Below 24 point people have problems seeings things things.
- Even with subtitles the main rule is at least 24 points, avoid serif fonts and most importantly use a drop shadow.
- a drop shadow is a black outline that goes around each letter.

-It’s important for graphics in general, unless you’re dong closing titles, to use drop shadow.
-You have to start to think in terms of your graphics looking clear and crisp in terms of any situation.
-Superimpose is what you want to. Use for graphics. It creates a new track and puts the clip over it. Just place the playhead where you ant it to go and it will drop it there.
-If you’re going to use colored text try to avoid really saturated text because after a couple of generations it will bleed.
-once it’s in final cut the possibilty of really bright graphics bleeding is always there. Massive compression and generation loss will cause bleeding. Generation loss is more with analog footage.

- Don’t go lower thatn 24 point even on jpg files.

- Aspect ratio

Even with 16:9 frame you have to deal with 4:3 issue and title safe. In 4:3 screen (most TVs have plastic around it that’s taking up part of the screen). You lose about 10 percent between what’s being lost and what’s being received.

-the outside box is called action safe. As long as you keep everything within a certain frame of the action then all actions will be seen.
- With the title safe on you have to make sure the graphics stay within the the outlined box.

-

PIck up patterns
Mic types
Power levels, mic level, line level

Pick up patterns is the area in front of the microphone where it most picks up.

Material exchange format:
It’s a format that’s a container format. It’s when people have problems with one format and you can’t transfer because that camera can’t transmit.
We need a shell, a container for that format.
It’s a universal eggshell.
It’s like a zip file.

The extension is .mxf

The software is the format.
The software let’s you open it up in non-linear editing files.

Log/transfer
ProRess 422

Know the difference between overcranking and undercranking.

You will have to worry about artificts which are video glitches.

Slowdown and speeding up.
Time lapse is taking a period of time and condensing as opposed to making something go faster or slower.

Generally specking it’s most effective when you’re trying to exaggerate movement of some kind.

Overcranking can be very slow, but clean.

Undercranking is very fast, but clean.

It’s best when someone is moving.

It depends on what you’re trying to say. If you’re trying to slow things down for what purpose and to what end? Say a frog that is capturing a fly, so if you’re trying to teach someone how a movement works.

Movies sometimes show this effect to show passage of time, to introduce people.

News is about real time. Anytime you see it on a newscast is as an educational news release.

Pro ress 422

Apple developed a codec specifically for HD.

It does some compressions, but compresses in such a way that you don’t loose any quality. The HD files will look better than uncompressed standard def.

You could shrink the file to make it easier to work with and allow for simpler playbacks.

It’s bundled with FCP.

Have Cedric email the test and the production outline info.

Next week we deal with any camera tests we haven’t done.

The Exam is Dec. 15 and so is the final product.

Add transitions and special effects at the end.
Outputting
Save a copy of your project file both on the harddrive you’re working on and a flash drive.

The project is not the media, it’s a list of everything you’re doing. Make sure you keep separate copies somewhere else.

Create a window dub copy.
Ask Cedric to demonstrate how a window dub is made.
If you want to show your project to someone else, having a windowo dub is not a bad idea.
Archiving your project
You may decide that you to archive the orignal footage.
The simplest way to archive is to simply get a harddrive.

A DV tape should be standing on their sides, vertically. Gravity will start taking its tolls on the spool.

You don’t want your harddrive just sitting there completely idle.

File import, files or folder.

Log and capture (For DV media importing) 

Log and transfer (For HD media importing)

Cedric recommends doing the naming of your media before your move your media over.

AUDIO

Try to keep audio at -12 DB

Analog video is easier to bring down than already digitized audio.

FCP has the audio mixer viewer mode. The audio mixer is a great tool because it key frames as you go. 

IMPORTING MEDIA FROM A P2 Card

Using Firewire

Connect firewire from camera to computer

Turn on the computer and change the mode to VTR

Press the START button and hold it down until it says 1394 firewire 

Open up FCP and log and transfer

Treat it just like a harddrive and eject it.

Make sure you eject the disk before you eject your firewire connection.

CREATING BINS

For example interview bins and name different bins by who you interview.

You can designate Broll footage by Bin

Some are just video, audio, stills, graphics.

It’s to be determined by your specific needs.

Use your bins, use them well.

