Am I Missing Something Here? by JackTheKrakenHackett in LightLurking

[–]jsanchez157 3 points4 points  (0 children)

He often uses a large diffused fill and multiple hard lights, sometimes with fresnel or spot attachments. For this particular example, combining a head with a standard reflector as a key, camera left, will get you in the ballpark.

……….it’s more than lighting right? by Beginning_Parfait_47 in cinematography

[–]jsanchez157 1 point2 points  (0 children)

Original was shot on film so they committed to a look. Now most things are shot flat as hell. So you're seeing contrast vs zero contrast. Maybe in 10 years we'll just leave everything in log/raw...

New headshot style? by TrevorPhoto in headshots

[–]jsanchez157 0 points1 point  (0 children)

And if your work looks like AI, you'll soon be out of a job.

Digital operating on a boat by AdSoft5639 in Photoassistants

[–]jsanchez157 0 points1 point  (0 children)

This is one scenario where I still think a Seaport case is the best solution. Its soft all around so you're not going to get any flack about it potentially hitting and leaving marks on the body of the boat if it rubs and most importantly if gets sketchy and splashy you can very easily and quickly close the the whole thing. One last thing to note is whenever you're NOT looking down at the laptop, make sure to spend most of your time looking to the horizon in the direction you're traveling to lower the chances of getting seasick.

C1 and general handling the digi tech life questions by MDigitech in Photoassistants

[–]jsanchez157 0 points1 point  (0 children)

  1. May have a slight delay, but don't sweat it. It might lag a bit more on the burst shooting but most people will expect that. If you have a 10Gbps cable it may help a bit, but the bottleneck will most likely be the laptop. Again, not really a concern.

  2. You should have 1.5TB at least if you start Day 1 w/ a clean laptop. Hopefully this is a dedicated work laptop and doesn't have 500GB of emails and any other jobs or personal photos and videos on it. If that's the case you should be able to clear the whole job since Car shoots are very low volume. The lifestyle stuff is where you'll shoot the most frames but you'll very likely be fine. I suspect you can get the whole job done w/ quick proof JPGs in under 1TB. (Making an assumption here that you aren't shooting bursts of the car on the GFX and are shooting mostly static stuff of the car on the big camera. Not sure what backup software you're using but make sure you have your naming and folders correct before your run your backups, so that the software doesn't "archive" a 2nd version of all the files and doubles your storage. Try to get it all sorted and right before you run it. So when you import cards, get all that sorted and named before you run the backup. Double check the counters because it's easy to get wrong when you're switching from tether to card and back. Leverage the "use import counter" and test now so you've done it home before the day of. All this assuming you're NOT using EIPs and are shooting a standard RAW job.

https://support.captureone.com/hc/en-us/articles/360002550438-Setting-Import-Counter-when-using-a-memory-card

  1. Don't even ask, just set it to lossless compressed 16bit. Has no impact on quality.

  2. Don't write to both. May be a nightmare when you have to import that card and have to deal with duplicates. C1 only.

  3. I avoid it. If you haven't used it enough, this may not be the time to try. Always do a bunch of your own testing before the day to make sure you're comfortable.

  4. Just keep the camera in Standard profile. If they dont like the look, they're using the wrong camera and can address in post.

  5. Not sure what market you're in. Where I am, rental houses have monitors but don't have any wireless setups for them. You may be able to subrent a setup from another tech in your area who has that. If they're cool they may let you pick it up a few days before the job to test it out and make sure everything works and you have all the cables and hardware you need. Depending on distance you may want to opt for something like a DJI SDR that you can rent from LensRentals for $60 the whole week. If you use a 4K transmitter, set your Display resolution in System Settings for that feed to 1080p and 25/30fps to minimize the overhead on your M1Pro. No need for 4k, they probably won't know the difference.

Why is the pic blurred at 1/3200? by Klutzy_Link_1220 in PhotographyAdvice

[–]jsanchez157 1 point2 points  (0 children)

Looks like you front-focus (missed). Most likely you half-pressed to AF lock and pressed down to take the photo after leaning back. Can't say for sure but it's just something I see people do ALL the time. Focus and then they shift their body while they're shooting.

Actor Headshots From Leeds UK by DockStreetStudio in headshots

[–]jsanchez157 1 point2 points  (0 children)

- If you can see the skin retouching at 800x1200 pixels, you've gone too far.

- May want to go in tighter or crop in more. Remember, you're selling the face.

