Lighting 201

Lesson 13 of 64

Fantastic ND Filters at Any Price Range

 

Lighting 201

Lesson 13 of 64

Fantastic ND Filters at Any Price Range

 

Lesson Info

Fantastic ND Filters at Any Price Range

All right, so fantastic nd filters at any price range and if I'm getting loopy right now because we're six hours into this and we're still talking about here don't worry the actual your chapter is not six hours long you don't worry about that let's talk about neutral density filter now here's what you're gonna notice if you watch lighting wanna one we actually had several different recommendations on high end filters we talked about lee we talked about singer ray, we talked about all sorts of different high end options and we said that you need to invest in the optical quality and so forth if you're serious about your undies and to accent, I do honestly believe that you need to invest in good quality andy's if you're serious about neutral density filters but in between filming lighting one on one and lighting to one we had actually gotten ahold of another set of filters from tiffany and here's. The crazy part we took the leads we took the singer is he took the tip ins out we did side b...

y side comparisons we've used being w in the past we've used lots of different great filters in the past and in the side by side comparisons this was the funny part is that the tiff ins were actually on par in terms of quality, if not better at every single price point and many of the other makers like for example sing ray they didn't even make lower end filters that we're at fifty dollars they only made really expensive ones at two hundred three hundred four hundred dollars and so forth so we got in touch with tiffany and when we thought this is kind of crazy because your filters are less expensive and there are also seem to be on par if not better and they said basically tow us that tiffin is the hollywood dp filter of choice dp like director of photography k so most directors and directors of photography are using tiffin filters and they said that they've even won oscars on there filter technology, which is pretty incredible but I don't know of other filmmakers that have done so so we said, okay let's get serious about this we got different filters at every single price point we test them all out guys and they were absolutely amazing all right when it came to overall quality and we're talking about we compared everything up to four hundred dollars to the digital age tease the digital eighties still exceeded the quality on every single one of them and guess what? These guys started one hundred thirty bucks and went two hundred eighty bucks range so they're about half the price and they were exceeding everything in performance when it came to the low end the introductory fifty dollar range these were again on par actually, these were better than any other fifty dollars filter, and what we found was that they were on par with one hundred a hundred fifty dollars filters from other companies in the water white range. These are the ones that most hollywood directors air using most hollywood directors air using the water white siri's they're absolutely fantastic. They're on par with two hundred fifty two three hundred dollars filters, so we basically said, look, we're going to go and revise everything we're gonna go back to fighting one on one. We're going to introduce this tutorial because we need to show you all that we have switched everything over the tiffin because at every single price point, they're offering a product that's either superior or on par with what else is out there, and they have price points, more price points than any other maker. So that's not to say that the other filter companies aren't doing great stuff. We still love singer and we love being w we lovely, they're all making great filters, but we found that as far as what we want to recommend what we want to use ourselves for the price point for the quality, tiffin is by far the best value that we've seen, so let's jump into this if you are looking for an entry level nd filter you're not sure that you want to be doing a lot of this kind of stuff and remember that we're using indies to cut down the amount of lightness scene so you can get to your sink speed there's certain issues that you run into when you're using high speed sync on a full feature flash you run into issues of reduction in power and that reduction could be anywhere between four to seven stops of light so using an andy filter to cut down light is going again well basically I can't this is a lighting one one topic I don't want to get too much into this but using an indie feel to allow you to slow down the shutter speed you do get light loss from the nd filter but you operate without using high speed sing on the flash, which means that you're going to get more flash power in general out of the flashes. Okay, so on the end decide there's kind of a couple things you're going to be paying for number one any time you are going like the less you are the less nd that you're buying the less expensive okay meaning a three stop is going to be less expensive than a five stop, which is going to be less expensive than a seven stop in less expensive than ten stop next is basically color or the optical quality that's going to be the two factors that kind of influence the price point and the size of the filter you're getting so on the starter side the tip in standard seven seven millimeter starts at fifty bucks it's absolutely fantastic it's a four stop great price point has fantastic quality to it it will have a little bit of a green tint to it just because you know this is the least expensive but still it's very much a usable professional image that you're going to get out of this filter which isn't something that we saw around the other fifty dollar price point filters