Hey this is Daniel Norton,
I'm here in my studio in New York City
and today we're gonna do something a
little bit different...
Normally I show you kind of photo shoots
and stuff, but today we had shot the
video for the B10 plus the new Profoto
B10 plus, if you guys haven't seen
that check it out, and they needed a few
more kind of beauty shots of the light,
so instead of doing that on location
stuff the day of... it's simpler just to do
it here in the studio.
So I thought I'd show you that's how we
do that because it's
kind of interesting, and lighting is
lighting whether you're doing it for
video or stills.
Some of the stuff will
change slightly, and we'll talk about
that, but in general it's gonna be good
so this is the B10 plus, if you guys
haven't seen it.
It's a little flash you
know strobe light.
Basically it's black and kind of going
along with that aesthetic that you see a lot now,
the kind of these like black on black looks.
What I did was, I got a piece of Duvetyne,
and I'm just basically hanging it here.
Now I'm gonna use daylight balance
lights for this, and they have to be
constant lights, because I'm shooting
video, right?
I use a lot of tungsten lights,
you guys I've seen that before but it's
the morning, and I need to do it today so
I can't wait til it's evening in here to
block out all the daylight, and also it's
gonna help me a little bit to give me a
little fill,
I don't have to light like
the ground and stuff, so I'm gonna work
with the daylight a little bit, but I
want to shape it the way I want it.
So if you didn't, if you were shooting at
night, what I would do is I'd bounce like
another day light balance light off I have
a wall over here, that, if you guys are
watching the videos you probably know
there's a wall over there, but for this
purposes I won't need to.
So here's the light, I've got the HMI it's in basically,
it's a 200 watt HMI, which is a daylight
balanced hot light.
It's in a one-foot square softbox with a
grid on it, the grid so I can keep as much light as
possible off the Duvetyne , Duveytne is
pretty good it'll kind of, for kind of
absorbing light, but still you want to
try to control your lighting as much as
you can.
So we're gonna do that,
I am using a softbox, because if I just
took the light and pointed it right at
it even though I could use barn doors to
control the spill, I would have a hot spot.
It wouldn't be as even, even with
the the wide spread, because this light
is shiny, you know it's black, but it's not
matte black...
it's got like a little sheen to it,
so I want a diffuse light source, and
that's one reason why I'm using a
softbox, we talked about this is a few
other videos where I talk about you
don't just use a softbox because it's
soft, you use it because it makes it
diffused...
So we want a diffused light source,
so that's what we're gonna get here, and
who's got anyway,
so basically I'm just gonna move it in..
Already have it on you, got to kind of
warm it up HMI's so I started it before we
started, and I'm gonna move it in till I
get like right across the top of the
light where I want it, just like that,
and we can move it you know no you know
because what I'm doing is I have all
this light from the window that's coming
this way, giving it some light, but
there's nothing really on top, so that's
really what I'm doing right now.
I'm trying to get light on top, so you guys
can see that we're gonna kind of move it
in to where we like it, you know, and
again I'm working with the daylight.
If you're working with the daylight, you
need some fill, because otherwise this is
probably too contrasting.
So let's see what we're getting so far,
okay it looks pretty good...
I'm actually gonna I'll zoom
in with this camera, cuz we plan on doing
that, and we can see the manual focus
here, we can see that, with focus peaking
on and everything, they'll be able to
focus nice and crispy on there.
That looks pretty good, I'm gonna do a, it's
always a good idea to kind of do a
normally like if it Tungsten Lights you just
turn them on and off, with a HMI
you really can't be turning it on and
off, just the way they are, so I just want
to compare it yeah, so, I mean well I can
see the light there.
It doesn't have that three dimensionality
that I want, so that back, that was a good
spot for it right there.
Okay, that in and of itself is not
terrible you know, because like I say
there's light bouncing around the space
and the actual Profoto logo is pretty
shiny, so you can actually see it, but we
like to go the next step further, and do
something a little nicer obviously.
So I've got this guy here,
this is the Dedo light DLED 7 which is an
LED light it is bicolor, though we're not
going to need to use that function right now.
I want to use this one because it's got a
lot more dimming range this is why I'm using this
here, and that there.
What I have on the front of it... looks
monstrous I know, is a
projection attachment, or an imager with
with framing shutters. So what that's
going to allow me to do is, when I take
this light and I move it in, I'm going to
fire it up whenever I'm doing this.
I always turn the dimmer all the way up,
so I go as bright as possible,
so I can see what I'm doing.
I'm gonna set it to 250 500 Kelvin, which
is daylight, t's already there, and I'm
gonna open up my shutters and you guys
can see you know, see the light.
Right? I'm shining it here it's basically
creating a circle of light.
we can zoom it you know, to make it
wider or tighter, so then that's fine,
but what we really want to do, and that
lights up the whole front of it, which
you know is okay,
but what I want to do is just light up,
it's a Profoto it's a B10 plus, and
it's... and it has the little markings
where you set the head, so I think for me
that's the important part.
