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FCS vs. RCS

Lesson 31 from: Lighting 101

SLR Lounge, Pye Jirsa

FCS vs. RCS

Lesson 31 from: Lighting 101

SLR Lounge, Pye Jirsa

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Lesson Info

31. FCS vs. RCS

Lessons

Class Trailer
1

Chapter 1 Introduction

01:26
2

Why Just One On-Camera Flash

04:22
3

5 Reasons to Use Flash

10:37
4

Common Flash Myths

06:51
5

What Makes Flash Challenging?

04:56
6

Chapter 2 Introduction

01:36
7

Flash-Strobe vs. Ambient-Constant Light

08:19
8

Flash vs. Ambient Light Exposure

03:07
9

Flash vs. Ambient Demo

06:42
10

Flash and Ambient Balancing for Natural Effect

07:11
11

Flash and Ambient Balancing for Dramatic Effect

04:19
12

Flash and Ambient Balancing for Creative Effect

07:10
13

Understanding Flash Duration

08:37
14

Chapter 3 Introduction

01:34
15

5 Common Key Light Patterns

08:38
16

5 Common Key Light Patterns w/ Diffusion & Fill

07:42
17

5 Common Secondary Light Patterns

08:28
18

3 Primary Subject Patterns

05:27
19

Light Qualities

09:56
20

The Inverse Square Law

07:50
21

Inverse Square Law in Practice

08:21
22

Corrective White Balance

10:02
23

Creative White Balance

05:47
24

Chapter 4 Introduction

01:58
25

On Board vs. Hot Shoe Flash

05:57
26

Full Feature vs. Manual Flashes

08:59
27

TTL vs. Manual Control

08:12
28

TTL vs. Manual Recycle Times

04:43
29

Flash Power & Zoom

09:18
30

HHS vs. ND Filters

12:29
31

FCS vs. RCS

07:11
32

Chapter 5 Introduction

01:38
33

4 Tips When You Must Use Direct Flash

06:00
34

Bare Bulbing Done Right

11:42
35

Grid Snoot + Direct Flash

06:43
36

Mini Beauty + Direct Flash

06:08
37

Ring + Direct Flash

07:52
38

Understanding Modifiers

09:24
39

Direct Flash + Shutter Flash

09:07
40

Chapter 6 Introduction

01:55
41

Ambient vs. Direct Flash vs. Bounce Flash

14:27
42

Silver Bounce

14:27
43

More Light Silver

11:02
44

Soft White Bounce

15:41
45

Overhead Bounce

11:39
46

Overhead Bounce + Fill

09:42
47

Event Bounce

12:42
48

Chapter 7 Introduction

01:38
49

Natural vs. Dramatic Light

17:43
50

Filling and Refining Existing Light

08:44
51

Coloring Light for Corrective Effect

13:33
52

Coloring Light for Creative Effect

10:27
53

Chapter 8 Introduction

00:43
54

Case Study 1 - Dramatic Sunset

09:45
55

Case Study 2 - Desert Sunset

10:04
56

Case Study 3 - Sinister Headshot

09:40
57

Case Study 4 - Family Portrait

08:21
58

Case Study 5 - Athlete Portraits

11:19
59

Case Study 6 - Working Angles

07:22
60

Case Study 7 - Drag + Composite

08:09
61

Case Study 8 - Less is More

07:16
62

The Good Karma Jar

01:41
63

Favorite Feature Flashes

05:52
64

Favorite Manual Flashes

21:35
65

Favorite On Camera Flash Modifiers

21:21

Lesson Info

FCS vs. RCS

FCS and RCs. Let's take just a bit more time and discuss the differences between first curtain sink versus rear curtain sync. We're gonna analyze the shot just a little bit more. Now this John, Bolivia with the crossbar going across her shoulders, was taken inside the studio. And basically, rather than blacking out the studio completely, what we did was we shot with some ambient light. The whole goal here is we want some ambient light to create some motion in the shop. We want there to be a little bit of light there, So when we drag out the shutter, we get some motion. But we want to use the flash freeze that motion. So what we've done is to make sure that basically that that motion that we capture looks good and looks decent and also doesn't blur the face We actually placed the light behind Libya and off to the right side. That way, the lights basically coming and acting more like a kicker kind of off this side is giving her a little bit of rim light. It's also giving enough light to ...