HOW TO GET CLIPS ON THE TIMELINE

Drag into timeline

Overwrite and Insert 

    -Superimpose is for dragging titles

     -FCP is now an open-format timeline which means that if I’ve designated that you’ve wanted to work in NTSC video, DVPRO, HD, etc.

The format in which you designate the timeline any other footage then FCP will upconvert to 720 and it will ask you.

If you shot something at 720/24p then you want to want to go to 1080 then FCP will try to upconvert.

“Do you want to change the sequence to match the clip settings?”

Create new sequences for different formats. Get rid of the old sequence and create a new one with new settings.

Make sequences specific.

Magazines
Videomaker, Video, DV Video, Videography, Computer Video

Internet
http://www.cybercollege.com

http://www.cyberfilmschool.com

http://www.dv.com

http://www. 2-pop.com

http://discussions.info.apple.com

http://www.creativecow.net

http://www.kenstone.net

http://lafcpug.org

http://www.larryjordan.biz

http://www.digitaljuice.com/djtv

http://www.mcn.org/heidsite/video/video.html

http://www.videomaker.com

http://www.computervideo.net

http://www.bavc.org

http://www.media-alliance.org

http://www.wga.org

http://www.script-o-rama.com/table.shtml (for downloadable film/TV scripts)

http://www.filmoakland.com

http://www.webmovie.com

http://www.popcast.com

http://www.lafilm.net

http://www.rebelsun.com/crew.html

http://members.tripod.com/~aarrrggghhh/misnscn.html

http://www.DVCentral.org

http://www.bobstevers.com

http://www.digieffects.com/index2.html

http://www.videography.com

http://www.videomaker.com

http://www.DV.com

http://www.dvinfo.net/vx2000.htm

http://www.IntelligentAssistance.com

http://www.dvcreators.net/workshops

http://www.dvgarage.com

http://writerscomputer.com

http://www.stagetools.com

http://www.supremevideo.com/accessories/sonydigital/sonydigacc.htm

http://polylinecorp.com

http://www.tapeandmedia.com

http://www.aeinsurance.com/packages.htm

http://www.studio1productions.com

Camera and accessories manuals: P2 Store, ug_ag-hvx200, fs-100_quickstart-manual

Web resources are web-resources-for-video.

creative-concept-example

script-abbreviations

talent-release-form

location-release-form

SW Mode

Set up level
where we set up black in analog
In digital we don’t need to set this up. Black can be at zero in digital television

Black in digital needs to at 0 in analog is at 7.5 setup to fade to blacks fade blacks

Can’t have slow shutter and gain, only one.
ATW may not necessarily balance where or how you would like it to balance.

Try to kill the light that is coming from outside. You can chance you lighting to match the light outside.

Rec check will go back to last clip you recorded in 720 mode.

Use black fade button and hold it down until the iris is closed.

Don’t EVER use 18DB

Focus ring controls the iris.
Index Text memo function
Metadata refers to space in your video info that allows you to put specific information about the clip. Very similar to a marker in the program.

There are programs that will open up metadata in the clip and tag it.
You can have 100 markers per clip
You hit index memo while you shoot
Later, you type in the marker on the memo
PT Review is for PC only.
Shock Mark – you mark good takes

CARD FUNCTIONS

Display setup

Zebra settings – set them from 50 to 105% it refers to IRE and the measurement of brightness and waveform monitor.

If you want to control light and exposure, adjust your zebra stripes.
Check your highlights to make sure they’re not blowing out.

Shoot 16:9 protect your 4:3

P3 card mode
Go to menu and change the frame-rate
You must be able to navigate through the display settings, it’ the prelude to post.

Storage
FIRESTORE- 100 gb version of the P2 card, it’s about $1,700. Worth it. Specifically formatted to work with the camera.

There are several ways we can get our P2 footage off the card.

Firestore is a recorder is about 9 P2 cards.

P2 store is to hold information and  temporary storage.
One of the advantages is that

if you have  standard PCI card then you can insert it.
Log and Transfer is the way we can capture the footage designed to work with HD  and AVCHD footage.

vdoteacher@mac.com

Camera Test

We break up into two large groups and spend quality time with both cameras.

Go through the controls on the camera for your camera test.
You will need to know the external controls:

(1) POWER  how to power up the camera, either from the camera or the power supply.

(2) External controls – zoom controls, playback, ND filters, focus controls, iris control

(3) View finder – color bars, shutters, audio particularly audio assignment buttons. Assign to camera mic or mic 1/mic 2.

