Hey this is Daniel Norton, I'm here in my studio in New York City and today we're gonna do something a little bit different… Normally I show you kind of photo shoots and stuff, but today we had shot the video for the B10 plus the new Profoto B10 plus, if you guys haven't seen that check it out, and they needed a few more kind of beauty shots of the light, so instead of doing that on location stuff the day of… it's simpler just to do it here in the studio. So I thought I'd show you that's how we do that because it's kind of interesting, and lighting is lighting whether you're doing it for video or stills. Some of the stuff will change slightly, and we'll talk about that, but in general it's gonna be good so this is the B10 plus, if you guys haven't seen it. It's a little flash you know strobe light. Basically it's black and kind of going along with that aesthetic that you see a lot now, the kind of these like black on black looks. What I did was, I got a piece of Duvetyne, and I'm just basically hanging it here. Now I'm gonna use daylight balance lights for this, and they have to be constant lights, because I'm shooting video, right? I use a lot of tungsten lights, you guys I've seen that before but it's the morning, and I need to do it today so I can't wait til it's evening in here to block out all the daylight, and also it's gonna help me a little bit to give me a little fill, I don't have to light like the ground and stuff, so I'm gonna work with the daylight a little bit, but I want to shape it the way I want it. So if you didn't, if you were shooting at night, what I would do is I'd bounce like another day light balance light off I have a wall over here, that, if you guys are watching the videos you probably know there's a wall over there, but for this purposes I won't need to. So here's the light, I've got the HMI it's in basically, it's a 200 watt HMI, which is a daylight balanced hot light. It's in a one-foot square softbox with a grid on it, the grid so I can keep as much light as possible off the Duvetyne , Duveytne is pretty good it'll kind of, for kind of absorbing light, but still you want to try to control your lighting as much as you can. So we're gonna do that, I am using a softbox, because if I just took the light and pointed it right at it even though I could use barn doors to control the spill, I would have a hot spot. It wouldn't be as even, even with the the wide spread, because this light is shiny, you know it's black, but it's not matte black… it's got like a little sheen to it, so I want a diffuse light source, and that's one reason why I'm using a softbox, we talked about this is a few other videos where I talk about you don't just use a softbox because it's soft, you use it because it makes it diffused… So we want a diffused light source, so that's what we're gonna get here, and who's got anyway, so basically I'm just gonna move it in.. Already have it on you, got to kind of warm it up HMI's so I started it before we started, and I'm gonna move it in till I get like right across the top of the light where I want it, just like that, and we can move it you know no you know because what I'm doing is I have all this light from the window that's coming this way, giving it some light, but there's nothing really on top, so that's really what I'm doing right now. I'm trying to get light on top, so you guys can see that we're gonna kind of move it in to where we like it, you know, and again I'm working with the daylight. If you're working with the daylight, you need some fill, because otherwise this is probably too contrasting. So let's see what we're getting so far, okay it looks pretty good… I'm actually gonna I'll zoom in with this camera, cuz we plan on doing that, and we can see the manual focus here, we can see that, with focus peaking on and everything, they'll be able to focus nice and crispy on there. That looks pretty good, I'm gonna do a, it's always a good idea to kind of do a normally like if it Tungsten Lights you just turn them on and off, with a HMI you really can't be turning it on and off, just the way they are, so I just want to compare it yeah, so, I mean well I can see the light there. It doesn't have that three dimensionality that I want, so that back, that was a good spot for it right there. Okay, that in and of itself is not terrible you know, because like I say there's light bouncing around the space and the actual Profoto logo is pretty shiny, so you can actually see it, but we like to go the next step further, and do something a little nicer obviously. So I've got this guy here, this is the Dedo light DLED 7 which is an LED light it is bicolor, though we're not going to need to use that function right now. I want to use this one because it's got a lot more dimming range this is why I'm using this here, and that there. What I have on the front of it… looks monstrous I know, is a projection attachment, or an imager with with framing shutters. So what that's going to allow me to do is, when I take this light and I move it in, I'm going to fire it up whenever I'm doing this. I always turn the dimmer all the way up, so I go as bright as possible, so I can see what I'm doing. I'm gonna set it to 250 500 Kelvin, which is daylight, t's already there, and I'm gonna open up my shutters and you guys can see you know, see the light. Right? I'm shining it here it's basically creating a circle of light. we can zoom it you know, to make it wider or tighter, so then that's fine, but what we really want to do, and that lights up the whole front of it, which you know is okay, but what I want to do is just light up, it's a Profoto it's a B10 plus, and it's… and it has the little markings where you set the head, so I think for me that's the important