Best Continuous Lighting for Photography Using 100 Lume Cubes

Hi, this is JP Morgan today on the slanted lens we’re going to talk about continuous light onset for still photography Now this is not normally what I use to shoot large set production pieces But we’re gonna shoot some big large set production pieces with 100 moves 100 of them but the principles we’re going to talk about here today are the same if you’re shooting with 10 of them worth two of them or With 100 of them. So let’s get started. Let’s see what we can do Before you watch the lesson get over that silence calm where you can sign up to win all these battery solutions from indie pro tools All the solutions that they make for a DSLR whether it’s Canon or Sony get over there and sign up You know continuous light is about the ability to see what it is you’re setting up It’s really the easiest way to set up and to learn how to light is using continuous light sources So today we’re gonna do our setups all three of them using continuous light We’re going to talk about the ratios between the different lights and seeing that as we set each one up It’s really a fascinating principle a key light generally wants to be about a stop less than a rim light you set your aperture and your shutter and your exposure for the key light now the rim light is just A little brighter and gives us a nice separation from the background the same with the light that we throw onto the background You want that to be a little brighter that’s going to give us a nice separation that we want but it’s a matter of how we Diffuse them and how we ratio them be able to give us the light that we want if you have a single light source It’s a single continuous light source doesn’t matter how big it is this size to that size That will give you an f-stop on camera if I want something in the background bill like me from behind I don’t want my key light to be the same value as my rim light because I want the room light to be a little Harder to be able to separate the person better So I’m gonna take and put a piece of diffusion in front of this and bring the value down on this open my aperture up that brings the value up on this and allows it to be harder from behind now if I don’t want to Racial these to one another and I want this on full power Then I aim this as my key light. Now this rim lights not gonna be punchy enough It’s not gonna do what I wanted to do if I want to raise this by one stop. I have to add a second light f/8 f/11 f8 f-16 if I put this on full power I’m I’ve got nowhere to go with my other lights unless I can add a second or a third light to be able to balance this Out it doesn’t matter how big your lights are how small they are. These principles are all the same So here’s our first setup we’ve done several things to put this together first off we’ve got loom cubes all over the ground They’re on the lowest setting so we just kind of get a glow through the fog We’re using chill boxes on the right and left. So those chill box Just kind of push out of five you sits on the ground Kind of fills up the kind of area that we’ve created here because we’ve kind of created a little kind of corral keep the smoke in so smoke becomes its own element as we kind of flood the set opens everything up and It makes a lot more brighter. Then we’ve got four loom cubes on the back that are lighting the background on the right side We got four on the left side They’re lighting the background and we’ve got four that are giving us a nice rim light in here I love to move in the back It’s a beauty dish with four bloom cubes shining through it gives us a great kind of glow and that gives us an hour moon In the background we can lower that or raise it because it’s on a stand and we’ll have to retouch that stand out But you know when the smoke a lot of its gonna get superior. Anyway, she’s got her lantern here Which has got one it’s dialed way down. This may be thirty or forty percent So this give us a nice light on her face. We put a diffusion in the middle of it So it’s gonna just let that kind of glow on her face. So here’s our lighting breakdown On some of them. She’s holding the Loon cue It’s got the nice globe on it just gives us a really beautiful kind of soft light kind of emanates from that spot So that’s kind of the way we’re set up here. So we’re gonna go ahead and shoot some shots here with Olga So there’s 100 loom cubes a little smoky shot and let’s go on to our next setup We’ve got about 80 of the loon cubes on the ground which gives us just a great glow from underneath We’ll put a little bit of smoke in that just to try that but just like loon Q’s themselves Look fabulous. So our key light is a beauty dish with a grid on it now The beauty dish is a beautiful light We got four of the little cubes in it at 70% They’ve got that kind of Baffle on the front spreads that light out which gives us kind of a soft light with a hard edge So it opens up the skin looks really pretty with that grid on there it kind of keeps all the light off from everywhere but on her face and Then throws a nice shadow onto the background So it lights her face gives us a great shadow on the background that’s controlled We’ve got our rim light but we turn that back and we kept it off from the floor for some of them Took a flag and cut it completely off the floor or let it open up the floor just a little bit We have a lot of lights here We have 80 plus 4 plus 2 plus 1, but we don’t let it get out of control We’ve controlled them so it still looks Moody. It looks graphic It’s just a beautiful shot in that way are not allowing this light to just blow everything away front us So when we control our lights we can get really moody results if