we weren't getting usable images of what we would call professional images out of those filters the first professional starter and kind of ultra high performance with our sorry this is this should be like professional started professional within fred reduction is the water white siri's now we have a water white hundred by hundred right here you can buy these fit to a specific thread size and use adapter rings if you need to or you can buy them at the hundred millimeter by hundred militar variant this is four by four inches and you can use a matchbox, so this is the water white intended to be used in a matchbox, so one point to one point five depending on the filter thread size is going to be anywhere between one hundred two hundred forty dollars with infrared technology is going to between one hundred ten and one hundred eighty dollars basically the differences between these is well over option number one you're getting optical glass here you're getting perfectly clear quality you're getting beautiful water white glass which doesn't have nearly as much like basically it reproduces colors almost identically to what you're seeing in a scene on it's just a great balance and overall price versus performance these too are the ones that hollywood dps are using the most is the water white siri's okay, the diversity in this one is it includes I r that means infrared reduction now on a five stop andy filter and infront reduction doesn't make a huge deal so basically what that is is whenever you're extending the shutter speed out and you're drawing in a lot of daylight you start getting infrared influence basically over the image quality so the image actually starts to turn more red so I r is basically be inferred reduction where it's reducing and keeping the colors more pure so if you're doing a lot of extended shutter speed type stuff you know which usually ends up being more required on the ten stops side than in fred reduction is a great thing or if you just want to have it on your five stop you can next we have a digital ht now these were comparable these air basically around one hundred thirty one hundred dollar range again depending on the the size of the filter that you're going for and so forth you'll note them by the silver ring as opposed to black rings on the other one's the digital age teas are by far the nicest neutral density filter that we've used so far in terms of color reproduction in terms of detail and sharpness it just they were just fantastic disappeared everything we've used and they also come in basically half the price which is incredible they also featured double coated titanium multi coat and basically what that does is it makes the the linda's last longer I mean they're sorry the filters they're going mohr scratch resistant they're going to hold up better over time essentially the con is that they do have a little bit of a higher price point but for the money anything in this middle range is a fantastic investment now I do have one additional one I'm gonna bust out this little box where did I put that box think I'd put it like right here yeah so on the ultra long exposure side now this will get into mohr well really later on and like say a photography to one type of course we're doing ultra long exposures we have the ex ellie siri's now the actually siri's these air designed for essentially super long exposures there ten stop range they have this is their oscar winning, like infrared reduction technology. They have really great super long exposure and the filters, but for the most part, when you're using flash and you're doing port internal, that kind of stuff ten stops is a little bit too much, but that's, their longest voter, I put ellie basically appear in those range from fifty to two fifty are two twenty five, depending on which version you get, they're three different kind of levels of performance in those, so I just want to present them is if you do a lot of long exposure photography, not not say this type of stuff that we're doing in lighting to one or lighting one on one, but he was doing nature and that kind of stuff. This is a great option toe look into so I wanted to present that to you guys because they're fantastic. So for the entire lighting, siri's the filter that I'd really recommend you guys stick to is anything in this middle range either the water, white, the water, why I r or the tiffin digital, h t these are all going to give you a very, very professional results, amazing image, detail and color, quality and so forth also, if you're starting on, you're not sure, then look towards the budget option at fifty bucks it's. A great one as well. But those three are going to be impeccable in terms of image quality. All right, let's. Move on to the next video now.

Class Description


Lighting 201 builds on 101’s foundational tips on simple, effective exposure techniques. Lighting 201 comprises 10 hours of education on advanced, off-camera flash lighting over nearly 20 different shoots. You will learn just how much can be achieved with just one inexpensive off-camera light source.

In this course, Pye Jirsa of SLR Lounge give you tips on how to:

  • Use light manipulation to turn extreme lighting situations like midday sun or the night sky into stunning background imagery for portraiture.
  • Develop a sense of placement strategy in shoots with complex lighting and limited, portable gear
  • Composite images in post-production to achieve the best possible light
Lighting 201 will also help you develop fluency in using the right light modifiers for the job, whether they be speed-lights, strobes or main-lights. 201 also features an in-depth exploration of the mechanics of professional lighting gear, and step-by-step walkthroughs of the gear setup for each shoot. Graduate to the next level of exposure mastery with Lighting 201 with Pye Jirsa.

