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Rich Harrington: We've built the cloud chamber. We have a nice curved surface, but we don't have enough light yet, Kevin, and really, I think there's two types of lighting. We're going to get a base level of lighting. Kevin Bradley: Yep. Rich Harrington: And then we're going to light the product specifically. As a base level of light, what's the goal here? Kevin Bradley: So on a cloud chamber, what you want to do is flood the entire area, so you get a minimal amount of shadows. The reason why you want to do that is because it will fall off into nothing. Rich Harrington: Yeah. Kevin Bradley: So that's the entire idea. So the first thing I have to do is turn on my two most powerful lights.
They're going to flood the left and the right. So here comes my key, and my fill go, go. Rich Harrington: Yep. And that's really filled in that area nicely and I'll just pan the camera up here, and you can see, that the backdrop is, essentially, nothing. And that's desirable. The whole idea here with the cloud chamber is to go ahead and have everything drop off. Now, this is just a little one, designed to be portable, if I had to take it on the road. And, again, the idea is the curved surface. And this is going to allow us to put small products in place, and this works out nicely.
It gives us that sort of infinite back drop. But I think we're in pretty good shape here for our main object. Right? Kevin Bradley: Yep. Rich Harrington: But now that the background is lit don't we need to need to light our subject? Kevin Bradley: Yeah. So what you want to do with the cloud chamber is you don't want to just flood it with light and hit go. What you want to do is add a little bit of emphasis. A little bit of pop. The way you do that is with side lighting and back lighting. The best kinds of lights to use for this are Fresnels, classic Fresnels, or using some of the newer led lights, that have a little bit more punch than these big floods that are lighting us right now.
Rich Harrington: So should I turn this one on? Kevin Bradley: Yep, go ahead and flip that one on. Rich Harrington: Alright, so that's putting a little bit of light across the side. Let's go ahead and toggle that off and on. So there it is off, and back on, and that's creating a little bit of a hit right across the surface there. Now, you want to put a little bit of emphasis on those strings, right, so you've suspended a light across. And what we've got going on here is sort of an arm. This is a standard thing that could be attached to a C stand. For safety though, if you're going to be hanging a heavy thing on this side, is there anything going on on the other side, Kevin? Kevin Bradley: Sandbags.
Rich Harrington: Okay. Kevin Bradley: To make sure it doesn't fall over. Rich Harrington: Yeah, so if you're going to hang an expensive light going one direction, make sure you sandbag the opposite direction. So this is an LED type lighting that allows us to adjust the color temperature in the light. This is a Zi Light, there's lots of brands out there. This one has some flexibility, a little control know on the back there that allows Kevin to adjust the intensity. And by having it on that swinging arm, he can move it in. So if we were shooting different products, he could move that in or out as necessary as we swap the products.
Which is going to come in really handy. Little later on this episode we're going to drop a turn table in and quickly reconfigure the lights to get new results. So, Kevin I think it's looking pretty good. Up next we're going to talk about just getting the object ready for the actual shooting. And that's really just a matter of dust-busting.
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