Shoot: Boudoir Lighting Part 2


Keep it Simple: Video for Photographers


Lesson Info

Shoot: Boudoir Lighting Part 2

so we do one more basic movement here when I go back to standard that despite having said on ly use manual focus yesterday you've been kind of holding down the shutter button eso are you auto focusing or many focusing that was for me to take a picture okay just for the pictures I don't I don't do it for um although uh okay interesting point what it will do is if I have a scene where it's just totally out of focus I'm I hold down the auto focus to get me close and then I zoom in because like I've really bad I say so I just I'd rather just hold it down it gets me close and then I zoom in and in those of you that did get to see the piece the first one we ever shot so I made that mistake of holding let's say like the background focus and pressing report at the same time if you can hold them is your focus on well you know so it'll start jumping if you look at that but if you guys have a chance to watch the video or lindsay's block that we posted watch this piece where it's focused on the su...

bject's face it jumps in and out that's the effect I used that for so it can be used for creativity purposes but that's really up to you as a videographer and that's important back teo creativity and the last thing for movement if you do not have a slider but you do want a little bit of that panning motion and you can't move your camera side by side this particular head this is what's on our gear list this one has the this is the seven zero one htv it has movement side the side there's another one that you get from mon upon where you can't pants I decide so I would hit record it's that first moment was really drinking knives at me and the hair time sampling is destry which I stole so you're here title someone's hair tie that's another thing to do is if you have a hair tie and you're trying to get this movement smooth if you put a hair tie on the arm and you pull it builds up tension so you don't have that first like knocking movement it's nice and smooth alright so those air these super super basics I would get that shot the only other thing I like it here would be like a super macro shot where I just see completely out of focus in the foreground the fabric and her eye and focus in the background just so I could cut it together so you mind getting me the one fifty are there any questions on that otherwise I'll just grab that shot and we will move on from this particular all your shots like he said yesterday you wouldn't do all your close ups and then all this and when she's here you do everything for this especially for continuity because what happens if I move something or the light changes so I wanted to fit together um for the one fifty macro I didn't bring it of a bad bad photographer videographer person but you these have lens colors the one fifty and the seventy two hundred sameer bigger lenses have lens collars yes thank you you should mount the tripods of that because when you asked a big lens the centre of balance centre uh of the weight of that camera has now shifted forward and so you're I mean my shot will not be nearly a stable as it would be if I were a mounting it onto the lens especially for seventy two hundred makes a huge difference so well on that note you guys will notice we have a little color markers on all our stuff that's just indicate what's ours because when you're on a big set with other people whatever reason actually colors kind of column market thinks this gaffer's tape it's really not that expensive you probably have the studio anyway just put a piece on there it doesn't leave any residue whatsoever you could just put off and you guys were good together she likes lens flare too so he uses them a lot more than ideo in film would like a lot of these these rigs like if you're shooting for example wedding on a sunny day they don't actually use hoods usually they use barn doors that maybe you've seen in the studio barn doors for modifying light that goes on say a shoulder rig in the front so you can control light that way because sometimes your hood won't be sufficient depending on how you're angling is you can actually use the barn door especially for rig it's just an extension of that um o okay put on your to do list for shots huh shots that are out of focus that come in and to focus and then the other way because they make great openings and great endings to portrait films you know for senior portrait ce of engagement all that so if you can get it to start out of focus and rack into focus it's a great way to say okay we're coming into a dream all right we're leaving the dream basically all right it's my my interpretation hey look there's a little bit I had to tell and total head like what does that have to say in term well for boudoir it's basically you're scanning that person more or less so it's a little bit of the foyer of eye make six checking out this personal money we're going back to yesterday's common about lindsay being voyeuristic with her so me you make me seem creepier than I am wait check this so this is going to be shot with my mac rowlands I am going to start maybe there for out of focus and we started more out of focus and I would actually need it too and I'm just gonna go really slow and blink and I just gotta guess I wasn't looking at that was looking here and that's that's pretty focused I think it's a little bit of an awkward crop so I will maybe crop to hear and try it one more time and when I wouldn't have you do is can you look away and then when I tell you just look your eyes back at me all right so I'm going teo and you can actually get the focus first if you want so you can get an idea of where your hand needs to end up and that's a good like muscle memory thing is I know I need to start there or if you can't tell you khun do backwards so you can actually make it go out of focus and we'll start there and look at me with