Although a single light doesn’t seem like much, there’s a lot you can do with it. From some more traditional setups to unusual horror setups, a single light can really be extremely versatile. In this video, Manny Ortiz will show you the best, but also the worst ways for using a single-light setup in only three minutes.
When using the Brush tool in Photoshop, it may seem that adjusting flow and opacity sliders will do exactly the same thing. But of course, they wouldn’t both be there if they were exactly the same, right? In this tutorial, Matt Kloskowski explains the difference between the two and shows you how they work on his own example.
Understanding color is one of the crucial things to understand, no matter if you’re a photographer or a video creator. Understanding color theory and psychology will help you add more meaning and impact to your work. So, if you’d like to master the use of color, Joanna Kustra has an amazing video for you.
I’ve always been drawn to interesting looking light. The simple, soft and flat light of softboxes and other standard modifiers rarely hold my attention and I’ve often felt like that softbox lighting doesn’t exist outside of the studio. It’s always looked a little too clinical for me.
We’re shown interesting light all of the time when we’re observing daylight. Dappled light as it falls through leaves, dancing sparkles of light on water, rays of light through buildings and other structures, but we rarely try and bring that interesting looking light into the studio. In fact, many of us chase and covet this idea of ‘perfect’ light from a generic modifier and although there is certainly a time and a place for that, today I’d like to share a lighting technique that is a little more visually engaging.
For some of us, especially when we’re just starting out, we’re limited on gear. Maybe we can only afford a single light or perhaps we can afford more, but we want to experiment with just one before laying down a huge amount of cash. Either way, having just a single light for our work is not uncommon. It is possible to make one light look like many though.
In this video, filmmaker Brandon Li shows us a technique for multiplying a single light using multiple takes and compositing. It’s a technique that we’ve seen used a lot in photography, particularly product photography, but not that often with video – especially when you’ve got a moving camera.
Normally, this wouldn’t really make it past my first internal filter. It’s a silly idea and a silly video, but given who’s actually made it, I found it pretty funny. You see, David F. Sandberg, otherwise known as Ponysmasher, is the director of the rather hilarious Shazam. Yes, that Shazam. A few videos ago, David mentioned that as he’s not a “professional YouTuber” he doesn’t need to care about analytics and subscribers and that he’ll post what he wants when he wants.
He joked about a video flipping off the viewer for four hours. The problem with making threats like that on YouTube, though is that you often have to follow through. So, he did. And he made a behind the scenes showing how he shot the whole thing in just 53 seconds. Because who’s really going to stand there in front of a camera flipping it off for four hours?
Today I’m out here with Chanda AM, and Chanda will help me illustrate how to balance ambient light with strobes. I love shooting in this situation with ambient light and strobe light. I want to be able to combine the ambient light here in this beautiful area with strobes. So the way I generally do this is:
The GoPro Hero 9 Black was just officially announced only 9 days ago. But as usually happens, one gets into the hands of a lucky individuals few rather quickly (sometimes before it’s even been announced). One such individual is YouTuber the daniel life. He hasn’t posted a review of the camera yet, but he has posted is a mammoth long tutorial going over the Hero 9 Black’s feature set.
He’s actually done two videos – one in English (above) and one in German (below) – and each is over an hour and a half long going over just about every topic you can imagine. It’s designed to help everybody from complete beginners through to those who are a little more advanced and just want to find out more about specific features.
Light has many properties that we need to learn if we want to control it and improve our photography. One of them is light falloff: the property of light to become less and less bright the further it travels from its source. Most of us know this feature as the Inverse Square Law, and it involves quite a lot of math. Well, at least too much for my taste.
If like me you also don’t really like math, you’ll love this video from Adorama. Photographer Gavin Hoey will show you what light fall off looks like in the real world, and his demonstration is visual rather than mathematical.
The Thing is arguably one of sci-fi’s finest masterpieces, of that there is no doubt. Released in 1982, its creators didn’t have access to even the most modest of modern CG tools that can run on just about everybody’s desktop or laptop computer today. They had to do things practically. For real. In-camera.
Amongst those things shot practically is the initial opening title sequence. After initially seeing a ship hurtling towards the earth, the words “THE THING” are burned into the screen. But how exactly was it done? In this video, Tommy and the team at InCamera walk us through a recreation, sticking as closely to the original techniques as possible.