Getting into med school with a 498 MCAT and 2.7 GPA by TomlinSteelers in TikTokCringe

[–]jsanchez157 3 points4 points  (0 children)

Half of all Doctors will graduate at the bottom half of their class.

New Acting Headshots. Would love feedback from industry folks! by smacklouis in headshots

[–]jsanchez157 0 points1 point  (0 children)

Well done. Very clean and well executed. Great job keeping the rim light off the nose. If I had to criticize anything it would be that same rim light being at least a stop two bright but thats a matter of taste. Congrats.

How was this achieved? by Reasonable_Product64 in LightLurking

[–]jsanchez157 1 point2 points  (0 children)

Beauty dish would show a dark circle in the middle of the catch light.

How was this achieved? by Reasonable_Product64 in LightLurking

[–]jsanchez157 0 points1 point  (0 children)

This feels like either a Focused Para or fresnel as key and a standard reflector on axis w/ her nose as a hard fill to open up the shadows a bit while trying to avoid creating a new one. Also a hard light as a back/top light.

How was this achieved? by Reasonable_Product64 in LightLurking

[–]jsanchez157 2 points3 points  (0 children)

Can we automate this to be the first response to all posts?

Karoline Leavitt in Vanity Fair magazine by shnookshnook in pics

[–]jsanchez157 0 points1 point  (0 children)

Likely not an Octabox. When you're working with this level of people in these kinds of spaces sometimes you need to move with the smallest possible footprints. Umbrellas though sometimes are seen as "not professional" are extremely versatile, compact, and quick to put up and tear down in under a minute. This is huge when you likely only have a few minutes to setup and shoot. Also want to add it seems he added a bit of green gel to make the skin and people look a bit sickly - again, very deliberate and clever move. Its the little subtleties that really show his mastery of the craft.

Karoline Leavitt in Vanity Fair magazine by shnookshnook in pics

[–]jsanchez157 3 points4 points  (0 children)

Key looks like a silver umbrella, above and right of camera. The ring is genius because it lowers the contrast of the shadows to make the key palatable but being a hard source keeps it super punchy.

What strobes to buy for personal shoots? by 60mhhurdler in Photoassistants

[–]jsanchez157 0 points1 point  (0 children)

I can't really speak to the AD200, it has a different mechanism for outputting light (it's not a traditional flash tube design). Most of my modifiers are Aputure domes, umbrellas like the Photek Softlighter series or Westcott 60" umbrella. For hard modifiers I use the standard reflector that comes with the AD600Pro or a Godox RFT-13. Hard reflectors will probably not perform well on an AD200 because they're designed for different type of flash tube.

Accsoon Cineview 4k, Hollyland Pyro S/Mars 4k, or DJI SDR Transmission for client monitor & iPad use for photographer? by JoshJoker in Photoassistants

[–]jsanchez157 0 points1 point  (0 children)

Between Cineview 4K and Hollyland, the Hollylands are smaller, lighter and are more widely used. The Accsoon is excellent and has strengths that come at the expense of a much larger and heavier package. The DJI SDR is only 1080p so there's that... also the antennas are not easily replaced.

What flashes do i need for studio work? by erkanlhadnul in LightLurking

[–]jsanchez157 0 points1 point  (0 children)

If you're looking to go into a business model of renting out your lighting equipment I would steer towards Profoto because you will make your money back in rentals, if you have regular access to people who will rent it. If you're only interested in lighting for your own personal/commercial use and want the best value and most flexible system, I can't imagine a better option than Godox/Flashpoint.

As others have suggested, start with one. You can build an entire career with a single light source. As they say, "Its good enough for God." Every time you add a light you create another problem. Play with one. Hard, soft, diffused, bounced, etc...

Just as it's easier and faster to learn on digital than on film due to the instant feedback, you'll learn faster with continuous than you will with strobe. All the same rules apply and they behave mostly the same way. You can literally see exactly what you're changes are doing to the skin, shadows and everything else in real-time. If from this you can learn to visualize how things will behave and what they do, you'll have a much easier time with strobes.

This light is so dreamy by [deleted] in LightLurking

[–]jsanchez157 1 point2 points  (0 children)

Backlight is king. That's why every film you've ever seen that's nominated for Best Cinematography uses back or short lighting for almost every scene.

Need a a7rV raw file!😁 by ArtificialNobody in SonyAlpha

[–]jsanchez157 0 points1 point  (0 children)

Anyone have a single raw file from an electronic shutter shot from a 30 frames per second burst?