most of the time I honestly don't use artificial lighting if I don't have to because I can use window light I can use if I'm outdoors just and be like that's their that's much easier so just like starting off if you can avoid using audio skip it same thing if you can avoid having to introduce artificial lights skip it stick with natural light don't do audio and then just focus on the visuals that you have but of course there are times when that's it's not gonna be enough maybe you have a set indoors that needs to be lit whatever it may be so there are a lot of different options the first thing is I do want to say that in the movies they have endless endless like hmm eyes and things but that really were strong and they have huge sets and screams and stuff we don't and with that they also have the personnel to fix those things if something goes arrives so you being a solo shooter having maybe a partner help you you don't want to be in charge of twenty thousand things I mean directing and...
photography is tough enough sometimes so one thing that they do have that I just want to show you guys on set that they use a lot of movies is what's right above your guy's head it's kino flows and kino flows are constant fluorescent lights that do not flicker you can get them as tungsten or you can get them as daylight it could be either one and just basically switching the bulbs makes the difference and that's it and so those are a lot of times what's being used in movies too fake overhead light or maybe they can use it for example with diffusion panel too fake window light like that's what they would use in the movies those are really nice do not actually terribly expensive but a lot of time to photographers opt out of those they're not as versatile for photography uses maybe other you don't have any modifiers I mean they have like a grid a sock over it and basically just that the plastic panels on front for for a barn door is basically just flagged him off if you're not into not to using like a beauty dish your long throw that probably wouldn't be where you want to be right so in other words if you guys are used to using well let's say umbrellas and soft boxes you get this trip of lights and like I don't know what to do with it so if you don't want to be stressed out and having to learn how to modify that there are constant lighting tools that are designed for photographers for one of the things that they've made that you might be familiar with and this is not a movie light but it's ah constant fluorescent ring lights that were like all the rage for a couple of years on dh so they put the big circular catch lights in the eyes that's a constant fluorescent light that you can shoot through you don't use that for video except for maybe if you're doing like a music video where it's close up through the ring light and you're looking for the catch lights in his eyes okay so what we have on set here and if you guys want a pan over to what we have um these are made by west westcott their constant fluorescent lights and they have a bunch of different bulbs in them and there's ones that are called for for westcott it's spider lights or tt sixes and something that they're called and I will tell you there's a ton of other things so maybe there's led solutions you might have seen the the led options um those air fine but I've actually found them to be pretty expensive and then when I go into like really strong lights that are that are more like like h m eyes that just got way out of my price range so these are a few hundred but you're in huge luck because if you use anything from say westcott would probably a lot of us are familiar with all the same modifiers air still available they like to change the power levels on these things were just great depending on what you're trying to shoot has three different switches you can depend depending on how you want to light your set do that same thing so this works is for photography equipment as well as video and so I know a couple years ago came became really popular when all those different video lights came out like they had that leaves a little the little spotlights um you could put on your camera you could hold that maybe makes sense for events you know we're on the run and you just want to let your subject where they put the little blake panels on the camera you'd hold it off camera that looks to me like you're in a scary movie running around a flashlight though so I would try to like avoid that as much as possible because if you have a scene like p o v first person view of running through a hole with just a flashlight it may give off the wrong interpretation trying that's funny um long since I have seen it work well or someone has just a little bit of light and add a wedding they use the video light and then they'll shoot wide open so all the lights at the reception for example become big circular bubbles really soft in the back of it can be used correctly but we're going to do more of a set you wouldn't use any of those on dh then to get enough light and enough output for what we want you either have to go to kino flows h m eyes really big light panels it becomes too expensive so there are several companies that make options like this um one thing to know if you're looking for these as they have different wattage is of bulbs and so it will actually make a really big difference because maybe you know a case of seven fifty what might put up too much power for the small space you're in and if you're in a small space when you're using these constant lights you can flip some of them off to dim them down but because in strobes of most of hae won reshooting strobes we're controlling the output by our aperture you can't really do the same thing here so if you're in a small space if you back that led up to the wall and you turn it down as far as it goes that's that's what you've got unless you're using and we'll talk about it on neutral density filter so that would be my kind of intro to constant waiting we're going to use these right now what's nice is because they're daylight balance if I did choose to open up the window they're balancing with those so I could use it maybe as my fill light instead later on what will be