Hi, this is JP Morgan today on the slanted lens we're going to talk about continuous light onset for still photography
Now this is not normally what I use to shoot large set production pieces
But we're gonna shoot some big large set production pieces with 100 moves 100 of them
but the principles we're going to talk about here today are the same if you're shooting with 10 of them worth two of them or
With 100 of them. So let's get started. Let's see what we can do
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You know continuous light is about the ability to see what it is you're setting up
It's really the easiest way to set up and to learn how to light is using continuous light sources
So today we're gonna do our setups all three of them using continuous light
We're going to talk about the ratios between the different lights and seeing that as we set each one up
It's really a fascinating principle a key light generally wants to be about a stop
less than a rim light you set your aperture and your shutter and your exposure for the key light now the rim light is just
A little brighter and gives us a nice separation from the background the same with the light that we throw onto the background
You want that to be a little brighter that's going to give us a nice separation that we want
but it's a matter of how we
Diffuse them and how we ratio them be able to give us the light that we want if you have a single light source
It's a single continuous light source doesn't matter how big it is this size to that size
That will give you an f-stop on camera if I want something in the background bill like me from behind
I don't want my key light to be the same value as my rim light because I want the room light to be a little
Harder to be able to separate the person better
So I'm gonna take and put a piece of diffusion in front of this and bring the value down on this
open my aperture up that brings the value up on this and allows it to be harder from behind now if I don't want to
Racial these to one another and I want this on full power
Then I aim this as my key light. Now this rim lights not gonna be punchy enough
It's not gonna do what I wanted to do if I want to raise this by one stop. I have to add a second light
f/8
f/11 f8
f-16 if I put this on full power
I'm
I've got nowhere to go with my other lights unless I can add a second or a third light to be able to balance this
Out it doesn't matter how big your lights are how small they are. These principles are all the same
So here's our first setup we've done several things to put this together first off we've got loom cubes all over the ground
They're on the lowest setting so we just kind of get a glow through the fog
We're using chill boxes on the right and left. So those chill box
Just kind of push out of five you sits on the ground
Kind of fills up the kind of area that we've created here because we've kind of created a little kind of corral keep the smoke
in so smoke becomes its own element as we kind of flood the set opens everything up and
It makes a lot more brighter. Then we've got four loom cubes on the back that are lighting the background on the right side
We got four on the left side
They're lighting the background and we've got four that are giving us a nice rim light in here
I love to move in the back
It's a beauty dish with four bloom cubes shining through it gives us a great kind of glow and that gives us an hour moon
In the background we can lower that or raise it because it's on a stand and we'll have to retouch that stand out
But you know when the smoke a lot of its gonna get superior. Anyway, she's got her lantern here
Which has got one it's dialed way down. This may be thirty or forty percent
So this give us a nice light on her face. We put a diffusion in the middle of it
So it's gonna just let that kind of glow on her face. So here's our lighting breakdown
On some of them. She's holding the Loon cue
It's got the nice globe on it just gives us a really beautiful kind of soft light kind of emanates from that spot
So that's kind of the way we're set up here. So we're gonna go ahead and shoot some shots here with Olga
So there's 100 loom cubes a little smoky shot and let's go on to our next setup
We've got about 80 of the loon cubes on the ground which gives us just a great glow from underneath
We'll put a little bit of smoke in that just to try that but just like loon Q's themselves
Look fabulous. So our key light is a beauty dish with a grid on it now
The beauty dish is a beautiful light
We got four of the little cubes in it at 70% They've got that kind of
Baffle on the front spreads that light out which gives us kind of a soft light with a hard edge
So it opens up the skin looks really pretty with that grid on there
it kind of keeps all the light off from everywhere but on her face and
Then throws a nice shadow onto the background
So it lights her face gives us a great shadow on the background that's controlled
We've got our rim light but we turn that back and we kept it off from the floor for some of them
Took a flag and cut it completely off the floor or let it open up the floor just a little bit
We have a lot of lights here
We have 80 plus 4 plus 2 plus 1, but we don't let it get out of control
We've controlled them so it still looks Moody. It looks graphic
It's just a beautiful shot in that way are not allowing this light to just blow everything away front us
So when we control our lights we can get really moody results if we set them in the right place
So let's take a look at some of these images
So here's our third setup with our 100 looms this kind of a road warrior
Mars red light she's got her spear. This is Dallas Stevens. She's working with us today
So let's talk about this last set up here. This is really meant to be colored light
We want to play with colored lights
You have that option with the loom cubes because they've got the small little gels it goes directly on the light with a little battery
Attachment and the housing so you can put those different gels on there makes it easy to switch them out and change the colors
So we've got a heavy red light going through the smoke gives us a nice rim light from behind on the camera right side
That gives us kind of a red light we're gonna see on the side of her face
We've got our beauty dish again with that grid spot
I love that setup because it just keeps the light pooled on her face at vignettes on
Her body and he'll slowly kind of pan that away from her
Away from camera out to the side and as he does that kind of brings it over a little bit
You'll start to see it kind of drop on the side of her face. It just gives you a really nice look on her face
Never aim it directly at her. I'm always trying to get it off to the side just a little bit
So it it kind of vignettes and it kind of transitions or gradates across her face
Which is a nice look and then in the background
We've got four bloom cubes with blue gels on each side that gives us that nice blue background
We got the red on her the blue in the background just looks great those two colors
Juxtaposition with each other then down below us. We've got some different yellows. We've got some blues
We've got some warm and that just kind of gives us a little something in the smoke
We didn't want to see the lights in the smoke wanted to have the lights light the smoke
Let's take a look at some of these images
Now a lot of these camera settings everyone's gonna be asking me what are the camera settings I've gone to sometimes a
125th of a second which is pretty slow
So when Dallas is in here, she's got to hold her position and not move too much
I've got that on some of the others. I've been up as high as 150th of a second, but generally a longer exposure
That's the downside of continuous light
It's not as powerful as a strobe stroll was just very powerful and it's just a much different animal
But continuous light you can see exactly what it's doing if it's red. It's red
If it's blue, it's blue. You see exactly what's happening. It's easy to set your lights
And also if you want to learn as a still photographer
how to move into doing video light with continuous light because all a video is continuous light
So it's a great place to learn into to become proficient using continuous light for stills it helps
You become a really great videographer as you could make that transition because you have to use continuous light
So I've had loom cubes since they very first came out
I got my very first one I think at nab some time ago a couple of years ago. They're just a fabulous little light
They're about an inch and a half square
They're waterproof. They have the ability to really to ratio up and down from 10 percent up to 100 percent
So excellent small little light you can use on set charged lithium battery ready to go
So there you have it our three lighting setups with continuous lights. Thanks to all the folks at loon cube
We brought us on the lights today, which was really exciting to be able to use that many lights
I'm excited to have these in my kit to be able use them in the future. Thanks to Terry groves at makeup
magic
Who really did a fabulous job?
Moving our models from makeup to make up hair to hair to makeup to make it rain different in any way she went from one
To the other and there we go. He had all this says we went through the day
So Terry did a great job for us
thanks to my wonderful wife Jolene who did all the Wardrobe did a great job there as well and
Andy and all the rest of the crew and thanks to Dallas and my word my mom and my grandma, you know
My my granddad was a great guy too, and my grandma was wonderful. So thanks to all of you
so keep those cameras rolling and keep on clicking I
Think she means it
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