as it punches in and fixes camera shake and wobble as though it’s a steady cam. But with all post production fixes, it does deteriorate the footage.

Color Correction can only do so much. It can make ok footage good, and good footage great, but anything that is over or under exposed to the point that it is washed-out cannot be improved. If you are in dire straits and cannot reshoot the poorly lit footage, you may have to use multiple correction effects, or (as a last resort) use corrective LUTs. These edits are "destructive", and should only be used when the basic techniques of exposure, saturation, and focus, were not followed in the shooting stage.

Die Nachbearbeitung ist wichtig, aber auch das Rohmaterial sollte schon funktionieren k?nnen, denn manchmal sind einige Bereiche durch über- oder Unterbelichtung nicht mehr zu retten. Zu viele Effekte mindern die Qualit?t des Endproduktes und das ist nicht Sinn der Sache. Es sollte lediglich genutzt werden, um dem Video den Feinschliff zu geben.

The first thing that you might want to do is to see where you can make the best use of sunlight. So you need to search for windows. next thing that you want to do, is that see if you can get any kind of reflector it might be a white cloth. It can be a big white foam. This can be used for the secondary light source. You can bounce off some light from your primary key light. in case you don’t have a key light that is soft, you need to get a fluorescent lamp or LED light which you can bounce off and this light can then be used on the subject as the key light. There are a lot of things that we can do with all the material inside a normal, normal household and with very low budget. That’s pretty much, everybody starts making as well.