Shoot: Camera Bag - Video
And our focal point you could see that box is telling us where we're focused, so I think we're comfortable I'm comfortable there, we've switched our now this is the thing I wantto make before do you remember what my, uh my settings were for the same lighting? We were at two hundred at six point three at about thirty thirty second on a tripod. Now video settings are different this is again when we're looking at the monitor in the studio it's a little bit brighter than we might be having in the camera, but we've changed our settings to three hundred twenty so now there are certain incrementalism does that work better in video then the ones you use for still so it's three twenty is a low end is the middle kind of between the lowest and can and it's it's a comfortable position. We're going to shoot a fiftieth of a second er shutter speed and three point two, which means we're open a little bit more. So this is kind of a nice starting point for video with us, and when we start rolling, I do...
n't necessarily like our composition here because we're kind of falling off the table, so I think I want to arrange that a little bit differently so I have the live view is the, uh is a nice way to be able to kind of composed differently with just get the background setting and remove the bag what want to get the background yeah I think I need to be I need to move this this way now remember we're doing video here in a very um I think we're not worried so much about shooting movie quality video when we're talking about shooting video for product blawg or kind of sexy kind of stuff it's really about functionality so I want to be able to show look my hands that works okay so here is it hit the centre of our frame now we've balanced it out nicely we have nice clean frame around it and the whole purpose of this is to show what we're doing here now I could be snapping stills here too and then switch over to video it doesn't really make a difference that would just be me changing my my settings optimization so assume I took a few still lives like this to show this and now I've have the detail shot of the inside of the bag we know it's a camera bag we have the beauty shot of the bag and an environment you can also have done that on a light box or you could have done it in a light tent he could donate any which way you want it to show your product shot and then we have this and you might want to kind of be able to see the I think we might want to turn the power down just a little bit and manage it that way I feel like our whites a really hot ok that's ok all right so are we going teo way have ah we have hand model actually in the house but where your sunglasses and your little white gloves and aren't you obsessively putting hand cream on no I don't even have my nails done oh no okay so we is going to come over and I think she's going to be let's see if I don't know that I want a position you between the light I think you might be better served being right here where I wass and take a look in the live you alright and see where yeah you might want to roll your sleeves up and I'm gonna start to roll camera I think putting this in the bag president maybe we're slowing live you're not in movie mode are we not in movie mode sweetie we gotta switch it over that's why oh should come in maybe it'll come back okay let's say let's come back to here did we lose the weight but no way in movie mode I can't I can't I can't tell from there yeah my shoes all you laughing out there and land look at the professional look at him work he's a knucklehead just like us okay let's see if we can get that running video move that should be on our way getting a feed it doesn't look that way there is ok, no, we're not getting a feed. Okay, well, one more it will come. Have faith that's focusing. Yeah, and what starts the recording on the button? In the middle of this, I thought the button in the middle of the of the wheels I'll should set start the video rolling and the little red dot should come up. Yeah. That's. What? It's not happening? I'm pressing the set, but okay, I'm just going to tilt the camera back. Yeah, so you look at it. Look at it, okay? Which what? What percentage on day of your clients are starting to ask for video now? And how are you approaching that in your own personal business? There's a decent amount, but I think that there's a in in the food work versus the product work versus I mean, I think that there's mohr of, uh, hunger ford in food and I think there are times when I am doing like small videos of instruction, I think that's mostly the thing that mohr people are asking for is not highly produced video but simple, easy, tio, easy to access, easy to produce quick video that could be a company, a piece that you shot maybe on the web they can have, like a little, you know, one minute instructional and I think that's what? We're going to demonstrate next great so I have to do anything for the times I have a couple of little small videos that I did for the for the times that accompanied a piece I think the one I did most recently was about these blintzes and we showed how to make them. So we did this kind of quick video of aa few seconds of showing the pancake it's browned and then we did some nice smoke rising and we did how it's being stuffed and we did how it was being rolled and then we did a beauty shot at the end, so that was kind of a simple easy to produce used a light and it worked nicely. Great. So so we just have a couple questions on pricing videos, something I blew abel v says, how'd you go out pricing an etsy shop product video of that bag? How would I how would I price if I was shooting that for an etsy seller? Yeah that's a tough one because most etc sellers are kind of small businesses and they're just starting up I think that I somebody who works, you know primarily with commercial clients teo work in that vein you would have to be ah really willing to kind of be flexible so I don't know that you could expect to charge a lot of money for something like that I think it might be one of those good situations for bartering okay, yeah, because I think that sometimes somebody with a small business might be willing to trade services for services so I think that's one of things I might do if I felt like I wanted to do the project but I think there's not a lot of money in it but sometimes it's uh it's good to do things like that for sure. So you were talking a little bit about the ladder a few minutes ago on tripping and felipe fastow's would like to know can you let us know how you manage safety in your office fire he climbing tell us a little bit about that? Yeah, there are some rules that we have at the studio that everyone has to follow. One is my my personal pet peeve is that people who put sharp knives in a drain board that one is a big no no but a ce faras climbing on ladders and knowing where the fire extinguishers are and understanding if there's smoke alarms are going off we kind of try to take that really seriously because photo studios can be a dangerous place trip in full hazards we don't leave things laying around when we're not we're done using something it gets put back in its place and when that's when that's ah you know taking care of we feel confident that no one will get hurt at work great all right that's that's what we like all right I think we're