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Lesson Info

Studio Tethered Shooting Demo

Let's tether first. Let's get some images. Where's that weight were being wrong. We just tethered so quickly, and it's already there. Let's uncheck showing the software doesn't see it. There's no smokes. A mirrors. Connect it. Wait for the the drivers to find. Wait for the bus defined goal. It's connected now. Now we're gonna hear it isn't connected, Showing us the camera. Showing us what? What lens? We better 85 12 on that. Correct. And says the right brother, you were ready to take your father ready? Where's our victim? Okay. How you doing, Kate? Good. You've done this a whole lot, right? No, this is Kate. This is Kate, all right? We don't know Kate's last name. They said it wasn't important. Okay, I kept the year, right. Please. We're gonna get a test shot. So we get, like he said, the metadata. And what in there? All right, so that's very interesting. Said copy from last in last one. The metadata was was right. Was flowers. We don't She has not flowered them. We want to keep creati...

ve life. That's great. Put, Caden. So here's Kate. Okay. It's gonna be at it, right. And then we actually have Dave Gallagher's copyright. Look, I'm not the artist. You're the artists. Go pick one for you. You don't want that to work for hire Raymond looking A shame. So, Nino? Yes. Uh, what's your title? So I want to go slower. I go to the info tab, I come down to the metadata and go to create a career. Edo is Nino your title. I don't have You don't have a title. Okay. All right. Do you want to tell you sell your address or we don't want to tell you Dress their people looking for it? We can give your cell phone number. You can tell my drive. Okay. No. Houston, Texas. Houston, Texas. Yes. Give me Is it sometime 30 Actually, my phone numbers on your 77380 Yeah. All right, USA, we're putting this. What is yourself actually everywhere you can OK, it. Nina Batista at gmail dot com. Send me emails, everyone. Gmail. We're doing it. Obviously now. So every shot from that I take from here on out, we'll have this Do it once. Do it right in the beginning, so you don't do it later. That's right. And whether I have three kids, you did it right tonight. All right, website dot com. You know, all my social media is all at Nina Batista are slashing MBatista like all of it because, you know All right, so we've got the things that you want to share. That's what we have here. Now, let's go ahead and, uh, make a metadata style there. Okay? So come up to the top when a zoom in, save user preset. Importantly, don't have the ratings in color tags and everything else when you make a set for just for copyright. So just the creator and just the ones that you want. And if you put your address in there, you just uncheck it right? It's all that matters. So then save it, You know? You know. All right, brother, you are now. Copyright. So now when we go to tether, we're going to switch it from Daves, right? Remove. I don't want that on it. We want just the user metadata, you know. All right. Bam. Okay, so I am ready as a technician. What? I would set up ahead of time for you to say Okay, we're connected. We have your metadata. We are ready to go while our lights are set up. Minus attack is handing it over to the artist to break the rules. Absolutely. About this without had this first. Okay, fine. Sorry. One. And let me just find No, there's nothing. Absolutely nothing wrong with that. I am a very sort of, you know? Yes, I'm a very break the rules kind of shooter. I'm very visual. I use white balances of creative thing. Not a not a balancing thing, etcetera. Became that at, you know. Please. Okay. Uh, okay. All right. So we again, like we're saying we're not here to try to craft final image. We just had to get a couple of different options, and then I'll pick one, and then we'll go through my work flow. What might we are? However, I'm gonna go as a technician. Come in. And I'm gonna great balance first, because that's good. All right, I'm going to Gray Balance is going. Not now. I want you to take a look. Why? All right, I'm gonna control click, make a new variant. And so I know you as an artist. Wanna keep on going to go through. The technician says no. The image on the left is what we're going to start with, which is more of a color balanced image than the non color balanced image on the right. So that's why I need you to start at least again if the art director is here, right? And the lower looking at what? That's blue. You don't want to give them any reason to just complain, right? Right. So I want to start with a null and then we'll fix it into where we want later. But we need to start that way. Okay, Perfect. Now, sir. Now, now he's letting me. Okay, I'm allowed to know. But that's actually the huge benefit of ah, commercial workflow having that because apart from broadcasting live trying to teach all of this, if you were doing that, I could just focus on crafting the shot. Right? So not everybody has a day of Gallagher accessible to them. I get it. But at the same time, you see the benefit of it. Because I would just work with the talent. I would just be over there