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  • Here we go high-speed sync. How to set it up and how to make it work. Beautiful

  • girl, high-speed sync, how can you go wrong?

  • ♪ [music] ♪

  • Hi. This is Jay P Morgan. Today on The Slanted Lens, we're downtown Los

  • Angeles. We're going to do a little shot of beautiful Angela Whitworth here looking

  • back into downtown. We're going to high- speed sync our Baja B4s. The reason we're

  • going to do that is that we want to crush the background a little bit. We want to

  • have control of our shutter speed. So we'll be able to shoot at a thousandth

  • of a second. That means we can open up the aperture, make it pretty wide open, gives

  • us a nice highlight with our strobes on her face. So we'll see the big buildings

  • in the background and test this high-speed sync on the Baja B4.

  • Why high-speed sync? To understand high-speed sync we need to understand how

  • shutters work. Shutters are two curtains that open and close. The first curtain and

  • then the second curtain. At speeds slower than 125th of a second, sometimes 160th

  • depending on your camera the first curtain opens and stays open until the

  • shutter closes. Then the second curtain closes. That's for

  • slower speeds than 125th or 160th. At shutter

  • speeds faster than 125th of a second, the first curtain of the shutter opens

  • and before it can completely open the second shutter starts to follow behind and

  • close. This means that there's no time that the sensor's open for light all at

  • once. A small opening is traveling across the sensor exposing it as it goes. If

  • your strobe goes off during this time, it shows a black bar on the bottom of the

  • frame. The way high-speed sync solves this problem is it starts firing the strobe in

  • pulses as the first curtain opens and it continues to pulse until after the second

  • curtain closes. This pulsing is happening so fast that the sensor perceives this as

  • continuous light. So what's the upside

  • to high-speed sync? Why do we use it? First off this keeps your

  • strobe synced with your camera at faster shutter speeds. This allows you to shoot

  • with a wide open aperture in bright light situations giving you a nice, shallow

  • depth of field. Because you can keep speeding your shutter up to make the

  • background go darker and darker. You can also light your subject with strobe

  • light and then use the shutter to darken your background. So the person stands out

  • a little bit. Remember shutter controls

  • ambient light and we match the aperture to the power of

  • the strobes. So if we choose "F5" now we can move our shutter speed faster and

  • faster to make the background dark enough to either let the person stand out or to

  • make it dark enough so that it matches the strobe light on the person's face.

  • High-speed sync give you complete control of your strobes at all shutter speeds.

  • So what's the downside of high-speed sync? First of all it takes more power. I lost

  • about a half a stop on the Bajas when we went to high-speed sync compared to full

  • power without high-speed sync. So you lose a little bit of power. Some strobes

  • may lose more than that. I don't know. But know that you're going to lose power when

  • you go to high-speed sync. And with more power you're going to use your battery up

  • a little quicker. But you know what? In comparison to what you gain with

  • high-speed sync, it's a pretty nice trade off. So let's

  • get our Baja B4 set-up for a high-speed sync. The first thing we're going to do

  • is turn it on. That's a good place to start, turn it on. Then we're going to hit

  • the RPT button until it goes to H1. It's going to show us now we're in high-speed

  • sync. We now have the ability to dial this up or down. We can go up to H7 which is

  • the most power the Baja will give us in high-speed sync. And we can dial it down

  • to H1 which is the lowest power that it will give us in high speed sync. We're

  • going to keep it on H7. That will give us the ability to shoot at thousands of a

  • second which will allow us to crush the background just a little bit and shoot it

  • a little more wide open with our aperture.

  • Last of all, you need to push the plus that's on the remote that sits on your

  • camera so that the high-speed sync will connect with the Baja B4. Let's take a

  • look at our shoot downtown. In Los Angeles, you can get a permit to shoot on

  • the streets. You can't be on private property and you can't block the sidewalks

  • but you can shoot on most all of the sidewalks. It's pretty reasonable.

  • Our camera setting's are 320 ISO, 1500th of a second and F4.5.

  • We're going to make our background blue by simply putting our white balance on

  • tungsten and then putting a full orange on the strobe. So let's get this all together

  • and kind of see what's going to happen here. We're going to shoot a lot of

  • different shots. We got a couple of mirrors we're going to put in place just

  • to see how she looks next to the mirrors. We'll do some without the color crossover

  • and some, most with. I like the look of the color crossover. It looks really nice

  • down here. Let's look at our lighting breakdown. Our key light is a medium,

  • silver line softbox. I's going to give us a really nice highlight on her skin.

  • I'm going to allow the shadow exposure to be bright enough so that it shows blue

  • into the shadows on her face. That's it. One Baja B4, dome light medium softbox

  • and a full CTO. Here are some

  • of the images unretouched. You know it's so nice to be out and not have to worry

  • about power. The battery powered strobes these days are just fabulous.

  • I then put on a 15 to 30 millimeter Tamron lens and shot some more images.

  • I love this wide-angle look. Last of all

  • I added a second Baja B4 as a rim light on the camera right side.

  • And then we took a mirror that we had flipped it upside down, put it up

  • underneath her chin and reflected just a little bit of white light back into her

  • face. Here's a quick lighting buildup. Key light, a rim light just the white backside

  • of the mirror became a reflector card that bounced a little light underneath

  • her chin. Here's some more images with that three light setup.

  • I then took one of the images into Nik Software and I put a bi-color filter on

  • it. So I put a little bit of green in the corner. And that kind of gradates a little

  • more blue up in the upper corner just thought that was interesting.

  • I hope you learned something about high-speed sync today, how we can control

  • the background with the shutter whether that's long or short.

  • So check it out. Use that high-speed sync.

  • Post-note: The reason I like high-speed sync on a mono-block compared to those

  • little tiny flashes is that you got enough power to do something with.

  • I hate those little flashes.

  • Keep those cameras rolling. Keep on clicking and don't forget to buy one of

  • our t-shirts. That we don't have...yet.

  • ♪ [music] ♪

  • Don't estimate a loan. Don't stand out in the cold all by yourself trying to put

  • together an estimate? Go to The SlantedLens.com/estimating. I've got a

  • digital download that will teach you everything you need to know. You don't

  • have to be alone any longer.

  • ♪ [music] ♪

  • Hi, this is Jay P Morgan. I'm a short man on a box with a tall woman. Stay tuned

  • it's going to be exciting. Is that good? Kate? Are you loving it?

Here we go high-speed sync. How to set it up and how to make it work. Beautiful

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高速同步及其工作原理--燈光教程 (High Speed Sync and How it Works - Lighting Tutorial)

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    Chen200035 發佈於 2021 年 01 月 14 日
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