your eyes and now look away and so just played in reverse it'll look like she looks over at me as soon as it comes into focus so you could do that in post which is great okay perfect any questions or should I continue do you have anything in the room I think that's like the way that you did that because for me like ending knowing that I've ended on that really sharp focus is so important I just love that the reverse like that makes so much then just start where you need end and so it's something if I have a for video or for stills if I have a girl and I'm having her flu for dress ok what I'll have her do is feel roughly the exact pose where I want her to end and so have her wind up and end there because she knows where her head needs to be in the general direction like for video just having somebody spin it doesn't usually that good especially for stills that was lovely may be said in front of the fabric right now lindsay really quick questions way have from photo gord who says how are you determining the proper aperture not just what is it but how you actually determining it and are you keeping them the same with each lap okay so I am not keeping them the same with each lens because each lens the same ambush will mean something different shooting with a macro lens at two pointing is the one fifty macro lens to pointing is significantly less depth of field than shooting say my fifty at one point eight or whatever it may be a dollar for shooting together we're using the same lens everything used exactly the same so we're just getting that sama same shot same settings everything done and it's okay if I would say this it's okay you're shooting maybe one's at two point eight the next one's at for o r ones at one eight if you're going for narrative the field stick to it because if you go from something that's really no depth of field to everything tax chart it's the same thing like shooting a really close up to shooting a twelve millimeter it doesn't match you're shaking like a story like you say an engagement shoot you're starting with you know her beautiful shots you wanted really shallow and then it's them together in you know a scenic a place you would want you know to be quite a bit shark er so would you put phil images in between the cut rate that exactly if that's the again it goes back to the creativity thing right so if it doesn't look too jarring you shot uncertain weight it doesn't look so bad meshed together no one really notices that the difference I mean it goes again videography editing and all that is totally creative no one's telling you this is wrong this is right you can use it you see every single director has probably gone to film school right but you see every single piece that they come out it's something different aside from everything being teal in orange which is different story you think tolerating similar nowadays but the directing itself is very very different you'll see movie shot handheld you see moose rot in completely static shots it's it's creativity totally created okay uh so related the same concepts of photography apply so for here I'm shooting at twenty four it's not going to be flattering to photograph a woman at twenty four especially if whatever is closest to the camera looks largest so in this case it's maybe here um so here's my tips for making someone look taller and slender more slender first ball back up in human is much better than getting close and going wide uh when you get close to somebody and have a wide lens that communicates aggression on their part or it could be discomfort so it's one of those things like if you're up in somebody's face with really wide lens they look larger than life and that they're dominating the scene or if it's the other way around if someone stays small in the scene but you have a wide lens we had in the corner it just seems like the world is swallowing them up when they look uncomfortable it depends on how you shoot it so that's probably not what you would want so I'm going to back up a little bit and suman alright check my critical focus one more and this is where maybe I'd use my auto focus get me close like that and then I could tweak it the rest of the way so the autofocus at least got me in the right general direction there and those of you that are looking at the tv screen it's not color calibrated to what the back of the monitor looks like so just know that that's a lot more orange than what she's saying okay so looking at this shot I've changed what we're shooting and the light now sucks it's not what I wanted to be so I need to compensate and the first thing that I know is I can't change my shutter speed and I don't have that available to me anymore my I s so maybe it could bump it up a little bit three twenty it's like six forty isn't going to be massively noticeable and then of course I could go wider so I'm going from four five to four o two three five okay I can guarantee you those highlights are blown out they are completely gone and it's beautiful so I wouldn't stress out about it depends on your end purpose I've also put this completely office want to take a look here alright good uh so what I'm looking at as this right here is bare bowl I don't know if you guys in you know using strokes if you take a bear ball it is very harsh very very contrast so usually want something to diffuse it a bit what you would do is you could either add a soft box on the front of it or maybe you have something like this on and that is a vey flat it's a large piece of foam core and so I'm actually going to do is instead of adding a soft bugs I'm going toe pointed into the v flat and that's going to bounce up okay and I was going to move this would you grab that for me so I don't crush it highlights blown out you really try to keep her really light you know what I mean like similar in unless the other way around is I could actually go for silhouette if I wanted to could you turn sideways a bit quick and can