Hi. This is Jay P. Morgan. In today’s Slanted
Lens lesson, we’re going to take a step way back to the very basics of a one-light
setup. Let’s take a look at what it takes to light a face.
Everything in the world is a ball, a cube, or a cylinder. A face is a ball, a round surface.
Because it’s a round surface, as we set our key light, we get a nice highlight across
the face. We have a nice shadow line there, where it drops into deep shadow away from
the light. As we fill this shadow side, we create what’s known as the core. This is
the core, the area of transition between filled shadow to highlight. If you fill in that core
too much, or too broadly, it becomes very uninteresting. We want a nice ratio of highlight
into shadow, where it fills up to that core, but doesn’t wipe it out completely. The
problem is most people are, even though we are a round-type face, we have features. When
you add a feature, in this case, when you have a nose, you’re going to want to get
your light up a little higher than this one is, in order to create a bit of a Rembrandt
on the side. If I lift this light up just a bit, I start to get a bit of a Rembrandt
on the side. This will give us a nice triangle on the cheek here, if this was stuck next
to our ball. The interesting thing about our setup here, is that we have the highlight
side on the ball, and in the background, we’ve turned our light just so that we get a nice
shadow side on that side of the ball that’s lit.
I’m going to rotate this to where the shadow from the softbox, is going to hit right along
the line of the shadow of the person’s face, so I will have a nice highlight side on the
background that separates the shadow side of the face. I’ll have a nice shadow side
on the background that separates the highlight side of the face. There’s the basics of
a one-light setup. The way that you get a person to stand out from the background light,
both the background and the person with a single light. Then we simply bring in a fill
card to fill in the shadow side, not obliterating the core, giving us a nice core transition
to the front. Let’s take a quick look at a person’s face in here and see how these
principles apply. I’m loving that Kessler Crane today is giving
us a lot of great shots. We’ve got Tiffany Taylor here on set with today. She’s gorgeous,
so that makes this very, very easy to do. We have this softbox here. It has the face
off, that gives us a very hard light. I’m doing this in order to see, on the background,
exactly what it’s doing; it’s a little more obvious that way. We have the highlight
side of her face. It transitions to the shadow side of her face. We have the highlight side
on the backdrop, which gives us a nice contrast to the dark side of her face, and we have
the shadow side on the backdrop that gives us a nice separation to the highlight side
of her face. What we’re doing today is we’re shooting
on the Cannon 1DC. Everything we’re shooting is video and we’re going to pull stills
of the different shots that we do here of Tiffany. We’re going to have her move her
hair around. We’re going to do some interesting things with her hair and movement, and we’re
going to look at those things. We won’t shoot any still today; it will all be pulls
from video. I’m going to go ahead and put the softbox face on. Then we’re going to
get this lit so we can get a nice shot of her. If you put the key light in the right
place, it allows your model to turn her head from a Rembrandt, into a butterfly, into a
split light. This gives your talent a lot of room to move and has nice light in that
entire rotation. For our key light, we’re going to use a
Dynalite 1600 watt pack with an MH2065 head. We’re using a medium Photoflex softbox as
our key light. I love this setup because this head from Dynalite gives me the ability to
use all of my strobe modifiers with a hot light. It gives me a nice key light for my
talent. Our background is a white seamless. As a fill, we’re going to use a P22 panel,
to bounce a little bit of light back in on her face. Using a fan can be a little tricky.
I have found that if you turn the fan down very low, and then you point it slightly up
from the ground, it gives the best look for the hair. If you run it too high, it’s going
to dry out their eyes and really is tough for the talent to work underneath.
I am very excited to be shooting today with Tamron’s new 70mm to 200mm, 2.8 zoom lens.
This is a great SP lens. It’s very sharp and a great companion with our 1DC. Shooting
video on the 1DC and then pulling stills was quite a new experience, to say the least,
for me. I found it a little hard, because I was always wondering, “Did I get something?
Am I getting something?” Without the ability to look back at each frame and see exactly
what I was getting, I found it a little bit frustrating. It was hard. That 1/50 of a second
gave us a lot of motion blur, even on a simple move of her head. We’re going to talk about
this more on our next lesson: Pulling Stills Using the 1DC.
Here’s some of the stills that we pulled from our first setup. We’re now going to
push our makeup a little bit, make it a bit more interesting, and come back and shoot
some more. Kerry Groves of Makeup Magic did a great job; kind of gave us this Egyptian
look. We did a few shots of her with a small hat on; I thought that one was very cool.
Julene brought a piece of sequin material that was very interesting just to shoot through.
It even became more interesting as we brought it closer to the camera. At that point, it
became a diffusion material that just gives a nice soft diffusion across the whole image.
As you get it that close and shoot through it, it softens everything in the image. This
is an old trick. People used to wrap hose, nylons, all kinds of things over the lens
do give this kind of soft look. Here’s a couple of images looking through that material.
This has been a great shoot today. Sometimes it’s very elegant to just go back to the
basics; use a single light to create a very nice light on our talent’s face. It has
a very elegant look. I hope you had as much fun as I did today. Keep those cameras rolling
and keep on click’n.