ready to go way fixed our problem excellent great plugs plugs both plugs in it the way we have the toggle the plug there's something that we just learned about shooting the video and stills at the same time because most likely you wouldn't be shooting it because they're going to two different programs right right so okay cool that's cool john is doing a great job getting us set up again of course the zoom lens creeps because we're pointing straight down hands off um well should why do you want with the fifty back on now bring the camera stand down a little bit or you know if we want to let's go to the let's go to fifty I'll put the fifty back that's fine so we're going to switch lenses now because we're finding that my older zoom lens is gravity is having its way with it so it's pulling the zoom down I was the one that what main reasons why don't you zoom lenses that often is that sometimes the things that happened so another rule in the studio never ever leave the lens around without the end cap on words to live by and is that the one four there on the fifty fifty one four to five max macro to o to find michael I have the one I have the one to fifty portrait lens it's really pretty way use that for different purposes but right now that fifty I've shot with that that's my go to lens for so much stuff that I used it I think it's it might be a tiny bit tight for this but you know that's what gaffer's tape is for so far lenses creeping we could always put a little gaffer's on it I think that's okay I think for our purposes right now just to demonstrate what we're going to do I think that works fun okay? Yes one would you suggest I like I like a thirty five I think that if I only had a choice to shoot one thing and I would take I would probably take a thirty five gives me it's wide enough to do something a little bit broad ranged and it's you know small enough where you would still get close enough. So it's it's I think my most versatile lens in my bag is my thirty five if I can't have a zoom or I can't have you know a range of lenses to work with and I love my thirty five I have a thirty five one point four and it's just a really nice lens that's when I travel until the ones that bring I put that on my camera and I take a camera with me that's it rather than carry here everywhere I started traveling with all my stuff like years ago like seventy two, two hundred and like it's like it's like oh god with luggage I mean it's not even vacation moment start carrying it so well you won't you come around and get your hands in the frame and see what that looks like okay, um I get it I just think it's too tight so let's try to figure something out with this let's try to figure twenty years let's do twenty eight rather let's go back to the other lens I think that we're well we don't know we're not getting what we really wanted that if we take the lens shade off and put a piece of gaffers it won't slide. Yeah, well we're already wider than fifty anyway. Okay, so let's yeah, not not okay I don't know if we can lower the station. Yes there's four pins there are ok pens with lower it. Well, it's let's see if this works first and that's a good solution I didn't know that could go lower breaking my own rules all right yeah let's do it that way it's a little too wide but yeah, we can come down now and get out there and it's funny because is exactly what it's like working in a studio this's exactly what we go through this is no different it's just doing it with cameras rolling so it's not highly produced at home when you're working in your studio and the same thing here it's a trial and error process and things go wrong and you gotta fix it and that's how it works so um there we go that's looking better we can move the bag up a little bit of froth I think it's you know, shooting it from the top here is really the only option when you're talking about something that has these compartments and to put things in and out it's not the most attractive thing but if you're trying to sell for functionality here that's what we want you somebody who's buying a camera bag wants to see what can I put in it it's a simple is that okay? And get rolling I can't in the middle I can reach it from its this one actually trolling. Okay, so now we're gonna go go about putting things in and out of the bag how you would use it. All right, exactly. Your hands look lovely take him out on what I would do next is take everything out and start toe pull out the thie inserts and see that there and show that they're rearrange a ble right exactly because that's part of that functionality take it out, put it down on the side. Show what it is in frank and then frame. Yeah, exactly. And then take the other one out. I'm like scorsese and they're there anymore. So now I would just open the bag wide and show it to the camera, right? And then go back and put it all back in there, put it back together because we're talking about maybe what forty? What are we up to? Fifty seven seconds. So if we did this and it was it took her a minute to take the bag apart and put it back together. That shows something to the consumer that this's simple. Anybody could do it, and you could do it in a couple of minutes. So that's again thinking in terms of what is your consumer are gonna want at this particular piece of equipment and leah is there a strap part is part of that bank. Yeah, it's on the inside. So we'll do that last part that you put the last lens in, then there's a little side pocket on the inside and take out the little strap. Yeah, nice and then attack and let it fall, let it fall to the top of the bag and on two minutes exactly, and then go like this there we go, perfect cut. So but that's, exactly, and that is exactly what you would. Mike, you might want to do it in the circumstance like this, and we've done both stills and video, thank you very much. Lovely, lovely lia, right. Somebody else tripped on the cables, but john and I okay, so I think that we've demonstrated here what functionality and using the same similar lighting, and we're going to do one more set up with a similar thing. Except this time we're gonna work backward, because since we already have the video set up, then we can work backwards to the still.
You don’t need a studio to take professional-grade product and still life photographs! All you need is a simple tabletop lighting setup. In this course, award-winning food photographer Andrew Scrivani will show you how to create and tailor your own table top lighting setup — on any budget. Whether you’re a beginning photographer looking to master lighting or a professional photographer eager to expand your services, this course will give you a candid, comprehensive playbook for tabletop lighting.
Tabletop photography transforms a single surface into a small-scale studio. Andrew, a regular contributor to The New York Times, will show you how to create and then optimize your lighting setup for your needs — using everything from the latest gear to household items. Andrew will cover metering and bounce cards, working with strobes and soft boxes, LED lighting, and tips for shooting glassware and other tricky products.
By the end of this course, you will know how to set up and adjust your very own tabletop studio — and how to use that small-scale studio to expand your services, improve your photography, and market your business.