Creative Sparks: Kevin Thorn

Awesome.

I'm curious if you can share any lighting tips.

I took a lighting class myself and we use like ellipsoil, Fresnel lights, you know, the cookie, all those things.

If you can share a little bit about lighting techniques and tips.

Yeah.

I mean, it's changed so much since, since then, like back when I was in film school, I, man, I'm aging myself here, but like, yeah, we just had like REs, everything was, you know, tungsten and HMIs, you know, big, big, beefy, hot lights that, you know, you can't really shape or do too much with.

Um, so, so, you know, a lot of gels and modifiers and, um, yeah, It's a good way to learn, though, because like if you don't get the basics, then you can't play with this newer stuff.

But everything's LED now.

And I love I love the how economical it's gotten, how light it's gotten, how much you can like.

Everything's got this wide color spectrum.

And I don't know if I'm really answering your question, Devon, but yeah.

Yeah.

Anything specific, I guess you would want to.

No, lighting-wise, like...

Oh, no, that's good.

And so let's add one more thing to that.

So if you can share, what is three-point lighting?

Yeah, absolutely.

So three point lighting is a backlight, a fill light and a key light.

So I would say in the digital kind of like shooting techniques, negative key has kind of become like the big thing.

So it's like things are more backlit than they used to be when things were shot on film key lights.

Which is so key lights traditionally are the side of the face that is closest to the camera of the actor.

And that used to be kind of like the brighter part of the image.

And things have kind of reversed because digital images have a tendency to look a bit more flat.

So they try to pop things out from the background more by bringing the key down and the fill up.