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Hannah_V02_S05-Shoot_1_FINAL

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[Indoor shoot Corporate client location shoot and headshots] So I really need to get moving here because it's a busy area, and I don't want to take up too much time at all. I'm going to keep it really simple with one light setup. I'm going to be using this one as my main light, and with a softbox 2x3 in the front there. This is only going to be acting as a trigger to make sure it's all nice and clean, no wires, nothing else. I can get in, get out. So I'm going to get my client, bring her in, take the shot, and move on to the next one. Before my client arrives, I like to set up my main light, which in this case is a 2x3 foot softbox, one of my favorite light modifiers, as it creates a soft, flattering light. Once my softbox has been assembled, I attach it to the main light and place it close to where I intend to photograph my subject. Come on in, Xena, come on in here. Where I think I'm going to have you, something kind of where you are. And we're going to face your body this way. Just lean, whatever you want to do. Just make yourself comfortable for now. So the reason I've got Xena to actually lean on something is because sometimes, when you're just trying to get set up, it helps to just give them something to do. So everybody feels very awkward, and they don't know where to stand or what to do with their hands. So giving them something to lean on just helps just a little. So my first job is to get an ambient light meter reading. I know that I want to shoot a f/2.8. I think I'm going to just pump the ISO just a little bit, probably just to 200, just to lift it a touch. And then what we'll do is see what we're getting in the way of shutter speeds from there. So I'm just going to turn the flash off because I do not need that at all for the time being. So tell you what, Xena, actually, can you just take off your jacket for me? Would that be Ok? Because I think that might help just a little. You can give me that. Yeah, I think probably always facing in this direction. But we'll have a look, and take some test shots, and see what we can do. Ok, so before I even get started, I'm going to turn the flash off altogether. Because I just want to take an ambient light reading to see sort of what I'm getting in here without any flash at all. All right, so let's see what we get in here. I've got f/2.8 ISO 200. And let's just see what the shutter speed is giving us. All right, perfect as you are there, Xena. Good job. All right. Well, it's not looking too bad. The ambient's giving me quite a lot as it is. But what I want to do is just introduce the flash on this side, just to lift it a little, just pop a little bit further on that side. Nice and soft, nice and close. That's why I've chosen the softbox. So for right now, I've got a shutter speed of 180. So let's pop that on, make that consistent. So we're in manual now. And let's introduce the flash and see what we get. [How Hannah gets her exposure settings: 4. Set the camera's exposure mode to Manual to keep the exposure settings] Ok, nice job. And that looks good. So if we want, I can see with the modeling light right now, it's just lifting this just a little bit on that side, which is kind of what I want it to do. So let's introduce the flash, turn this on, and see what we get. All right, still comfortable there, Xena? Ok, good work. All right, good stuff. So actually what's happening right now is the TTL is doing its job, but it's actually reading the situation quite nicely. It's just giving me a little bit of lift on that side, just to even out the lighting so it's not too heavy from this side. But it's still nice because our shutter speed's low enough that we've got this warm light coming through from behind, but it's nice and blurry because we're f/2.8. So we're not really too detracted. It just adds to the image a little more. You can see here that using only the ambient light results in the background looking correctly exposed, but the main subject needs extra light. By using flash, I have not only added light onto my subject for a more balanced exposure, I have also enhanced the scene by adding catch lights to my subject's eyes, as well as lifting her dark hair from the dark background. [ambient light only] [ambient light with flash] All right, nice work, Xena. Just hold there for me. Good work. Very great. Ok, let's just change up your position a little. So if we can just turn your body that way for me. Ever so slightly, just lower that shoulder towards me and twist the shoulders back. Perfect, you got it. Just hold there. We may cross them in just a sec. Perfect. So that was great. We are all set with those. So now from here, I think what we'll do is leave these. We've got exactly what we wanted, nice, simple, quick portrait. And now we can move on and get the others. Perfect. [Environmental portrait checklist] [1. Use TTL to get a quick exposure/flash setting.] [2. Turn flash from TTL to manual to fine-tune the flash output if necessary] [3. Plan your clients poses: make sure they feel comfortable] [4. Take a test shot with no flash lighting to check the effect of the ambient light] [5. Add flash with a softbox directed at your subject] [6. Get your subject to look into and away from the camera with serious and smiling expressions] All right, so I've been in earlier. I've moved everything to the side to make a little bit more space. So I'm going to get set up now, and we're going to try and make that background black. So let's just get this set. Let's get you a chair, first of all. So then we can position the light after it, so we'll know what height to have it. So I think probably about there, to begin with. If you can grab a seat, we're going to face you slightly that way. So if you'd plop yourself down there for me. I'm just going to turn this on. So I can actually use the modeling light to see what I'm doing. I want to bring this as close as possible to Xena, because the idea is, I want the light to be soft, but I also want a real rapid falloff. Don't forget here, we're trying to make the background as black as possible by