Make sure how to use the diopter, viewfinder that sharpens the image for different people.

Zoom control, manual white balance.
Mic and line switches

Assign either camera to mic or mic 2 to line
Know about your controls about camera relative to VTR
scene file controls – they are presets for certain types of light levels, color balance, etc.

Focus assist and how to use it.
Know how to unload the p2 card and or video tape.
Will not hit hard on menu control, but you should know how to get into camera menus
Playback controls

We will have class at Video Arts

Built in Mic
It picks up a lot of background noise. Best used at distance 4-6 feet from
the subject.

Shotgun – good at picking up
Handheld mics -
PZM - know as boundary mic, great for groups of people.

II. Examples

A. On camera mic
Omindirectional pick up pattern great for ambient sound only

B. Hypercartoid shotgun mic
Mics are categorized in several different ways and that’s in pick up
patterns. It’s usually in a nondirectional pick-up patterns equally. it’s
great if you’re picking up ambient sound.

Pick up Patterns of shotgun mics:
omnidirectional – picks up from all around

bidirectional – live in front, live in the back, dead on the sides.

Cartoid pick up pattern.

on microphones you’ll see the symbol for the pick-up pattern for that microphone. Picks up the front and side, but not on the back. Cartoid is great because say you’re shooting a speaker you don’t
want the audience noise. Cartoid pattern is great because everyone is dead behind it.

Supercartoid – super and hper as usually your cartoid microphones.

Hypercartoid

How does a zoom mic work?
Zoom mics narrow the range from cartoid and supercartoid and increase the
range going outward. It’s just a matter of range.

C. Microphones are also determined by mic types. The mic works by the fact that
there is a small paper thin diaphram that moves related to the sound waves
that it’s hitting.

Examples:

Handheld -Shure SM 58, workhorse

Dynamic microphone – diaphragm is moving and changing the signal.  Very
rugged, great for outdoors, no battery.
Condenser - sounds better, has a better signal quality than an average
microphone.

Ribbon microphone – instead of having the thin wire that vibrates there’s
this thin piece of aluminum and creates that signal. They were populate
because it produced a very deep, rich tone. A lot of the old announcers have
big booming voices. The disadvantage is that that little strip is very
fragile and hard to replace.

NEVER TEST a microphone by blowing into it.

You can test a microphone by its impedence - with the flow of electricity
there is resistance or an opposite flow of electrical resistance. If we’re
going to have a really cheap circuit we’re nto going to have as many
resistors in it. Cheap microphones don’t have the circuitry to maximize
signal flow. We want to increase the signal to overcome the noise and reduce
the resistasnce to the noise. The better we make the circuit the less
resistance we have. This is called High Impedence of High “Z”. Impedence we
measure in Ohms.

The higher the impedence the worse the mic, so the cheap radio shack mic
would have upwards of 600.
A low Z mic will have an impendence of 250 ohms and below. There’s a couple
of ways we can tell the difference. All low Z mics will use professional XLR
connectors. HIgh Z will use  the quarter inch phone connectors.

the biggest thing you need to be aware of tis that you have to use very
short cable runs for a cheap microphone because of the high resistance.

LAVALIER

The use of adapters
-Generally speaking adapters don’t affect the signal. It affects whether the
machine can balance the two phasers.
-gold connectors connect electrical signals better. Try to get gold tip over
metal.

Wireless mics
-wireless mics gives the talent freedom, it looks good and it allows the
talent to moving around.
-with wireless mics you have the mic transmitor
Let the situation determine whether you’ll use wireless. If it’s going
through there’s the possibility that something else can block it.
-don’t run your electrical wires as your microphone wires. at best what you
want to do if have them cross.

II. Pick up Patterns and Mic Types

With condenser mics the pbattery is used to charge the plates of the mic. so
when you speak into the mic the vibration starts based on the moving of the
plates that move based on the strength of the signal which creates that
signal.

—
Lavs

You need to be aware that aesthetics counts. Lavs go under shirts and then
clip it. Create stress relief so you don’t want to create the possibility of
it getting pulled out.
keep in mind the clothes people are wearing.

Keep them 6 to 12 inches from the mouth.
With cicadas eveywhere, avoid lavaliers and move in tight with the shotguns.
Lavs are omnidirectional.

Sometimes you can fix it in post.

PZM mics

360 pick up pattern and designed for large conferences. It creates a hollow
sound. Make sure to not let talent go crazy with sounds on the table.
We’re adding more equipment for us to be proficient.

