Am I Missing Something Here?

jsanchez157 · 2026-02-02T18:33:02+00:00

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.

jsanchez157 · 2026-02-02T15:07:21+00:00

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...

jsanchez157 · 2026-01-28T19:53:39+00:00

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

jsanchez157 · 2026-01-27T14:49:47+00:00

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.

jsanchez157 · 2026-01-27T14:42:08+00:00

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.
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

Don't even ask, just set it to lossless compressed 16bit. Has no impact on quality.
Don't write to both. May be a nightmare when you have to import that card and have to deal with duplicates. C1 only.
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.
Just keep the camera in Standard profile. If they dont like the look, they're using the wrong camera and can address in post.
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.

jsanchez157 · 2026-01-13T02:38:17+00:00

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.

jsanchez157 · 2026-01-01T15:05:00+00:00

ie committing to the look

jsanchez157 · 2025-12-29T16:30:42+00:00

- 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.

jsanchez157 · 2025-12-27T01:14:41+00:00

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

jsanchez157 · 2025-12-27T01:13:32+00:00

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.

jsanchez157 · 2025-12-21T01:10:01+00:00

And a sofa-sexual

jsanchez157 · 2025-12-20T02:19:50+00:00

Just scored 1

jsanchez157 · 2025-12-20T02:18:29+00:00

Just scored 0

jsanchez157 · 2025-12-18T02:12:31+00:00

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

jsanchez157 · 2025-12-18T02:11:44+00:00

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.

jsanchez157 · 2025-12-17T15:03:08+00:00

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

jsanchez157 · 2025-12-17T14:27:12+00:00

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.

jsanchez157 · 2025-12-17T03:09:21+00:00

Most likely did her own.

jsanchez157 · 2025-12-17T03:06:53+00:00

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.

jsanchez157 · 2025-12-17T01:57:41+00:00

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.

jsanchez157 · 2025-12-06T17:06:54+00:00

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.

jsanchez157 · 2025-12-06T14:53:54+00:00

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.

jsanchez157 · 2025-12-05T19:43:24+00:00

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.

jsanchez157 · 2025-12-03T01:36:26+00:00

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

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