increasing the shutter speed, going into High-Speed Sync, until we can get that background completely black. Right now, all we can see is the other coworkers with a few lights around. So in order to get that completely black, I want to bring this as close as possible so we've still got quite a nice light on Xena. It's nice and soft. But it's going to fall off really quickly and get us to where we want to be. All right, Ok. What I don't need is this anymore, because I've got a use for this afterwards. So I'm going to be using that for something else. So on goes the Air Remote. I'm going to pop that into TTL and switch this. And what I'm doing here is I'm going to take my shutter speed as fast as it will go. So my limit on my camera is 8/1000 of a second. I'm still shooting in f/2.8 ISO 100. So let's see what that gives us. All right, Xena. So if you can sit just a little taller, I think maybe this light needs to come up just the tiniest, tiniest little bit. So is that a comfortable position for you, Xena? All right, great. That's better. All right, good. Perfect. Ok, so if you'd just a tiny, tiny bit, just bring your chin around towards me this way. Excellent. Ok, you hold where you are. Let's just take a quick test, see what's going on in here. And perfect. We've got a black background. That's brilliant. The reason that I'm shooting at 1/8000 of a second is because I want to kill all of the ambient light in the room. Not only that, but the way that I've got Xena positioned, we're shooting through glass and out into that space out there, which has got all of that ambient light, plus the coworkers. Now obviously, we don't want to see them. So by slowly increasing our shutter speed by going into High-Speed Sync, we can make that shutter speed faster and faster every single time, until our background goes completely black. So it's beauty, really, because you can set up absolutely anywhere, regardless of what's in the background, and get that background completely black. You haven't got to walk around, taking backdrops with you, or worrying about the conditions where you're going to turn up. It's a quick solution. With a few little clicks, take that shutter speed up. You'll get it completely black, and it's another option for your client. So you've seen how fast it is to get this shot. But let's see what would have happened without using High-Speed Sync. Ok, so let's begin at 1/200 of a second, which is the sync speed for this particular camera, and let's just see what happens. We're going to take it up slowly. But let's start with this one and see what we get. All right, Xena, sit up nice and tall for me. Perfect. Ok, good. [1/200 s] Let's take it up a little higher. Let's go to 4/100 of a second. Still at f/2.8, still at ISO 100. [1/400 s] Ok, we're getting there slowly. But the next thing we want to do is take it up even higher, because I can still make out various shapes in the background. So let's take that up to 1/640. Ok, great. [1/640 s] Into the territory now where we're getting there. I'm going to raise it up even higher, going to take it to 1/1250s. [1/1250 s] A couple of things in there, but we have got some lights in the background as well. So I'm going to crank it all the way up now, 1/8000 of a second. Hold on, Xena, nice and tall. Good job. And it's completely black. Perfect. Because Xena's got such dark hair, what I want to do from here is actually add a hair light around the outside, because I've made this background go completely black, which is great. And I wanted the falloff. However, I'm missing just a little bit around the outside to separate her hair from the background. So I'm just going to pop this on and add it on to a stand. And we're just going to position it round to the other side of Xena to just separate around the back of her hair, where this is going to be jumping into the black. And we'll just pick out a little rim light, a little hair light around the edge, to make that separation. Just angle this down just a touch. It's looking pretty good. And now I'm going to be asking it to do an awful lot here. So I'm just going to take that all the way up to 10. Excellent. Just look around to me a tiny bit. Yeah, perfect. Ok. Just watch that it's not spilling onto your face. That's gorgeous. Well done, lovely. Just twist your shoulders towards me the tiniest bit. Good job. And then nose a tiny bit that way. The reason I'm moving Xena's nose is because I don't want this backlight over here, which is designed to be the hair light, I don't want that to creep across and hit the nose. So when she brings her nose this way, just keep coming, keep coming, keep coming, it's going to spill on to the face, and that's exactly what I don't want to happen. So by turning her nose that way, perfect. There we go. It just eliminates that and hits the targeted area at the hair and the shoulder, which is what I'm after. One thing I might just want to do is raise that the tiniest little bit. Because whilst it's going around here, I've got a little patch in the middle where the head isn't, it's going a little bit too dark for me. So I'm just going to raise this and tilt it the tiniest little bit. Just fine height-wise, but then I just want to tilt it down so it's getting where it's supposed to. Ok, same again. Good job, well done. All right, nice and tall with those shoulders. Just twist them back towards me a tiny bit. Nice work. Beautiful. Well done, it's looking great. [Headshot black background checklist] [1. Position the flash in close proximity to your subject to get a soft cast and for rapid light falloff] [2. Increase your shutter speed using HSS until the background goes black] [3. Position a second flash behind your subject to create a hair-light for separation from the black background] All right, so now that I'm done with the black background, I'm going to show you a real quick trick, where this light is actually going to become a white background that's super easy. So what we're going to do is walk this one behind, so Xena doesn't have to move, and she can just sit. Why don't you spin yourself around a little, Xena, so that you can just face directly straight ahead. That's it, you got it. Perfect. So