WIRED Vs. Wireless

Wired mics – offer higher quality recording for the money, you might be
shooting in a place that is prone to a great deal of radio interference.
When you’re buying a wired buying consider the quality of your recording,
will it accept a balanced cable?

Balanced mics and cables make long cable runs.
Unbalanced cables start humming immediately. you can pick up radio stations
on it.

Most consumer camcorders do not have a balanced input on them.
The presence of a diversity circuit. A diversity use two antennaes and a
special circuit to recognized phasing from two f
Look for “True diversity” in their marketing or manual

III.Indoor audio problems and solutions:

you can mount a microphone straight to a mixer or to

Line level vs. mic level.

line level signal is 1 volt, mic level signal is 1/1,000 of a volt. If you
send a line level signal to your mic level input that is over 1/1,000 volt
you will blow out and damage your mic level.

Direct boxes can make line level signal mic level

.
Are you sending me mic or line level. You can set your camera for line or
mic. Default on most camera is mic level because you’re plugging mics into
mic levels.
Mutliple speakers – have on lav mic for each person and a handheld for the
speaker. you will need a mixer.
try to not leave noise clean up in post production.

Be aware of your environment and any noise going on in your background
use the right mic in the right situation
position the mic correctly
always wear headphones
balanced cables are primariliy xlr cables, they have a ground cable that
reduces interference. An unbalanced wire doesn’t have a ground cable. Cables
like phone cable are usually not balanced.

MIXERS
can give you tone and you can set up say a 960 hertz tone and set up an
audio reference for playback later. You can have the visual which is bars.
Shure makes small, portable mixer that can clip on your belt and will run
different mics to say a boom mic and you can make spot adjustments being
sent directly to the camera.

A shock  provides complete stress relief on a boom mic.

Some shotgun mics have shoes. You need to have things pointed at the area
where people are speaking.

In case folks are interested, I created some flashcards to study by, go here to download them.

Review
It will be multiple choice
Open book test

Bring a #2 pencil!
Things you will be tested on:

SD, HD, HDV, AVCHD

Format Families divided up into 5 categories:

I. Category 1: Frame sizes
720
1080

It refers to number of pixels that are horizontal.

II. Category 2: Frame Rates (6 rates)

23.97
24  (counterpart for film, it was the speed at which audio was discernible and clearest and accountable for natural frame rate for how people perceive smooth motion)

29.97
30

59.97
60

The difference is the actual.

In order to transmit the signal back in the day, the numbers had to be fudged in order to fit the signal into the television. The actual signal to be brought down to 29.97.

III. Category 3:  Recording methods, technically there are three, but most people deal with two

A. interlaced

It gets to how the image scanned and reported, is it done in an interlaced fashion in which an image is scanned per line, even numbers first.

B. progressive

Entire frame scanned one entire frame at a time.

The camera will add extra frames. Pull down we had an extra frame every other frame in order to match film rate, so that when we do a transfer from video to film we can have it match. If we shoot natively, going straight to the P2 card, it shoots it without adding the extra frames and it means we get more space on the card. This is when we want to do a clean transfer of data.

C. progressive-segmented is a combination of interlaced and progressive

IV. Category 4: COLOR BIT RATE

8 bit
10 bit (better than 8 because you’re encoding 10 bits of 1 and 0s in a sequence)

Frame Recording Methods

Color bit depth

V. Category 5: Color subsampling
It’s used in order to reduce the size of the file in order to make it manageable.

A. Three signals are: Luminance (yellow), Chrominence red (Cr), Chrominence blue (Cb)

1. Rate are:
4 4 4  best quality, but very uncompressed
4 2 2 We focus on this because it’s broadcast and it’s the rate for our  HDVX200 cameras
4 2 0 HDV and still for broadcast

CONTROLS TO BE AWARE OF!
These will ultimately affect your signal.

Know pedestal, gamma, knee

-Pedestal controls the darks
-Gamma control brightness through the entire picture
-Knee is designed to not blow out your picture, it’s a limiter. It would come in handy for hot spots.

Bring a #2 pencil.

Detail – softens the skin tones
Matrix – overall control control; color saturation

Synchroscan

D. Gain

- Increasing sensitivity of the camera to receive  the light that it gets
the downside is more noise

E. Aspect Ratio
16:9
4:3

F. Organizations are responsible for:

NTSC org developed standards for broadcast standard
SMPTE – they developed time code

next year it will be ATSC – Advanced TSC starts in Feb 2008

Depth of Field – it’s the range front of the camera that’s in focus
light, distance, F stop affect these

Smaller cameras have a large depth of field. It’s like the pro-sumer cameras under 10k range.

