Hi, this is Jay P. Morgan.
Today on The Slanted Lens we're going to take a wonderful portrait of Mario here bathed
in blue light with a double rim.
And then we're going to use our MIOPS sound trigger to stop some action as we smash some
bottles on his head.
[BOTTLE BREAKING] Or he may be smashing bottles on my head.
Uh, but anyway, let's get started and see what we can do.
[MUSIC]
That hurt.
[MUSIC]
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[MUSIC]
So let's take a look at our lighting set up.
We had a double rim, we put a cyan 60, it's like a 4360 on the background on both sides.
Nice rim on our talent, looked fabulous.
As we were looking at that, the blue was kicking back into the background.
We wanted a red in the beginning.
The red was nice, but it was kind of getting polluted because of the blue kicking back.
We turned the red off and thought, "Wow that blue is really pretty.
Let's do that."
Blue on blue looked really moody and really nice.
Then in the foreground we took and we snooted our light that's got a grid in there, a 20-degree
grid, and then black wrap around it to make it really tight just to give us that nice
kind of glow on his face.
Not very bright, just opens it up just a little bit.
And then last of all we slid in a piece of bead foam in the foreground just to bounce
a little bit of light up into his face.
And that really became our lighting set up.
So we got three lights and a piece of bead board and that's our lighting set up.
Let's take a quick look at some of these low light portraits.
We decided to bring up the light on his face about one stop for the bottle breaking images.
Here's our final lit image before we started breaking bottles.
Now let's look at how we're going to smash the glass and contain the water.
We went back to our old kiddie pool which is great.
Kiddie pool, plastic shield, so it's going to take all the water and run it right back
into the pool, and then plastic on the floor.
Kind of keep everything contained.
Once we got that set into place we're then going to go to our break away bottles.
Alfonso's Breakaway Glass give us 20 or more of these breakaway bottles.
You can smash them on your head and they don't really hurt that much.
So Julene foll- filled it full of water, Mario's going to [IMITATE BOTTLE BREAKING] on his
head.
For our camera setting I use a 5.6 on bulb and then 100 ISO.
I use that 90 millimeter Tamron lens, which gives you a nice portrait type look.
It's really a fabulous look.
That's kind of the way we had our camera set up.
But now when we go to do our shot we got the sound trigger.
We brought that sounds trigger and got it as close as possible to him.
So it would be the second the glass is hitting his head it's going to go off.
With that sound trigger right in that area we're going to turn the lights off.
We're going to put the camera on bulb and then when the sound trigger's, it's going
to fire the strobe.
So we did that, and the very first one [BOTTLE BREAKING].
We experimented a lot.
But when we finally got to where we had it under control, the first one just barely hit
his head.
But then we lengthened the delay to 25 and then to 50.
And you can see it's slowly get further and further in.
Became very predictable at that point as it hit and as it kind of exploded into his head.
The hardest part about that is that I've got my trigger on bulb, and the second the strobe
goes off I've got to release it because the sound of the glass breaking on his head fires
the strobes.
But the glass hitting the ground, saw it fire the strobe one more time.
So I've got to make sure I release that trigger before the second flash.
But with doing those things together gives a great, controllable look at that splash
that hits his head and goes out of the frame.
The reason why you use a MIOPS trigger to fire the strobes and not the MIOPS trigger
to fire the camera, which then fired the strobes is exactly what just happened, it takes too
long.
So when you have the MIOPS trigger firing the strobes immediately it's quick.
When you fire the camera, which fires the strobes, it's too late and it's too slow.
Having the MIOPS trigger that close to where the sound of the glass was breaking made it
work fabulously and we had complete control of that.
After that we just smashed away until we got some great shots of Mario.
Let's take a look of some of those.
We shot pieces of glass that Julene might use to retouch in there.
So we threw some of that.
As always we calibrated our monitor with a Datacolor Spyder5Pro before starting the post
process.
Julene took the best image of the bottle breaking over Mario's head and composited it with the
best facial expression.
Here's our final image.
There were four images composited for this final image.
His face, the bottle breaking and a bunch of splashing glass.
So there you have it.
We had a great time doing a portrait of Mario here and he broke 18 bottles over his head.
You okay there dude?
Okay.
He's the man.
So we had a great time today, so keep those cameras rolling.
Keep on clicking.
We've got our first workshop coming on April 30th.
We're going to be at a fabulous airplane museum here in Los Angeles.
I'm going to show you how to work on location in all different types of lighting situations.
And then I'm going to let you take great images for your portfolio.
Julene's going to end up our day with fabulous editing tips that'll help take those images
and really set them apart.
It's on April 30th.
You'll love it.
Go to TheSlantedLens.com and sign up today, it's a very limited group.
So you'd better get over there.
Don't forget to subscribe to The Slanted Lens.
I'll send Mario over to push the button for you if you don't subscribe.
Better check it out and subscribe.
Mario's watching you, are you watching them Mario?
He's watching you.
So subscribe to The Slanted Lens.