Set Up: Splash Shoot

 

High-Speed Photography: Capturing Motion

 

Lesson Info

Set Up: Splash Shoot

Let's talk about the set and we'll take some light meter readings. What do we have here? We have one light coming from the top, right up here. And it's mounted up there with something called a Cardellini clamp. Which is just a clamp that you can kinda go anywhere with. They're using them in this room to support that camera and other cameras, so it's just a little bit of grip. We've been careful to run, we don't run the cord down and into the set. The cord is running over and down. This light I'm least worried about because, water's gonna fall down. And you'll notice most of my lights are up. I'm not having any lights on the floor or anything too close, so if we splash them with water chances are, little of it is gonna hit up there. Some of it might, but not the majority of it. I'm keeping my lights high so the water will go down low. One light up there. Again I'm using a piece of black cinefoil to keep it off this back wall so it doesn't spill all over this back wall. 'Cause ultimately...

, what I like about this back wall is that it's dark and the water's gonna be light so I get some contrast there. What do we have here? All my lights are D2 Profoto lights, for the short flash duration. All of them are on freeze mode. All of them are set kinda low, below the power lever of four so I'm getting the maximum flash duration. Everything's kind of low. Me and Chris will go through and read it. Yeah. Yeah. What do you want to read first? Let's read the back light, the edge light that's on him. Sure. Should we look at them one at a time so we could see that business? Maybe just swing them out? Alex, can you just pan this light away from him, all the way away from him, and I'll pan this light away. That one might have to drop down low. This one? Oh his. Yeah. Thanks. Drop it down low, drop it down low, drop it down low. As opposed to turning them all off, which I've been doing, I'm just turning them away right now, so we can just look at them one at a time, and understand what each light's doing. That's a F8. Okay, cool. So I'm just gonna look at what that light looks like. I want it to be an edge light, so I'm gonna over expose it slightly. I'm setting my camera to seven one. Shooting at 200 ISO. And really one of the first things I want to do in the... Is just shoot the available light in the room, and see that I'm gonna get a completely black exposure, that none of the light in the room is gonna be contaminating my shot, and kind of giving me light trails or anything like that. So I'm making sure that at my strobe exposure, which is set at one of that the light's not gonna be affected. So I'm just looking at that edge light coming down from the top. I'm sorry I wasn't in focus there. Right at me Jay. Forget about that monitor, it will just make you feel self conscious. If you look at it, I'll give you a knuckle sandwich, you hear me, okay? Right, so we're just looking at that edge light. Edge light's just coming down. Give him a little bit of rim. I want that there because I wanna get a little highlight... In my water. So I want some bright light shining through my water, to give it that luminescence. We're gonna bring this one up. Let's read this one Chris. Sure. Is it pointing right at him? Up a bit more. It's a beauty dish with a grin in it, right here. Yeah, that's good. Yeah. I'll give you a pop there sir. That's 284. 284 Yeah. Really? Okay. So let's see what that's doing. It's not doing much, just kissing in his eyes. A lot of our lights are coming in a steep angle, and he wasn't getting enough light in his eyes. See that? Yeah. I think we can even come up a wee bit on that light. 284 on that light. Yep. Alright, I'm just gonna drop this one down and turn it out, I'm not even gonna shoot again. We just gotta swing that one in, Chris. Sure. And if, Alex, you could get on stand by, we'll swing that one in last. Alright. Just be on standby, you don't have to move it yet. Wanna read it for us Chris? Love to. Ready. (light flashes) That's 565, it's kinda feathered off him. Okay cool, just step out just a second. So it's feathering off him, it's 565. Boom. Let's just zoom out and show them what that's looking like. So we're really just looking one more time. That's just the edge light, and that big octabank from the top. 565 here, F8 from the back, camera set to 7-1. Bring this one in, swing this one out. Yeah. Good work, Alex. That looks good. Coming at ya. That's 566, so they're about even right now. Great. Cool, so we see what that one's doing. Now we're gonna bring them all into play and see him totally lit. I think it's just kinda helpful to see what each light's doing. I'm also kinda cross lighting him too a little bit, because I wanna show off his physique, his muscles. We got them going like that, so I'm like, very directional, highlight, raining down from the side. So, how do we feel about safety? Everything feel cool for you guys, right? Okay. Oops, sorry Chris. It's alright. We're just gonna take a little guard right up here. Actually, did you say you wanna go in there? You wouldn't mind going in there, Doug? Right on. We'll just put you on the side in there. You can take your shoes off, or are you gonna leave them on? No, I got ugly toes man. Really? Okay, alright. You're gonna get wet in there. Take his phone. Let me take off my shirt. I can. Can I get an A clamp please? You want a gap, or A? I would rather an A clamp. Okay, I'll get it for ya. Any questions from the audience right now? Is the plastic too high for your shot? I don't know, I don't think so. I think right about there I'm good. Coming in. Thanks. And another. Alright. We'll probably have to get a couple people involved here. Why don't you two guys come up. Why don't you guys just be staged right over here. You're gonna pass Doug a bucket. And you're just gonna fill these bowls up. And let's get another bucket on the other side. Sure. Alright so let's fill those bowls up. Does someone splash or do you want it to be me? Is that gonna fit in this? Yeah. You're just gonna only be able to fill up about that much. Cool. Let me show you guys, just watch once how I kinda want the water to come in to the shot. Chris will shoot it, and I'll wet him. Can we just shoot one and see how this plexi's gonna come into play? Yeah. So just hold that ball underneath you. I dunno, I kinda gave him a prop, I though it might make a little bit more sense if he were like a linebacker or something like that, we were doing some crazy spot trick, right? Alright, and that's all out light coming into play together which is a completely different shot. So our plastic isn't even coming into play. Give me your other hand, like, maybe strong on your hip. Right on, you got that. I want the body real tight like that, and the head kinda high. I'm just gonna hit you with one bucket from the side. And you guys just watch what the water's doing. You guys pay attention too, because you might be doing it. So I'm gonna kinda paint him with water from the side. And I'm out of frame right here, right Chris? Yes you are. And Chris, because we have such a quick quick recycle, just show them how quick it is. (camera shuttering) We can shoot like that all day, because these lights are built for this shit.

Class Description

The ability to freeze a moment of time can show power, emotion and detail. Learn how to utilize high speed flash duration to create powerful images in a fraction of a second. Through a variety of examples, Clay Patrick McBride will have you experimenting with your photography in a new way. He’ll explain:

  • High Speed Syncing techniques
  • T1 and T2 Flash Duration
  • How to capture the tiniest of details like water droplets or dust
  • Different trigger techniques depending on your unique setup