her back that it creates motion. When she jumped up and down so it gives enough light in the scene that would get into motion. But it's not on our face. As she's going up and down, we slow the shutter speed toe 1/10 of a second. And really, you want to play with the shutter speed? With each of these scenes that you approach like this shutter speed is gonna be one. Those things gonna vary If you're dealing with cars that are moving incredibly fast, you don't need to go this slow for your shutter speed or depending on how much motion you might want. You might even go slower. But typically the faster the motion, the quicker the shutter speed could be to still capture motion. But if the motion is relatively slow, the wind is slowly shutting down even further to be able to show that motion. Olivia's motion is fairly quick. So 1/10 of a second will give us a good, adequate time. Whereas if we slow it down too much, if we go to 1/2 2nd it might get a little bit too much motion because it's just not gonna look that great. She probably jump up and come down within that entire half second duration. All right, So with that said, we go 1/10 of a second for our shutter speed at our aperture is set to F 28 and our eyes. So it's that to 200. What I'm doing with afternoon eso is number one. You use your capture primarily for kind of just your composition, right? But it's also to gauge how much light want to enter the lens. We're doing the same thing with eyes. So I'm raising I so just a little bit above 100 eyes. So just because I want the flash power to be a little bit lower now, if I wanted to, I could take the eyes of the 400 or 800 that would allow me to run the flash power down on my flash running with us. Ah, lower flash power means that our flash duration that instant word fires is gonna be quicker. It's gonna be probably like at 1/16 power 1 32nd power were around like I think it was like something like 1 8/1000 of a second, which is plenty fast to freeze the motion. So just remember, if you take a shot like this and you're running your flash power at 1/1. Well, the flash power at 1/1 on a 5 80 x on the Metro son on a Nikon SB 9 10 on all these flashes that 1/1. It's only like 1 300 of a second, which means that it's probably not going fast enough to completely freeze motion at one of one power. So you want to drop that power down so your flash duration will freeze and it'll be quicker. Okay, so we could go up even higher if we wanted to. We could raise the after if we want to a little bit more as well, just for depth of field. But at F 28 as long as we get our focus, it's totally fine. All right, so on this shot on the left, what's happening again is that first curtain opens the flash buyers as soon as the first curtain opens up and then the shutter stays open for the remaining 1/10 of a second. Or you know, at that point it's like four intendant second, minus 1 8/1000 of a second flash duration. So the majority of the time that the shutters open. The flash has not basically the flattery fired. And then the shutters open, capturing motion. So for that 1/10 of a second until the rear curtain sink until the record and come back up and it closes off that shot. Okay, so what ends up happening is that the flash fires first we freeze motion right at the beginning. But then the motion continues to happen after the shutter stays open until that rear curtain closes, which means we're freezing, and then motion comes after the subject. Typically, that doesn't look that great when the motion comes after the frozen subject. It doesn't look very good in the final image. What we want is for the motion to occur and then the flash to happen to bury in freezing the subject at the end of the motion. And that's what we have with record in sync. So what do we do? We simply If you're using a faux ticks, you're just gonna go to the back of the camera and you're going to You're sorry the back of the flashing in it press this little button. Obama says SCS some flashes call it recur and sink on the metro, so they call it Second curtain Sink. Either way, it's the exact same thing. But I'm assuming because of trademark purposes and copyrights and all this good stuff, they'll have to name it something different. Otherwise, people get in trouble and these companies will to each other. So with recurrent sink, turn on the curtain opens up that first curtain opens and right at the end of exposure as the rear curtain is closing the flash buyers and it squeezes in there freezing her motion. So here the motions trailing after the the frozen image. Here we have the motion that leads into the frozen image. Okay, so when does this actually matter? This matters Onley. When we're slowing the shutter, when we're dragging the shutter to create this kind of Ah, look where we're mixing ambient versus ambient light versus our flash. If the shutter speed is up around 1/40 1 50th 1 100 of a 2nd 1 200 of a second, as you saw previously. When we demonstrate this, it doesn't really matter as much. The faster the shutter speed, the less this is going to make a difference. So let's say a wedding. It for shooting a wedding or event were on the reception dance floor. People are dancing. I'm shooting at 60 of the second. It really doesn't matter so much. They're dancing and they're grooving. They're moving that like, all rhyme. That's kind of awesome. It doesn't matter so much if I'm using rear curtain or first carbon sink, because my shutter speed is at 11 60 of a second. But when I slow down the shutter to get those dance floor drag shots, when I slow down the shutter toe 1/10 of a 2nd 1/5 of a second and I start spinning the camera and creating motion, which we're going to show you how to do later, that's when it's gonna matter. I want to make sure I turn on rear curtains sink so I get a better effect where the motion that's captured leads into the frozen image, okay or leads into that frozen subject. So that's FCS versus RCs. Remember that this is again another function of full featured flashes, So if you're using a manual flash on camera, it will not have this functionality It's always gonna fire with the first curtain and with the first cardinal. That's it for this video. Let's go on to the next one now.

Class Materials

Bonus Materials with Purchase

Lighting 101 Slides

Ratings and Reviews

Sid
 

The best class for understanding light and lighting there is bar none. Pye is an excellent teacher and the quality of the material provides for a rich and very informative experience. Pye breaks down the fundamentals in easy to digest packets and then elaborates as needed. If there is one class that you watch this is it! Worth purchasing and saving for future use. I would also HIGHLY recommend downloading the saving the PDF of slides that accompany the videos. Again, and can't say it enough, this is THE BEST video to lighting on Creative Live. A must watch for the novice and the expert.

Simon Metselaar
 

This is the best thing that happened to me since I've been into photography. What a lifesaver. Unfortunately I already payed for some courses that are not Pye, but Pye just nails it. Amazing, and kind of a life hack. Thanks again :)

George Gan
 

Pye...it was well worth your b.tt...Great training. I have learned some key lighting techniques from this training. His voice and training is clear except for his attempt at making jokes and singing...you should hire a new script writer for your Jokes...ha ha ha ha. With that said, if you are not a professional in lighting, you do gain a lot going through this training from front to end. Remember this is lighting 101 so don't expect too much...you want more technical and complexity, wait for Lighting 201, 301 or 401 ...

Student Work

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