and he makes everything would be perfect. You have to be your own color management Tech person. Tethering technician. You have to do all that yourself. For the most part, you embrace all that. One has already to go. Then you can create something in the course with are highly experienced model here. Way to create some some publishable images right now we're not. That's fine. We're gonna capture a few images, so we have something to show later. So go ahead and step again. This way for me. Come forward a bit about their Okay. Let's just get some images that you see what happens. All right? Are you terrified yet? I can't wait to take a deep breath. Right. My main thing. And have you do it? Relax your shoulders. Okay. Like, yeah, As most models will tell you, if you feel really, really awkward, you're probably doing it right. If you feel comfortable, you probably grown. That's no overstatement. Would still let's just get some shots. It doesn't matter. Really. I just want to make sure that we go to the cycles. We cannot just pick something because we want to be editing a shot. You hate on you like association. You come to hate me. So let's just see what happens. Well, we just what I decided to do, guys, I just did. I mean, we're still at F eight, right, Dave? That way in there that I think so. Yeah. We did know where. Why did It was just a nice even. I'm on 85 millimeters. I just went for something that's going to give us a reasonable depth of field. So we have these and clarity just so we can show what to edit. Not trying to go crazy on him, not trying to eat anything too thin. You go look at you know is horrifying. Like everybody's staring at me. There's no one watching you live. It's fine. This isn't being broadcast live. You're fine. Just just keep doing. I just smile and look casual. We just need a few more, and we got basically, they have everything good on your answer program, but don't break anything. Okay? So I want to talk to the interstate where you are. Good. Please, if you saw the images coming, they're coming in not being fixed. They're coming in with the color balance. That is the raw coming off of that, uh, that it's whatever it said to write, and then they're being repaired there, being color balance from the software. So as an art director as it comes in, if that's the way to come in fast as you just boom, boom, boom, actually knock off a bunch If you couldn't see this, the speed of it, please. One afternoon. Okay, so you will see them blink to see them change real quickly. Right? So that's coming in. And when it's ready, meals ready as fast as possible. I don't necessarily want to show that if I'm shooting black and white and I'm a black and white shooter and I want to shoot with that style of black and white, I want them to come into black way. I don't want them to. You can see that the camera does anything but black and white. So I want to come up to a setting right into the camera and go into wherever it says immediately come up. I will only wanted to say when Ready? Auto select. So go ahead and knock a bunch off Now, please. That's actually really cool. Okay, so now you've seen no blinking. You're not seeing low rez. You know, seeing the color change, you're seeing it Just come in takes a little bit longer, but you never see anything else. If I set the style so I can come in here, Let's do it here. Rather meet. Sell it. Let's just do it. The user style. Ah, as they go into built in styles, black and white, You go ahead. Do it. Look away. Yeah, right. Let's go. You Once you roll over style, you'll see it changes some crazy styles in here. Right? Let's do is to see Peotone one. And so that's gonna add a CB tone one on the front end. So now you are a c p. A photographer. Good. Not gonna wait. I'm important. That makes me, like, serious and fine art, right? And then they aren't. That's actually really, really cool function. Especially when you have that client there. Yes, because I see a change in the good wife changing. Yeah, yeah, yeah, but But also you have to find a market for yourself. You have to find what sells for you. Lots of people, they find a style that they like. And that's the style that they stick to and and I have lots of photographers who really are fine art black and white photographers. Well, these aren't black and white centers. Even while they are black and white censors, the censor only reads data, zeros and ones. We're creating a color image that I don't want anyone to see it. And so somebody don't let the customer Oh, you should color to know I'm a black and white photography going to see it. Here it is. Also, I can make these settings and styles ahead of time make my style, and it already has the settings on it. I don't have to do anything else. It's already done. How much time have I saved? How I marketed myself differently and it's on Lee there. So a skin speed speed of your work all absolutely do do less later on. So let me get off your do you want to still be a sepia toned? You want something else? Now go ahead. Put it back in college. Okay, Way could change all that later, but go and put it back for more demonstrations into torture. Keitel bit more. Okay. Okay. Well