you raise your arms up and now it's all about shape where is if she's facing me straight on it's just too darn light is totally flat so it's I mean that might be nice for movement when you grabbed the side of your your dress is kind of move it a little bit so that maybe that darhk is kind of silhouette movement but I will actually start I think that looks beautiful even if you turned sideways so right there good so now I have I mean she was isn't it just like wow okay putting me to shame I think it s so I'm going to zoom in and focus on that and like I said this is shot those highlights are gone I'm not trying to save them if I were trying teo maybe you would try to even out the exposures and shoot neutral I'm not I know it's gone it's fine uh it's true all right so when I focus oh and also if you're trying to focus obviously you know maybe if it's eyes you want to focus on ice it's easier to tell focus on an area of contrast which is why I zoomed into the panty line because trying to focus on her stomach it's all kind of a neutral non contrast tone so it's much more difficult so that's why I'm looking for is long as that panty line is on the same plain is what I want to focus but if I'm doing a really close shot and maybe her lipstick was the area of contrast but I'm trying to get her eyes that would not work just keep that in mind let me grab this shot right here is gonna have to give me a slight movement would you run your hands we papa but your back leg like this perfect some give myself little shaped shape and then just run your hand up your side perfect and onto your stomach good and the same thing down this time and turn your stomach towards the left just a little bit good and lean forward just a tiny bit and then you're gonna put your hand up and leaned back on my good good perfect great and one more would you close the outfit and then what you going to do is just open up and turn to the side so men unless you're comfortable posing the same way lindsay did for your subject bring some sort of posing guide onto the set because it's a little like for me it's a little awkward me trying to pose the same way that she is like I do it as a joke but I can't do that well to replicate that really soldiers back towards me and so what I'm just trying to do is I'm trying to see okay she turns this way I see the light she turns this way ideo some kind of rolling her between the two and I'll I'm just gonna take a little clips perfect what she does by default see how she's talking her knee over everything that you learn from me to stop recording clemon record myself for everything that you've learned from portrait photography applies so one of the places that you should aim to crop in video is at calm like vanishing point's basically places where people look narrowest so for example if you don't get many this's where it was for him before so yeah so if you're framing their how it's it's a wider point it's at the top of her hips but if you angled down just a little bit more the angle down here and I increased my frame maybe like this it's a little bit more narrow at the bottom versus cropping maybe right at her hips what she does already is if somebody standing sit just like this and a flatfoot peter feet apart just just like that uh what it does is it creates aa highly between her legs and two lines straight down out of the frame but tuck your knee over it gives you much nicer curve if she talks her knee over so if you ever see me posing for a facebook picture you'll see me do this look I like talk money over it's the same idea all right sometimes you do one more move like that let me see oh and actually just you know let's say that you had a set like this where you had that right hand side you couldn't do anything with because it's extending the end of your frame um you can just put white if it's solid white or you could do a white grading it's photoshopped the same way that you would do a white gravy and a photo where your background in its scent extend same exact thing somebody say that one more time just like this perfect home means even first yeah and just do that and then turn to your left let me zoom in on you good and ok same thing and turn to your left and open up the town good and then kind of turn your shoulders back totally the other way perfect great and then the same thing look ahead to the left perfect so that's if I have returning to decide if I want a picture where she's like a little bit better for her face I can now bounce it into a v flat well that we fly up for me go and keep going like big way good great let me more on your side towards me good all right so give me just a little bit of felicia that feel how nice and sauce it is so if we're going for high key before I see okay before we're at that here were much much much softer very good look great they're really soft ok perfect so that's how it maybe photograph her face because before there was no contrast no direction now I can photograph face like this perfect super high key nice great good so I can get critical focus pretty quickly great and I will have you look your head all the way down into your left shoulder great so I've got that nice highlight I'm gonna pull your hair back just a little bit on the sign and then I would have you look over at me wonderful okay and look over at me good and now I'm gonna have you just kind of move your outfits just a little bit perfect great all right so now I've gotten those basic shots I do want to introduce something for creativity unless there's questions someone had asked about overheating of the sensor so more hats at asked when you're shooting video do you ever worry about that are you no it's a good question so this is a cop out answer but it's completely a legitimate answer is you have to check your manual and and you have to kind of read up online some cameras uh if you the reason the original cameras like the mark two on and some of the other cameras turned off at