It’s a time of compression, GOP or Groups of PIctures

For each frame there will be one frame that is the actual frame and that’s the iFrame. The only information that will be recorded is from the IFrame and not the other frames.

Articles we were supposed to read where:

A. Hard light shows texture (like folds in clothes, craters in moon)
1. Depending on where camera positioned, if positioned from where sun coming from (craters disappear), as sun angled edge on we see the craters (we see texture of surface)

B. What is a cookie?

1. It’s a shadow maker – a piece of cardboard, foam core, or metal
cookie is short for cookilorous (spell?), we can make it seem as if sunlight hitting venetian blinds in the room, lights with blue gell, we can simulate sun light

2. Other advantage with cookies, its a cheap way to create background. If plain blank wall, put gel, and then cookie over light

C. What’s umbrella in light kit?
1.Either reflective or diffusive umbrella
2. reflective – bounce light off
3. diffusive – shine light through
(both are to soften light) (?)

D. How can I soften sun light?
Using a giant piece of mash as a diffuser, to break up sunlight, put talent below a tree  (what video says)

1.But the problem with using trees, trees move – light leaks in. Treat limbs create their own shadows, big shadows moving across subject’s face.

2. Quickest cleanest diffuser in wide area outdoor, a basic white bedsheet (will do exactly same job – two people, mounts, clamps, c-mounts, etc)

II.. Lighting for video

Watch session closely
I will have you guys doing basic lighting set up with HD cameras

A. Typical light kit

3 lamps, one for key, fill, and back light, and a fourth for set
There are stands for lights
barn doors to control spill of light
and a light meter (need)

Other items:
Duvateen (black felt, blocks,)

Position key light, above head of subject (45 degree angle – trying to emulate the sun. 4 or 5 above the head of subject)

Soften key light with diffusion material or umbrella

Third and final light, c-stand,
back light

4th lamp with colored gel -
remember about backligting, don’t do too steep an angle, unless lighting in both sides (need far enough so that light spreads out without creating a hotspot)

(part of what we’re doing is creating a triangle)

Make sure lights high so shadows get thrown on the floor as opposed to on the wall

Do your adjustment based on what you see in the monitor (what the camera and what you see are 2 different things) – you want to look through camera’s eye (that’s what audience will see) (look at LCD or display) – not based on your eye

You can use standard home depot work light (has its own stand) you can buy for 25 bucks, work just as well.

Why do people buy the professional?
If you can afford your own light kit, all tools match, they’re interchangeable, all fit in nice kit (that’s an advantage to having something you’ve put togehter) – you’ve got to create a way to transport it and put it away safely.

If don’t have enough money for light kit (go to home depot), you can get a trunk.
You can get large suitcase with wheels and handles, put foam in it, or blankets, wrap up.

Incadescent lights, fluorescent lights, these days they’re making LEDs light small. Now they’re making LEDs and fluorescent built for working in television, they’re color temp corrected (3200K, 5000K, etc)

Most cameras now will compensate with shutter control and minor adjustment (1/60 or 1/50 depending. Shoot in shutter speed, magic ratio is 1/48. 1/60 might shoot to manage flicker factor or fades in theatre) 1/60 is standard for most cameras

Black Wrap – very flexible and flexible, can be used over and over. Can use it forever. You can get it at professional video places (it’s like black tin foil)
If not, just get tin foil.
Black wrap or tin foil, you can use it as a really specific kind of barn door, if want light to go to a pin point, wrap around light source, create cone (more likely wrap around barn doors (go around barn door, not necessarily light). Advantage Some air coming in b/w barn door and light source (space in door, to dissipate kheat)

Some people take thick cardboard, layer with thick foil and use as barn doors with clamps.

(guerilla tools)

Lighting in studio easy b/c great control
In location, someone’s home or office, even shooting during day time
light intensity and color temp

light intensity (sometimes room to dark)
manual iris control – open iris (if doesn’t work)
slower down shutter speed – make brighter picture (but may make shaky images moving fast)
If subject by window, face will be dark, turn subject so that window is to one side, windo will be key light, put reflector to fill in hard shadow

Look in room to find lamps. Replace lamps to hottest wattage bulbs they can handle.