Lessons

  1. Chapter 1 Introduction
  2. Welcome to Lighting 201!
  3. OCF = Anytime/Anyplace
  4. Chapter 2 Introduction
  5. Wired, Infrared or Radio?
  6. “Pocket, Medium, Full Strobe?”
  7. Our 3 Favorite Flashes “Pocket Strobes”
  8. 4 More Flashes “Pocket Strobes” Worth Looking At
  9. Our 2 Favorite Medium Strobes
  10. Understanding Radios Part I: Channels & Groups
  11. Our 2 Favorite Radio Triggers
  12. 5 Simple Steps to Trouble Shooting Radios/OCFs
  13. Fantastic ND Filters at Any Price Range
  14. Our Favorite “Sticks”
  15. Our Favorite Ultra-Portable OCF Light Modifiers
  16. 12 Mounting and Must-Have Lighting Accessories
  17. Gear Setup - Setting Up a Light Stand or “Stick”
  18. Gear Setup - Setting Up a Monopod Light or “Boom Stick”
  19. Gear Setup - Setting Up a “Medium Boom Stick”
  20. Gear Setup - Setting Up a Manual Flash “Big Boom Stick”
  21. Gear Setup - Setting Up a Full Feature Flash “Big Boom Stick”
  22. Chapter 3 Introduction
  23. 8 Steps to Perfecting Each Scene & Image When Using OCF
  24. Over Powering the Sun - Part I
  25. Over Powering the Sun - Part II
  26. Slow Down! Watch the Details
  27. More Power Without The Power
  28. Adding to Existing Light - Part I
  29. Bare Bulbing with Large Groups
  30. Back Lighting to Create Interest
  31. Getting Crazy with the “Whip Pan”
  32. Chapter 4 Introduction
  33. The Flash Modifier You Already Own
  34. The Oh-So Powerful Umbrella
  35. Large Group Shots with an Umbrella
  36. Exposure Balancing via Lightroom
  37. Portable Softboxes - Westcott Apollo
  38. More Light Control, Just Grid It!
  39. Dusk + Modified Pocket Strobes
  40. More Power? Medium Strobes FTW!
  41. Perfect It In-Camera. Then Photoshop
  42. Adding to Existing Light - Part II
  43. Adding or Enhancing Light Direction
  44. Our Ideal Group Lighting Technique
  45. Incorporating Flares with Flash
  46. Cutting Light, Grids and GOBOs
  47. Chapter 5 Introduction
  48. Fog + Flash + Grid = Dramatic Change
  49. BYOL! The 3-Light Setup That Only Requires One Light!
  50. What About the Fill Light?
  51. Backlight + GOBO + Fog = Magic
  52. Drawing Attention via Light Shaping
  53. Visualizing Lights & Color Shifts
  54. Mixing Ambient + Gobo w/ Flash
  55. Better Light Can Change Everything!
  56. Chapter 6 Introduction
  57. Subtle Refinement = Massive Difference
  58. Great Light Changes Everything! Part II
  59. Manually Triggered RCS + Shutter Drag
  60. The Right Power for Each Scene
  61. Dodging and Burning via Light In-Camera
  62. Subtle Light for Natural Portraits
  63. Light Modification & Simple Compositing
  64. Expanding Your Photographic Vision

Reviews

Colin
 

Pye is a god. His teaching style is really engaging, breaking down everything you could want to know about each example in a fun yet detailed manner. The course is absolutely jam-packed full of great information and fantastic inspiration. This course, as well as Lighting 101, give not only a perfect foundation for anybody learning about flash from scratch, but also have more than enough tips and advanced techniques in them to help experienced flash users seriously up their game. Cannot recommend it enough.

Lê Tiến Đạt
 

I'd like to say thank you to SLR Lougne, Creativelive and especially Pye for creating this wonderful Lighting series. Pye has a great sense of humor and he is also a great teacher. He expains everything in tiny details. I love his creativity, all the tips and dedication. Recommended!

Sid
 

An excellent follow up to Lighting 101. 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. As with Lighting 101, this is a must watch class. Worth purchasing and saving for future use. I would also HIGHLY recommend downloading the saving the PDF of slides that accompany the videos. I look forward to Lighting 301 and 401 which are apparently in production by SLRLounge.