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Four-light setup

From: Up and Running with Studio Strobes

Video: Four-light setup

Okay, we're back with four lights and two people.

Four-light setup

Okay, we're back with four lights and two people. So, I think that's a logical thing, right? The more folks we have on set, often times, more lights will come in handy, right? >> Yeah, and in this case, I wanted to be able to flood the entire area with light. Because we were doing a bunch of different shots, I had them tossing the ball. I had them posing together. I didn't want to be limited by focusing my lights onto just one small area. >> By having a bigger pool of light, we have more flexibility as we work. During some of the shots, there's more action, so it's going to work to have a wider frame.

Also, I think something that worked out really quite well here, is the fact that we've introduced some color. Abba, how do we pull this off. >> Well, I did a couple things. First of all, I used only umbrellas for this shot, and umbrellas can be good or bad because light floods everywhere, and in this case I wanted a lot of light. Because we were dealing with throwing balls up in the air, I didn't want strange shadows. So I just wanted to flood it. But that became a little bit dull with just light everywhere and no shadows. So, we decided that maybe a little color in the background, so we put orange gels on the lights in the back which we're shooting at the background.

And then there was light reflecting off that background, so they had some back lighting even though the lights weren't directed at them. >> And for safety, when we put those gels up, we made sure that we had a extender on the front. We basically used the scoop on the front of the light, and that kept the gel from hitting the bulb. The last thing you want is to have a hot modelling light hit a piece of thin plastic, it's going to melt, it's going to potentially ruin your bulb or even worse, the whole light itself. So, just be careful as you use gels, that they don't fall on to the surface of the light.

>> Yeah, they can handle a lot of heat, but they're not really designed to be laid directly on top of a light. Now once we had the orange background, we just tweaked the lights around the front a little bit just to make sure that they weren't so high that we were going to get shadows in their eyes. And I could do anything I want with them. They could move around to different poses. We didn't have to stop to reset the lights. So it provided a lot of spontaneity. It let me actually work with the talent and get them to relax and not even worry about, you know, moving the light to tweak something.

We did that all in advance. The good news here is we are able to make the most with what we had. And as you learned about some of those modifiers earlier, they're really quite versatile. You've seen throughout all of these lighting setups, we've put in things into place like reflectors, diffusion, umbrellas. These tools, the modifiers, really come into handy. We haven't changed the backdrop all day long, yet we've gotten several unique looks off of that backdrop. And that's all from just thinking creatively. I really think the stand out here of it is that you used the most with what we had and it didn't take a lot of expensive gear.

We've mixed brands today. We've mixed equipment but we still got great results. >> Absolutely. Sometimes, more times than not simpler is better.

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This video is part of

Image for Up and Running with Studio Strobes
Up and Running with Studio Strobes

62 video lessons · 5299 viewers

Richard Harrington and Abba Shapiro
Author

 
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  1. 4m 6s
    1. Welcome
      2m 4s
    2. What you should know to get the most from this course
      2m 2s
  2. 6m 26s
    1. Shooting with strobes
      1m 23s
    2. Strobe lighting allows you to shoot with an increased depth of field
      58s
    3. Strobe lighting has faster recharge times than flashes
      1m 39s
    4. Strobe lighting is good at freezing action
      48s
    5. Strobe lighting offers many modifiers to shape light
      1m 38s
  3. 7m 34s
    1. Continuous lighting is easier for a beginner to understand
      1m 47s
    2. Continuous lighting makes it easier to achieve soft-light looks
      2m 57s
    3. Continuous lighting is useful if mixing video into the shoot
      2m 50s
  4. 20m 47s
    1. Buying piecemeal vs. buying a kit
      2m 29s
    2. Criteria for selecting lights
      5m 57s
    3. How many lights do you need?
      3m 0s
    4. How much power do you need
      5m 37s
    5. Mixing brands
      3m 44s
  5. 16m 40s
    1. Monolights and flash heads
      2m 22s
    2. Reflectors and diffusers
      3m 54s
    3. Lighting stands and booms
      3m 49s
    4. Power pack or power supplies
      4m 29s
    5. Sync cable
      2m 6s
  6. 19m 7s
    1. Handling the lamp or bulb
      2m 52s
    2. The role of the modeling light
      4m 36s
    3. Keeping lights cool
      1m 46s
    4. The master and slave relationship for lighting
      4m 5s
    5. Essential controls
      5m 48s
  7. 14m 59s
    1. Connecting the sync cable
      3m 16s
    2. Using a wireless transmitter
      7m 7s
    3. Slaving with a speedlight
      4m 36s
  8. 34m 6s
    1. Setting shutter sync speed
      4m 56s
    2. Setting an initial aperture and ISO
      2m 28s
    3. Controlling power output
      3m 1s
    4. Moving lights (the inverse-square rule)
      2m 8s
    5. Using a light meter in camera
      4m 4s
    6. Using an external light meter
      1m 45s
    7. Test shooting with one light at a time
      2m 5s
    8. Putting it all together
      1m 39s
    9. Controlling exposure with power or aperture
      1m 6s
    10. Refining exposure with ISO
      1m 39s
    11. Tethering to a laptop
      5m 22s
    12. Checking the shots on a computer
      3m 53s
  9. 31m 38s
    1. Modifying strobe lights
      1m 9s
    2. Bouncing the light with a reflector
      4m 26s
    3. Bouncing the light with a bounce card
      1m 12s
    4. Shaping the light with a beauty dish
      3m 5s
    5. Diffusing the light with an umbrella
      5m 50s
    6. Diffusing the light with a softbox
      4m 49s
    7. Focusing the light with a snoot
      6m 58s
    8. Modeling the light with grids and honeycombs
      2m 2s
    9. Using flags to restrict the light
      2m 7s
  10. 14m 50s
    1. Three-light setup
      6m 52s
    2. Three-light dramatic portrait
      4m 59s
    3. Four-light setup
      2m 59s
  11. 46m 56s
    1. Take the challenge
      55s
    2. Solution
      29s
    3. Portrait challenge 1
      8m 6s
    4. Portrait challenge 2
      3m 10s
    5. Portrait challenge 3
      12m 55s
    6. Portrait challenge 4
      3m 19s
    7. Portrait challenge 5
      4m 28s
    8. Portrait challenge 6
      9m 5s
    9. Portrait challenge 7
      4m 29s
  12. 39s
    1. Next steps
      39s

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