All language subtitles for 02-04-Stumpys-Lighting Setup.mp4

I want to show you guys the set that
we're going to build for a white line,

black line.

This is a simple set, it's something
that I've actually kind of developed

over a few years, and it's paired down
from what I used to do.

I think it's very true that
photographers can get in bad habits.

And I know the set that I used to use
to shoot on white and on black was much

larger.

It was really cumbersome and kind of
difficult to move around.

And over the course of years, I really
refined it.

And hopefully what you're going to see
is really going to

save some time for you, in the end,
make it a lot faster.

Now I've got kiekoff feel with me.

Kate has been my longtime assistant

and probably

knows me better as an artist than any
assistant I've ever had, or any other

team member, for that point.

So you're going to see me collaborate
with Kate a lot.

I really value her opinion and what she
brings to the party.

You'll hear the conversation between
the two of us, and you'll just see us

working through our natural workflow.

So we're going to go ahead and put up
the set, which hopefully will be

approachable for you in your home
studio.

All right,

per idiot in the background, shan't we?

So let me give you a quick rundown of
what we're putting together.

We've got several different lights
going on here.

We're going to have a para 88 in our
background.

That's going to be behind a diffusion
panel.

And we're going to put two pieces of
velveteen on either side of it.

Velvetine is just a crushed black
velvet.

It really sucks up light and it's
really not visible at all in terms of

texture by the actual camera.

That's something that's also really
important.

Above, I'm going to have a bron color
monoblock with a panhead.

And on that I've got a grid insert.

And I've got a sheet of polarizing gel.

Again, controlling highlight is such a
critical part of what I do, and it

really makes the difference in your
photography period.

So

to that, we're going to have a simple
baby plate with a sheet of black

plexiglass on top.

So a baby plate, in case you don't
know, has changed my life

Kate.

You showed me in this trick,

a baby plate it's made by Matthews, and
it's a simple, long stud with a plate.

On the bottom it's got six holes in it,
so you can mount it to something.

In my case, I'm actually just mounting
a sheet of black plexiglass to it, and

we've hockluded it to the bottom.

Now, the reason I do this is I want to
get a good reflection.

I think that reflections are important,
and I want them natural.

Black plex is the way to go.

Shooting on white actually doesn't give
you a good reflection when it comes to

white plaques.

It's kind of milky and it looks flat.

It doesn't have good life to it.

Black is a perfect mirror.

So when I've got a light coming from
the backside and reflecting off of

this, because remember, Anglo of
incidents, equals, angle of reflectance,

this black is actually going to go
purely white.

Except where the reflection is it's
going to be this deep, rich, colorful

reflection.

And that's something that I want.

And then on the front, to light the
label, I'm going to have a visitech,

which is just a little monoblock.

And I've got this tiny impa spot on the
front of it.

These are great old impossots.

I've had these for a long time.

They're not made anymore, but you can
find a variety of little spot

attachments to go on your lights.

And I just want to bring light into the
main label of the bottle, coming from

the left, and sweeping to the right.

Ok?

So one thing I want to remind you of.

Your set has to start off level.

Liquid is always going to seek natural
level.

If your set is pitched back in one
direction or another, or side to side,

your liquids aren't going to be level.

It's going to create a nightmare for
you in post production.

It's also not going to look right, like
when you look at the bottle.

You're going to see it right away.

So that's the very first thing you want
to do when you're getting that set established.

Use a level.

You've got a solid foundation.

Everything can be built on top of that.

So what I'm doing right now is I'm
taking a little bit of stickham wax

and I'm putting it on the back edge of
my bottle.

I don't want my bottle to slide off the
set,

because this plucks.

A glass

is super slick.

So I'm going to set this out here.

This is going to be our standing while
we get our light ready

Kate.

There's no bottle behind you

who

you need more tape.

So that's going to be the basic
foundation of our set.

It's pretty simple, and i'll walk you
again through it, from back to front.

I've got a pair at 88 in the background.

So, yeah, bron color pair 88.

It's not the cheapest light.

You can substitute anything for that.

You could use a rotalox, you could use
a soft box.

You can use a panhead.

You could use a shallow reflector with
diffusion.

You don't have to spend the same kind
of money that I'm using on this

particular light.

There's so many different options.

But what you want is a nice light that
is controllable.

That's going to have direction, but
that you can also give some good spread

to.

That light's going to be coming through
a roscoe 3030, which is a diffusion cloth.

It has a little bit of texture to it.

It's a gritted pattern.

I haven't enough distance away from my
bottle where I'm not picking up that

pattern inside the bottle, or in the
lens, anywhere I don't want that.

But it's a nice diffusion that really
allows the light to kind of spread

evenly.

And it should give me some good edges.

So above my bottle, I have a panhead.

Now this occurs on all of my sets
pretty much universally when it comes

to beverage.

I've got a bron color amount of block
the pan had, also known as a beauty dish,

inside of it.

I have a gritted insert, which is going
to give the light a little bit more

control.

Instead of it spreading out wider, it's
going to kind of come down and it's

going to give me some light on the
shoulders.

And then I've got a piece of polarizing
gel.

Tap to the front of.

That polarizing gel is going to again
allow me to control the highlight.

I make sure to tape up all the edges.

If I've got little cracks of light
coming through, it's going to ruin the

effect.

And I won't be able to control the
highlights

in that most efficient manner that I'm
looking for.

So make sure you do that.

Last thing is, I've got a visitecheck,
which is just a monoblock with a tiny

spotlight.

You can use a snoot.

You can even use a reflector and some
cinema foil, and kind of make your own

snoot or kind of funneled light.

That's going to bring light onto that
front label.

I'm going to like probably the front
label and the neck label.

Separately, just to give it a little
bit more drama.

But this light is going to be my
mainlight for that.

And then I'm shooting with a Sony.

I've got the Sony, a seven r two, which
is a nice accessible camera.

It's great for this type of work.

Gives me really quality images.

Right now, I'm going to start with the
ninety, but I might move in closer and

work with the fifty, just to get a
little bit more of a normal lens on it.

What I'm starting with right now

is a really nice lens for a lot of what
we do.

But it might be compressing the bottle
too much.

So I take a look at that and make a
decision on which lens I want to go with