Take a light, a reflector, and let's shoot on location.
Alice in Madness Returns Alice
CN：kotanimomo
Canon EOS 5D Mark II., Lens Canon EF 35mm f/1.4L USM, Focal Length 35mm, Aperture F/4.5, Shutter Speed: 1/100s, ISO100, Color Temperature 5500K, Beijing
It was a race against time, and it always felt like the sunset in the north was setting very fast. This picture is filmed at a time when the sunset is just below the horizon, the sunlight is just unable to hit the character directly, and there is no lack of soft ambient light around the moment. That's exactly what we wanted. The direct sunlight makes the entire background or part of the character overexposed, which is a little headache, and at this moment, it is just right to use a single lamp. Add the light to the soft light mask and fill the light from the front right side of the character. Of course, the amount of light should be far enough, so that the light is soft, can not leave too heavy shadows, the sunset does not completely fall The advantage is that there is still a part of the ambient light, the right amount of exposure will keep the environment sufficient brightness, the character in the background will not be too abrupt. This time period is a shooting time that I particularly like, no high-speed flash can also make the ambient light slightly dimmer than the character, any cheap flash can do this job, of course, LED lights can not do what we do, only flash. If the LED light is used, then its constant light state will be exposed together with the ambient light, we can't control the right ambient light and the brightness and dark ratio of the constant light, well, maybe the light is close to the character, maybe it can be, but not necessarily the effect we want, prefer the controllability of the flash. Ambient light is also a very important light source, in the subsequent illustration, ambient light will always exist as a very important light source.
The Bugger
CN: Black Instrument
Canon EOS 5D Mark II., Lens Canon EF 35mm f/1.4L USM, Focal Length 35mm, Aperture F/1.8, Shutter Speed 1/40s, ISO125, Color Temperature 4800K, Chongqing
I thought for a long time to shoot insects in this forest. It had just rained on the mountain, and it was foggy, just the atmosphere we wanted. The next question is, how do you create an atmospheric effect in the insect master's world in the forest?
In the original work, light wine has always been a scene that I want to shoot, first of all, I have to properly separate the characters from the hazy background, and I can't completely get out of the background, here I need a light to achieve. It was the right thing to do to put a flash with yellow patches and a softbox into a misty bamboo forest and treat it as a light wine for Silver Valley. When shooting, I adjusted the color temperature of the camera slightly lower, coupled with the bamboo forest in the fog after the rain, so that the whole environment showed a slightly cold tone, and the light wine that did not appear in the picture illuminated a small part of the scene and the Silver Valley, and the yellow warm light and the cold background matched with each other, which just constituted the picture of the Silver Valley pursuing the light wine. Here we noticed several problems, the hue of the light wine, the contrast between the ambient light color temperature setting and the color of the color patch, the appropriate environmental exposure, so that the characters and lighting parts are not too out of the overall background.
CN: Chestnuts
Canon EOS 5D Mark II., Lens Canon EF35mm f/1.4L USM, Focal Length 35mm, Aperture F/1.6, Shutter Speed 1/160s, ISO100, Color Temperature 7900K, Shanghai
When I shoot COSPLAY works, I use orange light as a sunset too many times, which has a lot to do with the environment I often shoot. In the inland and smog southwest, except in summer, the sun rarely shines directly on the earth, until I found this practice, which is like a life-saving straw, allowing me to have the afterglow of the sunset at any time of the day.
It was a group shoot where we designed a plot of a squad member going into the woods. Unfortunately, the weather in Shanghai was gloomy that day, and we didn't want to make an ordinary documentary, so we used flash as a common method of background lighting. I don't often use this method in multiplayer shoots, which is another valuable experience. For the first two years, I favored old film effects with a film texture, with a color temperature of often above 6,000K and then adjusted to the lowest saturation. It's a photo of an untouched, slightly trimmed COSER face, because I like to see the effect on the camera screen after I've finished shooting it. As in our previous experiment, the reflector played a good role in filling the light, and we found a light source on the face of COSER, which is equivalent to another light source that fills the light, and it still has its own soft light effect, so is this a lamp or two lights? Without dwelling on some details, the problems that can be solved by one lamp and one board are beyond our imagination.
<h1 class= "pgc-h-arrow-right" > two lights to change the world as seen</h1>
If one lamp can add a little life to the scene we see, set off a little atmosphere, then the two lights can do more than we think, it can almost change the world in front of us. No matter how many locations I shoot, I'm often excited when I play back photos on the camera screen, which is not what I've seen with the naked eye before. Such surprises have kept me engaged in exploring what two lights can do.
《Sorry》 Konoe
CN: Non-verbal
Canon EOS 5D Mark II., Lens Canon EF85mm f/1.2L USM, Focal Length 85mm, Aperture F/ 1.6, Shutter Speed 1/160s, ISO100, Color Temperature 5600K, Chongqing
It's not a good idea to shoot Lanterno in a cloudy and gray grove, but we've decided to put 1 or 2 lights in the grove.
In the CG diagram referenced in advance, Lamento's world is a fascinating forest world. When lighting, arrange a lamp to be placed behind the left side of the COSER, plus a yellow color patch. I usually call this the practice of coloring the background, as if the painter were opening the color layers and masks in Photoshop. When the background color is too different from what we expected, using the color patch and the light, adjusting the appropriate distance, we can swing the brush on the canvas at will, so that the picture is moving closer to the direction we want. While testing the light, first adjust the output size of the light and the proportion of the ambient light. Flash 1's role is not to make the grove look gray and dark, and we want the warm golden effect of The World of Lamento. Of course, it needs to have a part of the "afterglow" sprinkled on Konoe's body, making people not look like they are on the post-PS. When we did this, we found that the face still couldn't light up because of the slightly longer exposure time, and left an ugly shadow on the face because of the artificial side backlighting, hoping that the character would be more prominent, so I placed a flash with a soft light cover in front of the left side of the konoe (also my left front) so that the shadow of the character's face was not too dark. Flash 2 must be less luminous than Flash 1, otherwise the light on the face will be chaotic without priority. At the same time of shooting, borrowing a part of the taller foliage as the foreground, plus the shallow depth of field, it became the effect seen now. The yellow color sheet used here has a slightly different effect from the previous orange color sheet as a sunset, and when used at the right time, it will even make the picture become fairy tale dreamy. Yellow plus the original green color of the plant is also a suitable color.
