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Sync cable

From: Up and Running with Studio Strobes

Video: Sync cable

I had this weird cable in the bag, and I, I didn't know what to do with it.

Sync cable

I had this weird cable in the bag, and I, I didn't know what to do with it. >> I lost that cable immediately. I figured if I was going to lose something, I might as well lose that cable, and that was a big mistake. >> Yeah. This is actually one of the most important pieces of the kit, because this is the cable that makes everything go. It's like getting a brand new car and losing the key, right? >> Right. Or the gas pedal. >> Yeah. If you don't have this, you can't trigger the lights. Now, you can trigger the lights using other methods. Perhaps you're going to go ahead and we'll explore these more later. Use the built in flash on your camera, or use a command or control unit to trigger it, but this the fail safe method.

And it's called. >> And it's called the sync cable. >> Yeah. And it's going to go ahead and sync things. So, the one end goes where? >> This will go into your camera. There's a term called a PC connection. It has nothing to do with computers. It existed long before we had PC's, and this will actually go into a port on your camera and then you have that end. >> Yeah and this end will go into the actual light, the main light that you're going to use as your primary strobe, and you may use this connection which is exactly like an iPod or a standard headphone jack type connection.

Or you might need to step up to a larger one, and this will generally vary in your kit, but somewhere in the light is going to be a port that you plug into. And we're going to cover all of this when we actually start to synchronize our lights and walk you through it. But the big thing is, is don't just look at that random cable like, you know, you buy a new printer, there's an extra USB cable. Or you open up the box and there's all these weird, I don't need that. That must be for somebody who's over in Europe. No, this is a cable that even if you don't use it all the time, it's an excellent fallback plan. >> As a matter of fact, I buy additional cables as backups because this is one of those things I'll lose on set.

It's, like, we all pack up, and somebody doesn't see the cable lying on the floor. It's black in a dark environment. So having spare cables, having longer cables. >> Yeah. >> This is not a bad insurance policy. >> All right. You've gotten a good idea on what sort of gear you likely need, and if you've already invested in a lighting kit, what sort of gear you probably already have. Now, let's dig a bit deeper and walk you through how these lights actually work.

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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 · 5547 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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