drawn. Blood guys. Yes, ma'am. I'm speaking of black and White. Let's say I have the Canon five D mark three and I put it on monochrome for my picture style. When it gets imported, tethered into capture, one will automatically come in Monochrome drool. Coming color definitely won't. I'm so sorry. I was getting back to where you would say that, you know, like, for example, on like a fart in a can. And you can put on monochrome previ, right? But when that comes in and it will show monochrome on tether if I monochrome preview here, correct? No, it shouldn't be at indication it. If you want to try it, you can. Okay, let's do it. Let's let you shouldn't let's do it. It's trying to strip. It's coming in raw, and so it shouldn't bring those Football isn't exactly, but I haven't done it myself just for grins. Let's get and yeah, so I think that's doing that's doing in the camera. What this is doing here. Yeah, you know, fooling it and saying only come up with a certain weight and the preview just like it is here. Yeah, when you're not tethering, a lot of shooters do use black and white preview on the back camera, not just the shooting Black away. Some people like it to see value and see highlights better. And then they have a color image in the end. But they shoot because they fix color later. Good question. Question. I think. Probably have enough shots to work with Dr Lakoff somewhere. Having more can't have too many Too many, he says. All right, Miss Kate, Relax. Relax Those shoulders there. You're good right there. But he's so quiet. Okay, let me show you something again. Talk about software and working a little slower, as as a features that I would use absolute features that I would use. Is this one? First of all, this is my exposure warning. So again, abs, you take a look at this tool. It says high exposure warning a shows exposure, warning. If I was over exposed to an extreme with exposure warning on you see that you come up red. And so if she would have a white shirt on, it's possible that we're over its poison that way. Shirt. You were not going to see it here. You see, that's 2.5 stops. In order for us to get there is the overexposure warning, but it's a tool that you use tethered primary not primarily, but it to take a look at the exposure quickly and say, Oh yeah, I'm blown Boom quickly on your camera Stop down to let you exposures. That's one tool here, and so that is my exposure warning. Double click on the tool to bring it back to zero. Click on the tool in an office job is a shortcut King and don't know what that is. Off the top of my head next one is sharpness. Okay, it's a show of it, and it says it says, and take a look at all our files, right? It says that my sharpness settings air for a different camera than this one is what it says. That's absolutely what it says. Let's go in tomorrow. Preferences. We can change that. Uh, here's our exposure tool. So here's where we change our exposure, tool, color and capture at sea image. That is my focus. Sorry, there's my focus. So it says my threshold or way to hire. Take a look at them. I don't want them that high. Depending on the resolution of your camera, you've set them at different things and so go to take a look. We'll set them lower. I want to see now you're shooting it F A or 566 Okay, let's take a look at the accuracy of it, it says. And it says mathematically through algorithms. Anything coming up green is is sharp. I like to put that on if I'm shooting things moving because you can go through them one after another and see. Did I get nail sharpness on that one? Did I nail shop Chris on this one, right? And anything coming up green? It says his sharp I can turn it off, grab my hand tool and in which we haven't done yet. Right and double click and see if it's sharp. Now, of course, were at 56 where that way, it says it's sharp, right? So everything is sharp. It had I think the sharpness detector thing works pretty well, especially you like wide open aperture. You just have a small focal plane. It actually locks in on it. It's pretty impressive. That's that's what it's really preferable them shooting. I got a 12 lens on their right and we've got a very shallow depth of field. I can see quickly where that's hitting it, where it's not hitting 56 trying to get a doll sharpened. It's not gonna be the same. So those two tools, along with, um, lining up our verticals offer shooting product, writes we want a lineup are verticals and go ahead and move them on. Line them up. We have all these preferences that we can set them, too. Line up our verticals lineup are our bottom while we're shooting tethered. So these tools I leave up there for shooting tether these three on. That's why I leave them there in my simplified workflow. So that's enough images for you to grab your things. So yeah. So if that's enough images, then I'm gonna go back to a default window for my workspace so that I don't mess with you, right? And I've put everything in the wrong space for you, so I want you to feel comfortable with how you use it. It would have been nice to us. A report the Nina workspace in beforehand. But now you are ready to go with your images. All captured here are from here on out