part. So what I'm gonna do is take my framing shutters and I'm actually gonna move them in like so … to create, basically you can actually, I can make them totally square, but I actually kind of like making it a little bit off. So it feels like I'm a little more natural, but you know it kind of comes down to taste, and that, that's why, I'm gonna be at kind of at the edges too. The other thing you can do here is, you can focus and defocus it, so I'm gonna you know, if I focus it, you'll really see the, the sharpness of it, but I'm gonna do focus it a lot, so it's, it you know, I want a more subtle you want it there, but we want it to be less obvious… this is kind of the control of this right? So that looks pretty good as far as positioning. I'm going to look through my camera, and I'm just gonna dial it down to where I want it you know? And this comes down to personal choice, because clearly you could already see the Profoto. So I don't need the light here, just to see it. I just wanted to have a little flavor, so right there looks pretty good to me. Take a peek through the camera, okay? Focus a little bit here and we're good to go… so now this will be not the easiest thing in the world to show now what we do, but if you've seen these kind of things, what we're gonna do now is we're going to shoot a variety of shots up on a tripod. I couldn't shoot a still picture if I was gonna do that, you can do a lot of different things, some things I like to do is like turn lights on and off, so we could try that, so we're already recording, so I could make a scene where it's like there's no light on the Profoto and then… oh there's a light on the Profoto, right? We could do that, we could do the same thing by dimming it up and down, we could turn the light, that's sometimes a fun thing to do.. so I could do let me turn it on, so let's say I'll turn the modeling light, and I'm actually gonna set this modeling light to be daylight, so it matches you know I'll turn it up, I'll crank it and then I'll swing it towards my camera like this, right, that might be a fun shot, you know that might be a cool opening, or a way to cuz I'm shaking it… so when you're doing this you wanna be as steady as possible like that, right? Nice and simple, we also can show the menus in the back, if we want, you know in this case because I'm now lighting the Duvetyne, what I would do is I'll go in, I'll just turn this light, I'll leave it at daylight but I'll turn it down all the way, so it's doing a minimal amount of lighting. If I want to leave it on at all, and you guys can see there, and this is a zoom lens, so I could easily zoom in if I want, so I could take a look at the menu system… it's still in focus, you know here.. you know this lights now hitting the side which isn't really where I want it, so you can either take it out, or we could adjust it to see the buttons, or we could adjust it to see the Profoto down there. You got a lot of options, I'm just shooting the back of it. I might do something like that, but if I'm gonna put my hands in there, I'll end up lighting my hands. I don't really, don't wanna do that.. So for this I wouldn't, I would just either not have it in there at all or I'd maybe come from the side, but you can kind of mess around, you guys will see in the video… depending how much of it they use. I did a bunch different things, I handheld the camera to get some of the shake. I did some movements with it I spun the light I went up and down different angles, because now that it's here I can basically do whatever I want. You can really mix it up. you know I can do a lot of different things here, and this is a pretty good you know lighting scenario. It basically puts me in a position where I can do a lot of different things pretty quickly, and I can change it up pretty dramatically, and again I'm thinking about my product. I'm thinking about shape, I'm thinking about form, and this is kind of what I'm doing now, again you can do a lot of product photography with one light. You can do photography with ten lights, there is a lot of different things you can do. You got to really think about what you're doing with it. In this case, because it's video, see I've actually set this up, and I can do the video, and I want it to feel like video, so I'm gonna probably do some camera movements you know.. hold even… be holding the camera… well these cameras are really well stabilized, so you know a little bit of shaking it will let you realize it's a video… but I'm on a tripod I can easily shoot a still, so that's also tremendously useful for me. It gives me the position to do both things, this is what I'll say about this sometimes people will say things like you got a 4k camera can just pull a still but in these situations if I wanted stills of this, I would not do that, I would just take a still, it doesn't take any extra time really. I'm already there, makes more sense for me to do the still as an actual still. It'll be a bigger file and it'll sure as heck be sharper.. because you're not moving around. So that's a little bit of a kind of insight and kind of behind the scenes look for you guys of how we produce this video, and how we kind of add things in. If this is the kind of thing hat interests you then let me know, because we could also maybe, we could take another shooter on… let's say some of the more elaborate shoots, and kind of shoot that behind the scenes, if that's something that is interest to you of how we make the videos, if not, you just want to see more of the stuff, photography stuff that I usually do, you'll definitely be getting plenty of that. So thanks for watching guys, be sure to subscribe to Adorama TV. Follow me Daniel Norton Photographer and I'll see you next time OnSet.