All language subtitles for 00.2 Tethering.mp4

Now that you've seen, all the equipment
that I use day in and day out in my studio.

I want to walk you through my tethering
workflow and my tethering set up here.

If you don't know what tethering is,
tethering gives me the option to take a

cable from my camera to my computer,
and while I'm shooting, the images pop

up with a live preview in high
resolution.

When I first started shooting, I was
relying on that small little screen on

the back of the camera to make all of
my creative decisions.

So what would happen is I would take
these images into post, and I was

noticing small errors that I just
missed onset.

As I started working with teams,
including creative directors, hair

makeup, stylist,

it was really hard to get any input on
images from the small stream on the

back of my camera.

Over the years, I developed a
streamlined tethering workflow

that allows everyone to provide their
own input into these images and

guarantees a great shot right on
location.

With that said, right here I have this
tethering work station, and I'm going

to go through this piece by piece.

Right here I have the phase one iq 380
with an xf body that's connected to

this MacBook pro via a usb 3 point o
cable.

And because I'm going to get far away
from my subject and its power, my

camera, I have to connect two cables
together, and they join using this usb

extension lock.

And because I'm using so much cable
here,

I'm using this tether boose pro, which
allows a really fast image transfer

without any disruption at all.

I also have a can and five d mark three
sitting here just for backup.

But because it is using usb 2 point o,
I have to have a separate cable, which

I have rigged on the back of this rock
and roller card here.

Speaking of this cart, let me tell you
a little bit about.

It it's a rock and roller r ten rt,
which is a mobile work station.

It allows me to carry equipment as well
as use it as a desk on set.

It breaks down and packs down really
tight, and can fit in the back of any

car.

So it's a great tool to have to carry
equipment again and to use it as a

desk.

Right above this multi cart is the
tethertable arrow system.

And this arrow holds my laptop and is
secured to this c stand behind it using

a superclamp and a rock solid arm bar

what's great about this table is that
you're able to buy this rubber foam

that lays on the top of the tether
table to really secure your MacBook

down.

And then to add even more security, you
can implement this secure strap over

the top of your MacBook.

So it's not going to go anywhere.

This tether table is mounted to a
really heavy duty ceostan.

And at the top of that c stand, we have
a view sonic vp 2468

monitor, which really gives a nice,
large preview to the entire team that

we're working with.

Onset.

I love this system because I can stand
here, go through these images and do

what I need to do, while my client can
see the preview of the image from a

different angle, so they're not
standing over my shoulder.

And because I've developed this
tethering workstation

around one c stand, it's easily
packable, it's easily collapsible, and

I can take it out in location without
having a card around a big, giant desk.

Some additional features that are
linked to this tether table is when we

have a hard drive bay

right in the back side of this, where
we can constantly be backing up files

while we're on set.

And it's secured and it's held down.

Also, we have a cupholder,

which

we all know that we need cuthholders
attached to our tether tables.

So this is it.

This is my tethering work station while
I'm in the studio.

But when we head out on location, we
change it up a little bit.

Number one, we remove the big monitor.

We need a work station.

That's easy to use, that's portable and
can transition from one set to another.

And having an additional monitors it's
not necessary.

Another change to this workstation we
make when we go on location

is that we bring in what we call a
sunscreen.

And what this product is is a small
tent where I put my laptop inside,

which is going to allow my team to see
images, even in bright sunlight.

Now that I've shown you all the
accessories, let me dive into the

computer workflow and show you how that
all works.

My program of choice is capture one.

There are other programs and software
that you can use to tether, but this is

what I use.

So once you have all these connections
plugged in and everything's ready to

go, your camera is turned on.

The first step is to go to file

and then go new session.

You can really name this session
anything you want.

But I usually start with the client
name,

and then the project name,

and then finally the date,

and then hit ok.

Now that we have our new session opened
and created,

as long as your camera is on and
everything is connected properly,

capture one will automatically
recognize the camera.

And I can confirm this because right
under this

menu here under camera,

it automatically recognizes the phase
one xf I q 380

camera.

So all you need to do at this point is
start shooting.

So I'm going to take a photo of my wall
here and

we'll see how it goes.

So now, as you can see, the image is
popped up on my monitor.

Not only can I look over and see the
screen, but my team, my clients, can do

the same.

Now that you know how easy it is to
tether with capture one, let me show

you a technique

that allows me to push my images closer
to the final product while I'm shooting

on location.

With capture one, I'm able to design a
preliminary color grade.

Then as I shoot live, each image that
comes through the program will have

that color grade applied to it.

To demonstrate how I apply a
preliminary color grade.

I'm going to take a quick shot of my
assistant hunter, and then get in there

and start working with these options.

As you can see, this image has the
correct white balance.

I'm shooting at

f 6325th

of a second, iso 100.

Something I might do for an image like
this

will be starting with curves.

And so I need to go over to the
exposure tab here

and start working with these red, green
and blue curves.

First I want to remove the reds out of
this image.

So I need to take this centerpoint in
the curves and drag it down.

As you can see, the image is taking on
a more green and blue cast.

Next something I would do is start
playing with the green channel.

I need to make a small subtle s

by bringing out

the magenta and adding green into the
highlights.

So now I move over to the blue channel,
and I do the same thing as I did with

the green curves.

That's making a small subtle straight.

So what these curves adjustments have
done is added color contrast to the image.

So next something I might do for this
image is I need to bring this clarity

slider up to around twenty.

Once that's done, then I go back up to
the exposure,

and i'll start desaturating the image.

Maybe add some contrast to it

and even maybe play with brightness or
exposure.

Basically, what I'm doing here

is I'm giving this a preliminary grade

that we're just going to do all over
again and Photoshop.

But it's going to give a little bit
more of a final look to these images

that are coming through on this MacBook
pro as I shoot live.

By doing this, this is going to give my
client a better idea of what these

final images might look like.

Usually we'll spend about five to ten
minutes just playing around with

tools and playing around with controls
that get somewhat of a final finished image.

At the end of the day.

You could really do whatever you want,
because it's all up to what you see and

what you want for the final product.

So the unique feature about capture one
is that from here on out, every image I

take, these same color adjustments will
be applied to those images as well as

I'm shooting live.

And so now I'm going to take another
shot of hunter, and we're going to see

if these color adjustments work with
that image as well.

Now as you can see in the second image
that I just shot of hunter, all those

same settings are now applied to this
image as well.

So I hope you can see how powerful it
is to tether both in the studio and on

location.

With this tethering workstation
workflow,

not only am I able to see my images on
a large screen and notice any errors I

might be making,

but also I'm working with a creative
team, and it's important that I get

their feedback.

So they're able to stand around this
screen and look at the images alive,

while I shoot.

And finally, we can apply a preliminary
color grade that gives the creative

team an idea of what that final image

might look like.

Hopefully, this has been helpful, and
you understand the power of tethering.

I have no doubt that if you apply this
tethering workflow to your projects,

you'll become a better photographer.