twelve minutes if you recorded for twelve minutes straight after the told minute mark he would stop and have to start a new clip party there was some other reasons for that but they're trying to prevent you from shooting an overheating because that constant recording nonstop connection overheat the sensor or cause issues would bring to the memory card now we have like thirty minutes we've had on set where we've shot all day where the camera is hot you can feel it not the marques street with the mark to definitely we pick one yeah so it would be something to be aware of maybe ask would ask mean event or wedding photographers they've ever actually had a serious problem with that I would also called whoever your camera camera manufacturers and see what their recommendations aren't saying listen look if I'm recording with their next oral monger that lets me shooting definitely what's the longest period of time before I'm risking damaging my sensor if it's even a possibility it is actually will turn off for what it'll do what well a little temperature marker comes up and starts blinking and then there's there's a lot of people with very weird issues like I've heard where you keep your battery in the charger for too long it expands and doesn't fit inside your camera like there's a bunch of different people um one other random think tone let the watch out for lasers okay that sounds really funny but yes watch out for lasers if you're shooting in a rock concert if you shooting it something it'll go right through your your lens and fire sensor people have done it with reds which is like the twenty five thirty five thousand dollar cameras somebody if you look it up it was on f stoppers and on youtube where somebody's literally it like a rave it's dead center in the center and fries the sensor cos you can see every dead pixel it's in there it's really it's funny for us sad for him her whoever it was yeah I mean I just read that I was like oh my gosh who would have ever have thought that you could fry it that way and I'm just gonna grab a moving shot while I'm here so I will just grab the shot anyway good and look over to your left okay I get it all right so let me just finish up with a creative anything someone just grab this real quick wetlands have on twenty four seventy so which one is that all right so if you ever seen a class that I've done um I like to add lens flare two things okay um and so I'll add lens there on purpose by holding pieces of plastic in front of my lens or pieces of glass or whatever it may be if you check my block I shot a few editorials recently were actually shot through crystals so jeff knowing this he wanted me to be able to take my photography style and apply it to video because that's what you should do people are hiring you for your style but they just want you to use your style on video and they're aggressively different styles for that so what he did was really cool for me is he took an inexpensive filter just like a uv or skylight filter really you know the ones that are completely clear and I bought a crystal online for unlike was either that's your ebay for like ten dollars and super glued it to the uh the front of this so if I buy the way if you're gonna buy those things they do make him but like three four thousand dollars you actually like make like fancy ones of these others all right so now the image is not in focus that's okay it's not supposed to be in focus and it makes it easier and there she shot before and you guys are probably gonna hold something for the lens now she has both hands accessible do everything that she's even still photography yeah you know I was doing this before but this morning the crystalline felons it is actually cool to move the crystal sometimes when you have it moving but I just have something that is completely dreaming when I pan across it's very romantic and really beautiful eso what this applicable is applicable for for me engagement sessions high school senior portrait but you are sessions and this is well I'll say this in the example where the person has a big pimple on the butt that's what she said hey like I was not me uh or whatever they have some just color in their skin this is great because now everything isn't intact sharp focus but you don't mind because it's not supposed to be s so that's kind of a work around and that's what people in the old days for of portrait they would use like filters that actually decreased the sharpness or they're take vastly it and put it in from the left in front of the lens to make it look like a painting and then goes back to time this into yesterday this is what we use for the to our shoot we weren't shooting through the mirrors so it's a little more voyeuristic and you're replicating what you see in the mirror without having to shoot in the mirror that makes any sense so again it's not going to be in perfect focus I'm going to get you're not going to get any closer than that then that goes back to being artistic perfect and then just kind of move your head over and look back out that way I've been out beautiful and then back over to me perfect and so now I'm going to the same thing stay right there but I'm going to move my camera I'm going to unlock the panning motion instead of the tilt a whirl with the panning and I'm just going to move my camera real slow okay and I'm gonna be look away at them until I tell you to look at me so ready and look back at me eyes here perfect great and then I'm going to get my tilt same thing like make sure it's zoomed in for focus looks good that's a sharp is I think I'm going to get on great and I can show you guys tomorrow a similar effect that I do and premier to make this a little easier for you for whatever reason you want that tack sharp focus and I'm using gravity to tilt it down slowly I'm into the same thing in the whole time I just want to know who put your hand next your face kind of leans who's going to nice slow motion motion