Hi I'm Karl Taylor and I'm Urs Recher hello and welcome to another Broncolor
how-to video. (Urs:) Exactly... Karl you set up a big diffuser and
above the diffuser softbox white panels left and right looks like a super soft
diffused lighting. (Karl:) Yes I'm trying to create a scene that looks like a
designer a designer's desk in their workplace the set that I've got here has
sort of technical drawings and plans and drawings for different types of
spectacles and glasses plastic color chip samples all the sort of things that
a designer who might design these glasses would have on his working studio
desk okay now often in these working studio
environments its overhead lighting and it's kind of soft and flat to give them
a nice clean area so that's what I've tried to replicate here but this is not
really the shot that I want to take what I wanted to do with this particular
how-to was demonstrate how effective broncolor modifiers are at changing
mood and emotion. (Urs:) absolutely so we do the same as it was two different completely
different lighting. (Karl:) exactly so we're gonna go from this very sort of bright
and broad technicians looking lighting desk move to a very much more emotional
early morning moody dramatic shot by introducing something that looks like
early morning sunlight coming through the window of the office group rather
than the office illumination but I thought I'd set this up first good so we
can do a direct comparison between one lighting setup and another lighting
setup. (Urs:) a quick overview on this one yes absolutely how you did it.
(Karl:) well quite simple we've got this as you say very large diffuser I've got the the
camera coming in on the stand just to get a plan view overhead and
I have two lights and the reason I've got two lights is these little plastic
chips are glossy and I'm able to catch the reflection of this light in these chips
and this pair of glasses and I'm able to catch the reflection in the glossy
plastic here from the other light so just by moving the two lights around we
can affect which parts of glossy plastic catch the light and then by changing
the height of the lights above the diffusion kind of spreads it out a
little bit more. (Urs:) so it's on my left it's a bare bulb and here it's a softbox
about that? (Karl:) well just simply on this side I wanted the lighting just to be a
little bit softer and wider to spread into more of this area it was a little
bit concentrated before so the softbox helped defuse a little bit further. (Urs:) and
then well if you as well there's a mirror additionally. (Karl:) yes I was having a
little bit of problem here I like to bring the eye into the picture from the
left hand side from the lower left and this corner piece of the plastic of the
glasses was dark, so I'm taking this mirror which is taken light from
here bouncing into the mirror and giving me just a patch a light in that corner
(Urs:) Just a little highlight then? (Karl:) Yes, so what we'll do is we'll show you the shot with each
light independently and we'll cover the mirror to show what the mirror is
as well let's just take one of them off? yep and we'll let
the power adjust and take that shot. You can see the illumination is on the left-hand side of the glasses and on those color
chips on the left and if we swap to the other light now... and we
look on this shot and on that light you'll see that all of the lighting
is on the plastic. (Urs:) that's why you can't make it with one only light
(Karl:) exactly you'd have to put it central and then you wouldn't get any glow here or
here, so the two lights, you can even add more, 2 - 3 if necessary later exactly
so if we go back to both lights on at the same time and
gives us the glow back in here okay so we'll just take the mirror away now and
let our viewers see this little detail we're talking about just on this corner
of the glasses here and we'll see without the mirror we lose that little
patch of light down there which you see is necessary okay that just adds a nice
little catch light so that's it for a very clean simple sort of designer's
desk look but now I want you to completely completely different
atmosphere and demonstrate how different lighting modifiers can change the mood.
(Urs:) super interesting yeah
So this looks nice and a lot different than before yes yeah the main light is a
flooter with yellow gel and it's very far away (Karl:) yeah as you know obviously
inverse square law if we have a light too close we're gonna have a lot of bright
intensity here and then the exposure will be falling off very quickly right
but if we move our light far away then the exposure transition is much more
gradual so it would basically look more similar to sunlight which is what we're
trying to do we know that with the Sun being so far away from the earth there
is effectively no fall-off of light it's quite equal so we need to replicate
that because what I wanted to do here was change from that very technical
bland flat lighting to something a little bit more dramatic and emotional
in that sense so we're going with an early morning or late evening sunlight
and the designer has left his tools and things on the desk
we've potentially got some sunlight breaking through a window potentially
even through some curtains or something like that and as you can see I've added
in some gels and as well as the yellow and orange gel on the flooter to create
the warmth of sunlight we've just got these mild sort of
magenta gels here either side with a little gap between so the orange light
is coming through the middle creating a shaft of light to emphasize the products
and then a little bit of pinkness light which looks kind of delicate and it's a
little bit hazy or either side so we kind of concentrate that being there
(Urs:) and the so it was very interesting to see because the deflator has a certain
size so it's not the point light source which is always hard so you played with
the distance of the filters to the setup the closer the sharper we have
these these shadows or let's say they're color shifting and if they'd
taken further way closer to the flute they will be softer again
by adjusting the distance (Karl:) yeah they diffused out more. We messed
around moving them and back and forth and found this to be
about the right distance where this feathering was was just about right
there is one other important light which we're going to demonstrate in a second
and that's actually just what I call a sort of global illumination fill light
but let's take the shot first with just the flooter so at the moment it's a one
light setup and I'll just capture that image first. So ok as you can see here we
have the warm light from the flooter and we have the gels either side that we
just spoke about but what what we look at when I look at this picture the
problem for me with it is it's too dark and threatening the shadows too deep and
to again to make it a little bit more romantic and actually a little bit more
realistic as you know quite often in the shadows with natural light we're
getting blueness in the shadows so I've added another light over here and that
light is bare bulb obviously we make bare bulb make sure that the subject
cannot see the bare bulb so it doesn't leave house to shadow so I've got it
pretty much above it and I've just made a little custom-made blue gel which
wraps around the bare bulb and goes over the top. (Urs:) okay, just a word about the
modeling light up there. (Karl:) absolutely it's a plastic wrap around around the bulb so
keep your modeling light off otherwise it's going to melt. (Urs:) exactly and it blocks
as well the air circulation up there completely so yeah more than like this
absolute no-go if you do something like that. (Karl:) yeah totally so no modelling light
but it's okay for a burst of flash and it's just a mild blue gel but it will
make a huge huge difference to this shot so let's just put that light number two
so we are now at just a simple two light setup and we take the shot and there'll
be a dramatic difference there and it almost it makes the the the magenta the
pink even a little bit more beautiful by adding a bit of blue in there but the
key thing is the amount of blue it brings the shadows which makes it look a
lot more natural than that and that's the sort of final
mood and feeling I wanted to get in shot and I think the interesting thing about
this is that if we take that shot it's exactly the same set exactly the same
model but a completely different feeling to the shot from this shot so it just
shows how we can use broncolor modifiers and different modifiers to
create different mood and different drama (Urs:) just one idea about the the
fill-in light you know I think it makes a lot of sense and it's almost the only
way to fill in a scene like this because we have a dominant shadow from the main
light and even if we have something soft like a softbox we would immediately get
like a secondary shadow obviously in the flow direction oh yeah so this light is
even softer than the biggest softbox because it's completely diffused so it
does not create any secondary shadow at all (Karl:) exactly so that's not coming from
any particular direction it's coming from every direction. So now I'm
happy with that and as I say I think it's a good demonstration on how we can
use broncolor modifiers to change atmosphere and mood. Wonderful great
result! (Karl:) okay I'm Karl Taylor and I'm Urs Recher
we'll see you next time, bye bye!