we set them in the right place So let’s take a look at some of these images So here’s our third setup with our 100 looms this kind of a road warrior Mars red light she’s got her spear. This is Dallas Stevens. She’s working with us today So let’s talk about this last set up here. This is really meant to be colored light We want to play with colored lights You have that option with the loom cubes because they’ve got the small little gels it goes directly on the light with a little battery Attachment and the housing so you can put those different gels on there makes it easy to switch them out and change the colors So we’ve got a heavy red light going through the smoke gives us a nice rim light from behind on the camera right side That gives us kind of a red light we’re gonna see on the side of her face We’ve got our beauty dish again with that grid spot I love that setup because it just keeps the light pooled on her face at vignettes on Her body and he’ll slowly kind of pan that away from her Away from camera out to the side and as he does that kind of brings it over a little bit You’ll start to see it kind of drop on the side of her face. It just gives you a really nice look on her face Never aim it directly at her. I’m always trying to get it off to the side just a little bit So it it kind of vignettes and it kind of transitions or gradates across her face Which is a nice look and then in the background We’ve got four bloom cubes with blue gels on each side that gives us that nice blue background We got the red on her the blue in the background just looks great those two colors Juxtaposition with each other then down below us. We’ve got some different yellows. We’ve got some blues We’ve got some warm and that just kind of gives us a little something in the smoke We didn’t want to see the lights in the smoke wanted to have the lights light the smoke Let’s take a look at some of these images Now a lot of these camera settings everyone’s gonna be asking me what are the camera settings I’ve gone to sometimes a 125th of a second which is pretty slow So when Dallas is in here, she’s got to hold her position and not move too much I’ve got that on some of the others. I’ve been up as high as 150th of a second, but generally a longer exposure That’s the downside of continuous light It’s not as powerful as a strobe stroll was just very powerful and it’s just a much different animal But continuous light you can see exactly what it’s doing if it’s red. It’s red If it’s blue, it’s blue. You see exactly what’s happening. It’s easy to set your lights And also if you want to learn as a still photographer how to move into doing video light with continuous light because all a video is continuous light So it’s a great place to learn into to become proficient using continuous light for stills it helps You become a really great videographer as you could make that transition because you have to use continuous light So I’ve had loom cubes since they very first came out I got my very first one I think at nab some time ago a couple of years ago. They’re just a fabulous little light They’re about an inch and a half square They’re waterproof. They have the ability to really to ratio up and down from 10 percent up to 100 percent So excellent small little light you can use on set charged lithium battery ready to go So there you have it our three lighting setups with continuous lights. Thanks to all the folks at loon cube We brought us on the lights today, which was really exciting to be able to use that many lights I’m excited to have these in my kit to be able use them in the future. Thanks to Terry groves at makeup magic Who really did a fabulous job? Moving our models from makeup to make up hair to hair to makeup to make it rain different in any way she went from one To the other and there we go. He had all this says we went through the day So Terry did a great job for us thanks to my wonderful wife Jolene who did all the Wardrobe did a great job there as well and Andy and all the rest of the crew and thanks to Dallas and my word my mom and my grandma, you know My my granddad was a great guy too, and my grandma was wonderful. So thanks to all of you so keep those cameras rolling and keep on clicking I Think she means it If you love stop-motion You want to learn how to do it get over to the slim lens comm go to our store we’ve got a great download there for Trish’s amp a Beginning down a little teach you the basics of stop-motion and an advanced download little help Your work to a professional level or can bundle the two together at a greatly reduced cost So get over to the salon less calm go to the store get your stop-motion download Subscribe to the slanted lens, it’s a seamless experience with many many colors. In fact, I can think of 86 reasons Why used to subscribe your grandma subscribes your aunt subscribes? You love photography. You love people who love photography you have a camera. You have a lens You have a tripod you need to learn more about the fire

14 Replies to “Best Continuous Lighting for Photography Using 100 Lume Cubes”

  1. Worth noting that the makers of the Lume Cube have still not delivered on their Kickstarter promises from their Lumi/Life Lite campaign. This has gone on for almost 2 years now (with hundreds of thousands of pounds raised). It’s infuriating to see the company openly courting publicity like this and yet not deliver nor communicate with their backers on Kickstarter. I’d avoid all their products and seek alternatives.

  2. Are you going to be reviewing any or all of the new mirrorless or just let them fight it out amongst themselves and wait for the smoke to clear???

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