okay and feel free to give me some motion good perfect and maybe move your hips just a little bit more this time so you guys notice how she's consistently directing while she's shooting at the same time that's extremely important so your subject feels comfortable that you're working with him at any given point also we generally don't have another serene running so the subject can see so just speaking to them if it looks like you're whatever reason confuse do you not know what you're doing consistently talking to them making them feel comfortable um so we actually did this for the eighty five and the twenty four to seventy it my recommendation is if you're going to do something like this it works best with longer lenses so maybe a seventy two hundred that whole the whole focal length and seventy two hundred works great eighty five looks awesome when I zoom out this looks nice for her but when I came out to twenty four let's move back so you can kind of see everything's over exposed here but we move what you guys huh uh you can see the edges maybe it's okay with you guys um so you can see the edges of the frame so it doesn't usually work as well because even if I'm shooting wide open you can see it versus if I'm zoomed in nice and tight at seventy it's more of getting and really soft now if you guys do like the's this still is a d I y project so in traveling here one of these came apart but goes back to what I mentioned yesterday sometimes you make d I y s definite just disintegrates while you're trying to use it keep something you know either superglue or hot glue gun handy if you're gonna do something like this or protected very very very well just don't throw it inside your kit and then here's if you rotate it and is that a glass or plastic crystal it is a glass crystal chandelier so you can take him up for like for like fifteen to twenty five dollars for a giant one the key word that you're looking for is large teardrop crystal or large chandelier crystal or any combination of those they sell them sometimes in lots on even a meaning like two hundred or three hundred time and so that would be more expensive or you could just find on etsy um you should be paying more than twenty dollars for one though others getting ripped off was such a cool effect I love that and I think the key point that I want everyone to know is I'm just taking my photography exactly using in video I don't there I mean obviously some people that have directed might use a similar technique but this one's on me because it's how I shoot well I think one of her she mentions again that she loves bruno of aliens work which this is what he does this is this thing he likes that smearing of or that mirror image and shooting through something so it's her version of replicating something that she liked and then you and I shoot a lot out of focus like I'm like totally out of focus is gorgeous looks great doesn't that make you want to pick up other random things that flea markets to put in front your life try out so I live in a small apartment in new york and like my sis my call them lens flare tools basically it's like random plastic junk everywhere they're in my closet doing in his closet in the drawer there's a whole drawer filled with and the colors make a difference so if you add something warm if you don't have a good sunset if you have a yellowish crystal you put in front it is the most vibrant gold sunset ever or if you're going for something kind of like the girl has pink flowers in her hair you take things one because there's a little chandelier glasses come in all shapes and sizes you can replicate so many different styles by all means going back to you mentioned yesterday about the filters there's actually filter the what's it called the cocaine fields there has a half die after half not so half of it's in focus half of its not or half of it's closer and focus and you can replicate like a distant like a focal distance something in the background can completely being focused while something in the foreground and focus they have all these different toys you khun usedto play with video and photography for that matter she gets absorbed into shape and get my second pretty models come out she's like I don't want to talk to anyone I know so now that I've got in these shots in the next segment when I'm going to do is I'm not going to shoot that set anymore we're going to photograph her on a chaise because that's probably what a lot of people do it change your bed and I'm gonna make a little bit more boudoir so we're going to get some of the shots where you see her eyes in focus everything in the background out of focus and that is when we're going to use a slider so for example he looking up and down the body is the voyeuristic that's why you might use its hilt versus if she's laying in a bed maybe the slider would be more applicable for that movement and so I'm also going to have you guys play with those and also the uh the vendors

Class Description

Videography just got easy. Lindsay Adler and Jeff Rojas are going to show how to apply your existing rockstar photography skills to capturing video — without investing in fancy equipment or learning complicated technical jargon.

This Creative Live course will focus on simple, easy-to-implement videography techniques. You’ll learn how the photography gear you already own can be repurposed for video. You’ll also explore the lighting basics essential to capturing motion. You’ll build concrete strategies for integrating filming and editing video into your existing photography workflow. Lindsay and Jeff will share their unique techniques for using video as a way to tell stories and for integrating your one-of-a-kind style into your video work.

Whether you’re looking to add a lucrative new dimension to your photography business or ready to capture compelling home movies, this course will demystify videography and give you the tools you need to film and edit like a pro.