done dealing with is the fact that you can actually use you are modeling lights on your strobes so we're going to do is light the whole set same way that you wouldn't photography I'll show you guys could see I don't want to just lie to set and then you guys get to see then say well he let the senate's ready down we'll step by step go over lighting the set how I would take a photo and then replicate that same style towards videography yeah it's really nice because all those modifiers like a beauty dish you can no use and it is tungsten light and I'm you know grand I'm sure that expensive movie lights are much better but we're not we're not going there unanswerable and then for this set of course they're tungsten so I'd have to like gel everything and then I have to be like this why we're going to use these so I want to add to that before we get started okay so let's talk about how and lighting when I'm letting things I keep in mind that if you like completely from the front sometimes in uh beauty photography it looks nice because it's flat and it blows out the highlights and somebody's face but it's it's kind of a flat photo it's a still frame it looks significantly more boring when it's video because there's no death and so you're looking for that death eh so what I would recommend is in general don't light as much from the front as you usually do it doesn't mean you can't have a high key video doesn't mean you can't have flat lighting but you want a little bit of depth and a little bit of shape so when I'm thinking about boudoir one of the things we're trying to pay attention to is curves and somebody shape in their outline if I like somebody from the front you don't see that it is flattened but then at the same time if I pull the light far off to the side that wouldn't be high key what happens is if I move that light off to the side I get shape because of the shadow that I've created but if I want everything to be bright and high key I don't want that much shadow sumo everything alright so I don't want my shadow but I don't want the light in the front so something you might consider is letting more from behind the subject you're giving them rimmed outlines and in the boudoir video that we shot if you look at it most of that is actually lip from a window behind her like pretty much all of it by the way that brings me no point if you go to my blogged which is blogged that lindsay out there photography dot com the first post that's up there if you click on it I put up all of what like one video that we showed yesterday linked to it so if you wanted to go back and watch that again so if anyone does have questions I went back and watched the grandpa video I see a shot like this how did you do it feel free to add interest to make more people cry with that video is what isthe it was cute and I got a lot of nice compliments on it this morning that was really sweet I want to say thank you too bunny yeah so actually my friend bonnie she's I mentioned her yesterday issues based in texas and two birds photography so for the script we wanted something really wanted it to actually be words of advice outside that like we were coming up with so she had mentioned that her father was a writer and so he wrote it for his grandson so that wasn't actually the words at that guy wrote because we wanted to know the writer for in this case it was cool because my friend lyla this morning said already put together my christmas wish list because I need to do this for my kids in their nana like we need to do this right now on dh so she she was saying that she doesn't want to have to spend a lot of money and recorder so she's already looking I put a link on my block to how you can make the iphone into a much a significantly better audio recorder so she put on her list that she start off with the mono pod in the fluid head stick with natural light in the news your iphone and then as she gets more comfortable should keep moving at school going up yeah she just said you know one record that right now
Fashion photographer Lindsay Adler has risen to the top of her industry as both a photographer, educator, and Canon Explorer of Light. Based in New York City, her fashion editorials have appeared in numerous fashion and photography publications including Marie Claire, Elle, InStyle, Noise, Essence, Zink Magazine, Rangefinder, Professional Photographer and dozens more. As a photographic educator, she is one of the most sought after speakers internationally, teaching on the industry's largest platforms and most prestigious events.
Jeff Rojas is a Photographer, Director and Small Business Owner, based in New York City. After a stint working in Corporate America, Jeff decided to trade in his suit and pursue photography as a viable career choice. Since then, photography
This great workshop helps me to start a new experience with video, Lindsay and Jeff are so clever with a teaching very easy to follow, now I know the basics to work with movement, I got a new vision on how to take advantage of many years of photography experience, this is a new medium but image itself is the same, I recommend this to any newbie interested on getting a solid base to start.
a Creativelive Student
Fantastic class! Watching it in 2019 - and still finding relevant. Excellent way to ease photographers into the scary waters of video footage and production... and perfect for somebody who already has some basics to take it up a notch and challenge themselves quite a bit! Loved this class, very helpful.
a Creativelive Student
I bought this class because, I recently bought my first DSLR with filming capabilities. But when I start looking at it and after watching a couple of instructionvideos on YouTube I kinda got overwhelmed. This class broke it all down into clear pieces for me. Lindsay and Jeff have nice and clear teaching style. They covered everything but didn't get to far into the nitty gritty details. They always told how important something was and if you have to do it in a certain way or that is your artistic choice. I certainly can start off with making video with a lot more confidence now. The course is packed with information. It took me much longer then 3 days to watch and take 37 pages of notes!