So what I'm gonna do is take my framing
shutters and I'm actually gonna move
them in like so ...
to create, basically you can actually, I
can make them totally square, but I
actually kind of like making it a little
bit off.
So it feels like I'm a little
more natural, but you know it kind of
comes down to taste, and that, that's why,
I'm gonna be at kind of at the edges too.
The other thing you can do here is, you
can focus and defocus it, so I'm gonna
you know, if I focus it, you'll really see
the, the sharpness of it,
but I'm gonna do focus it a lot,
so it's, it you know, I want a more subtle
you want it there, but we want it to be
less obvious... this is kind of the
control of this right?
So that looks pretty good as far as
positioning.
I'm going to look through
my camera, and I'm just gonna dial it
down to where I want it you know?
And this comes down to personal choice,
because clearly you could already see
the Profoto. So I don't need the light
here, just to see it.
I just wanted to have a little flavor,
so right there looks pretty good to me.
Take a peek through the camera, okay?
Focus a little bit here
and we're good to go...
so now this will be
not the easiest thing in the world to
show now what we do, but if you've seen
these kind of things, what we're gonna do
now is we're going to shoot a variety of
shots up on a tripod.
I couldn't shoot a still picture if I was
gonna do that, you
can do a lot of different things, some
things I like to do is like turn lights
on and off, so we could try that, so we're
already recording, so I could make a
scene where it's like there's no light
on the Profoto and then... oh there's a
light on the Profoto, right?
We could do that, we could do the same
thing by dimming it up and down,
we could turn the light,
that's sometimes a fun thing to do..
so I could do let me turn it on, so let's
say I'll turn the modeling light, and I'm
actually gonna set this modeling light
to be daylight, so it matches you know
I'll turn it up, I'll crank it and then
I'll swing it towards my camera like
this, right, that might be a fun shot, you
know that might be a cool opening,
or a way to cuz I'm shaking it...
so when you're doing this you wanna be
as steady as possible like that, right?
Nice and simple, we also can show the
menus in the back,
if we want, you know in this case because
I'm now lighting the Duvetyne,
what I would do is I'll go in, I'll just turn
this light, I'll leave it at daylight but
I'll turn it down all the way, so it's
doing a minimal amount of lighting.
If I want to leave it on at all, and you guys
can see there, and this is a zoom lens,
so I could easily zoom in if I want, so I
could take a look at the menu system...
it's still in focus, you know here.. you
know this lights now hitting the side
which isn't really where I want it, so
you can either take it out, or we could
adjust it to see the buttons, or we could
adjust it to see the Profoto down there.
You got a lot of options, I'm just
shooting the back of it.
I might do something like that,
but if I'm gonna put my hands in there,
I'll end up lighting my hands.
I don't really, don't wanna do that..
So for this I wouldn't,
I would just either not have it in there at
all or I'd maybe come from the side,
but you can kind of mess around,
you guys will see in the video...
depending how much of it they use.
I did a bunch different things, I
handheld the camera to get some of the
shake. I did some movements with it I
spun the light I went up and down
different angles, because now that it's
here I can basically do whatever I want.
You can really mix it up. you know I can
do a lot of different things here, and
this is a pretty good you
know lighting scenario.
It basically puts me in a
position where I can do a lot of
different things pretty quickly, and I
can change it up pretty dramatically, and
again I'm thinking about my product.
I'm thinking about shape,
I'm thinking about form,
and this is kind of what I'm doing
now, again you can do a lot of product
photography with one light.
You can do photography with ten lights,
there is a lot of different things you can do.
You got to really think about what
you're doing with it.
In this case, because it's video,
see I've actually set this up, and I can
do the video, and I want it to feel like
video, so I'm gonna probably do some
camera movements you know..
hold even... be holding the camera...
well these cameras are really well
stabilized, so you know a
little bit of shaking it will let you
realize it's a video... but I'm on a tripod
I can easily shoot a still, so that's
also tremendously useful for me.
It gives me the position to do both things,
this is what I'll say about this sometimes
people will say things like you got a 4k
camera can just pull a still but in
these situations if I wanted stills of
this, I would not do that, I would just
take a still, it doesn't take any extra
time really.
I'm already there, makes more
sense for me to do the still as an
actual still.
It'll be a bigger file and
it'll sure as heck be sharper.. because
you're not moving around.
So that's a little bit of a kind of insight and kind
of behind the scenes look for you guys
of how we produce this video, and how we
kind of add things in.
If this is the kind of thing hat interests you
then let me know,
because we could also maybe,
we could take another shooter on...
let's say some of the
more elaborate shoots,
and kind of shoot
that behind the scenes, if that's
something that is interest to you
of how we make the videos, if not,
you just want to see more of the stuff,
photography stuff that I usually do,
you'll definitely be getting plenty of that.
So thanks for watching guys,
be sure to subscribe to
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Follow me Daniel Norton Photographer
and I'll see you next time OnSet.