I'm just going to spin the softbox around. So this time, I want it to be horizontal because I just feel like if I want her shoulders there, and I tend to shoot a lot of my headshots in that sort of horizontal format because these days, all the social media platforms tend to give you a square or a circle. And if you've cropped real tight, it's just a big face. So having the shoulders in just allows a bit more space around the outside as well. So let's sort of see roughly where that lines up. Let's have it from where I'm going to shoot. Ok, so from this angle, it needs to come down just a little bit. Is that a comfortable sitting position for you? Perfect, Xena. Ok, I'm going to just move this down a touch because I want this to fill all the way behind her. So this is going to be my white backdrop. So let's bring this down. Ok, in terms of power, we're just going to see what we get, firstly, because we don't want it too high, and we don't want it too low. So let's just see what it's giving us for now. So let's just pop into TTL, set it on High-Speed Sync, f/2.8, and could take my shutter speed down now because there's no need to be all the way up at 1/8000 of a second anymore. So I'm going to drop it down to 1/1250s. Let's go around there and see what we get. Ok. Straight towards me now. Xena, good job. Just get focused. Ok, good. All right, so at the moment, it's looking pretty good. So I'm quite happy with where that is, actually. The problem is, let's take it up too high, just to show you what's going to happen. So let's say, for instance, if this was up, let's say, all the way up at power 10, if this was firing at full power, what you'll start to see happen is the light will wrap too much around the outside. And all the little bits of hair just get a little crunchy, and they don't look so good. So let's just shoot that to show you what will happen. And we're going to get too much coming forward. All right, Ok. So it's a little bit too crunchy in the back there. So I'm going to take it back to where it was. I'm just going to jump onto manual and see where we go from here. So I'm going to introduce a second light, another B1X. And we've got the white beauty dish on the front. So I'm just going to pull this into position. Ok. All right, Xena. Ok. Is it too bright? I can turn it down just a little bit. It's fine. Ok, right. So I do want to be careful of your eyes. So I'm just going to take the modeling light down to a proportion, rather than full power on the modeling light, just so it's a little bit more comfortable for Xena to sit underneath as well. All right, so basically, what that means is wherever the flash output is going to be, the modeling lamp is adjusting itself so that it's proportional to that power output. The reason for using the white beauty dish is because it gives it a little bit more punch, which is great. It's still white. It's not as hard as the silver, but it's just a little bit more crisp. You don't have a diffusion panel like you do with the softbox. So it's just got a little bit more punch to it. If you wanted to, it does have a diffuser, which you can add over the top, just soften up a bit, if you want to. But for me, for these shots, I want to just use it as is to see what we get. So let's just take a quick shot. We're on manual. So at the moment, I don't think my power is balanced, which is fine. That's exactly what I'm expecting. So let's just take a quick shot. Ok, good. Yep, we're good on the back because we know that's what we do want to do is just take the power up in the front. Because at the moment, she's a little too dark. We've got a beautiful white light behind her, but her face, it's not bright enough. So I'm just going to take the power up. I think we're probably two stops under, so let's just give that a try and see what we get. Ok, perfect as you are, Miss Xena. Ok, now we're getting to where I want to be. One thing, actually, I do want to do, Xena, if it's Ok with you, I'm going to get you to put on your jacket. Because the white on the white background, I think I want a little bit more separation. So if you don't mind, if you could pop that on for me. Thank you. In order to get the beauty dish to do its job properly, we try and want to make sure that the center of the beauty dish is facing all the way down the nose. That's where I go for. You want to aim it at the center of the face. So for right now, it doesn't look like it's in the right position. So we're just going to take this down a little bit. Xena, is that more or less pointing, a bit more this. - Yeah? - But is the center more or less facing you? - Yes. - Perfect. Thanks, then. So sometimes I just ask my models to help, just because, of course, they've got a better viewpoint than me. And I'll just check it, yeah, good job. She got it. Perfect. Ok, let's take another frame. All right, good job. Well done, Xena. Lovely, it looks great. So a few more in a sequence. Lovely. Go turn your body slightly that way for me this time. And then chin comes back towards me here. Gorgeous, well done. Perfect. So that quickly, you can switch backgrounds again. So now the softbox has become our white backdrop. No additional equipment, it all packs down into the same bag that I brought it in, and we just add this guy in the front, just a bit more punchy, crispy light. Again, just gives us a few more options, and it's really simple. It all packs down to nothing. So that is how you can get three looks very quickly. Time is of the essence. The client needs to be gone. So that's it. We got what we needed, and we're done. [Headshot white background checklist] [1. Position a flash with softbox behind your subject to get a white background] [2. Check clothing - does it disappear into the background?] [3. Introduce a front flash with beauty dish and position into the center of your subject's face]

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Duration: 17 minutes and 49 seconds
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Language: English
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Posted by: translatorscandinavia on Jul 19, 2018

Hannah_V02_S05-Shoot_1_FINAL

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