If need higher wattage lamps

check circuit breaker – displace load accordingling

most plugs will be 1500 w
look at wattage on instrument
common watage for lighting instrument, on lower end
150
250
300
650
1k
2k

If you got (2) 650s, you’re good on that one circuit. Don’t get two close on 1500 limit, b/c computers or other things might be plugged in on circuit. (ACE hardware or home depot, pick device lets you know how much wattage being used in circuit by plugging in to plug)

Having an awareness to what you’re using in terms of the load of your instruments and what you’re putting in  (not per plug, but per circuit)
(may have to run down the room or down the hall, living to kitchen, ex)
Not bad idea, if going to building have them take you where the circuit breaker is.

Most avg circuits will be 1100
Anything special load (to tie in, need electrical expert, to tap into a 220 power source – like where oven connected – need be serious electrical expert)
Or bring in your own generator (factor be aware of generators is noise factor – single engine airplane or lawnmower)
Put it in covering of some kind, or outside where you can run cords back in

circuit breaker –
if you trip the circuit, the switch will kick to off, you have to switch of on, try all them off
to bring it back

gafers tape, clips, clamps, extra video tape

Can take bright lamp point on white ceiling, will flood area with bright white light soft to area. Be aware of where positioning light, if light ot center, but angle it up to maximize the spread. If too intense talent will get racoon eyes. want soft look that mininmize…

Kelvin Temp Scale

2k fire light
3k incadescent light (3200K is studio ligtining)
5,500k sunlight at noon
6,500  average sunlight
8k clear sky

concerned about 56k outside and inside

(exclude sunlight in room so that every light in room same temp – take out that white card)

blue gel, slide in front of camera (white balance) – fool camera to warm shot up.

Auto-white balance – tricky when there’s mixed light (camera will change color temp, won’t balance for outdoor light if balances under incandescent light)

Outdoor Nighttime Lighting

Jungle books – different kind of cells a company sells – big enought to trick camera for effects (example need warm up a shot – blue gel, or cool it up – red gel)
You can find this in gafers grip tricks

Outdoor nighttime lighting
very little control, postion talent in creative or unorthodox ways
consider availability of electricity
(May need battery powered light, better than shooting no light)
On camera light (against all dark background – looks like mug shot),

(Cedric says) better, try to have some things in background that are already lit, if buidlign restaurant that’s lit in background, try position talent so in one side, with soft focus will reduce that cop look.
16:9 angle so (car headlights, have them turn it on for the shot)

videographer nightmare – dark skin people with light clothes on a bright day.
(entirely a contrast issue)(you want to use the strongest ND filter that you’ve got)

If moving around, want to get tighter shot, want reduce background that causes the contrast issue (bunch them as closely together as can, focus entirely on them, eliminate background, the tighter you are on them, better at decreasing the contrast problem of background)

(Videomaker – a magazine – I highly recommend getting a subscription. They do product reviews, target market is consumers and prosumers. not talking about 200k cameras, but cameras from 500 to 5k. They do product reviews, articles on various aspects of video production..

videomaker.com

I. The importance of circuit breakers

-Make sure you know where the circuit breaker is, make sure you have access and don’t go over 1500 Watts.
If you trip the circuit the switch will actually kick out and all you have to do is switch it back on. Back in the day it was fuses.

II. Lighting

In a pinch you can point the light at the white ceiling and it will reflect the light. If it’s too intense the talent will get racoon eyes. You know a soft look so it minimizes the shadow.

Kelvin scale

Firelight -> incandescent bulb => 3200 K is studio lighting

You’re concerned with 56 k outside, 3200 Kelvin inside.

If the white balance is off, set white balance to a darker part of the room. If someone is kind of blue you can warm them up by using a blue gel and set your white balance to that red. That is a ‘warming card” you’re fooling the camera to thinking that’s white.

Lighting outside

Buy foam core as a fill out

Using a diffuser or bed sheet to decrease light so that subject is lit with the backgroud

Use portable lights.
Use foam core to balance out a subject who is backlit.

A jungle book has different colored gels that a company has available. But the samples are just big enough to light a camera.

Shooting outside at night

Picking a location, try to have a place to plug in, electrical outlet
Lot of Ambient lighting
Battery-powered lights
On-camera lights

Using available light

Positioning subject to simulate key light, spill lights, etc.

-Be aware of distracting hotspots when using lighting tactis

Recommendation, get a subscription to videomaker magazine!