"Strange Cat" sells medicine men
Canon EOS 5D Mark II., Lens Canon EF35mm f/1.4L USM, Focal Length 85mm, Aperture F/ 1.8, Shutter Speed 1/60s, ISO100, Color Temperature 5800K, Chongqing
The work "Strange Cat" is actually more suitable for the interior scene, and when there is no suitable interior location, we plan to use autumn leaves as the keynote of this shooting. In gray weather, the autumn leaves seem to be less noticeable. When lighting, put a lamp with orange color patches on the right side of the medicine man and go up, and strengthen the presence of the red maple leaf, and the color of the whole picture will be more conspicuous. Of course, the character side also needs to fill the light, properly adjust the output of the flash, and our ambient light is almost the same, so that the shadow part will not be too dark.
NANA, Shinichi Kazaki
Canon EOS 5D Mark II., Lens Canon85mm f/1.8 USM, Focal Length 85mm, Aperture F/ 4.0, Shutter Speed 1/40s, ISO250, Color Temperature 5800K, Chongqing
This shot of Shinichi Okazaki on the street was a small experiment in the early days of trying to shoot stage effects at night. The shooting time was about 10:30 p.m., we were on the streets of downtown, there were still many people, and too much lighting was very inconvenient. This time, instead of using two flashes, the characters are illuminated in the form of LED lights, simulating the way the lights in front of the stage are illuminated, and it is easy to move. Put a larger flash in the back, due to the limitations of the equipment, can not shoot the effect of background space, but also to imitate the stage lighting appropriately, so the use of backlight shooting method, leaking a part of the backlight, coupled with a longer exposure, so that the street lights behind the light up, increase some stage rock electronic sense. If it were possible, I would have wanted to put 3 to 5 lights on the back. If you only have two lights in your hand, this may be a good tactic.
< h1 class= "pgc-h-arrow-right" > three or more lamps</h1>
Since one lamp and two lights can shoot under so many conditions, more than three lights are the best conditions for us.
《Fate/stay Night》Saber
Canon EOS 5D Mark II., Lens Canon EF17-40mm f/4L USM, Focal Length 25mm, Aperture F/13, Shutter Speed 1/160s, ISO200, Color Temperature 5800K, Chongqing
It was a shot of a whim. Inspired by so much, I wanted to photograph a scene of King Arthur nearing the end of the Battle of Kamran. Beforehand, I prepared a pile of discarded armor to make it feel like I was devastated at the end of the war. But the armor we can arrange is too limited, fortunately there are not many pictures we want, change our shooting angle, shoot in a low camera position, let the armor fill the lower part of the picture, so that the armor looks rich. According to common sense, we arranged to shoot at 5 o'clock in the afternoon, and two lights were enough. When shooting, Flash 3 and Flash 1 serve as fill light for the character respectively, which can basically meet the shooting requirements, but always have shortcomings. Later, I found that in order to highlight the "more" of the armor, COSER was slightly farther away from the armor, and the light could not hit the foreground of the armor, which lacked texture, so I added a yellow color flake flash 2 to the side of the armor, which looked much better. Make full use of the flash method of which to hit, the effect is not bad. When shooting, pay special attention to the light of Flash 2 is weaker than 1, and the power of Flash 3 is the largest as the main light, and it is necessary to slowly adjust the light to a satisfactory degree. In order to achieve the effect of using flash to darken the sky, a small aperture and a high-power main light are used.
Hunter × Hunter leader Kurolo
CN: AIKO Lan
Canon 5D MARK II., Lens Canon EF17-40mm f/4L USM, Focal Length 17mm, Aperture F/4, Shutter Speed 1/15s, ISO400, Color Temperature 6000K, Chongqing
I have shared this picture on Weibo before, as a typical red and blue light must be talked about. However, blue and magenta lights are used here. In order to avoid the situation that the night scene is dark and the space is taken, we will try to choose a place with a background for shooting, and the light will illuminate the characters and backgrounds in front of us. This time, Kurolo was placed in a corner of an abandoned factory with a wall on the right side of the steel frame behind it, so that we could use the light to illuminate the background. The main light illuminates the character's side face and floor, so that one part of the character and the background has a uniform light, and the other part of the character is filled with magenta fill light. We will see the outline of the character's left face in the photo, and the part of the ground and the flying pieces of paper have a uniform light of magenta. Let Kurolo sit on the stone, this is to avoid such lighting to separate the character and the background, the blue light of the background lights light up the steel frame and the wall next to it, the whole picture sense is there, the cold and warm tones are not lacking, and the flying pieces of paper also add a lot of color to the picture.
"Kyosuke Hyogo", Major
CN: Hugh
Canon EOS 5D Mark II., Lens Canon EF100mm f/2.8 Macro USM, Focal Length 100mm, Aperture F/2.8, Shutter Speed: 1/8s, ISO1000, Color Temperature 5100K, Chongqing
This figure is purely accidental. In the summer weather, when we arrived at the shooting location, on the roof of a certain building, the bean-sized raindrops had fallen from the sky. I wanted to wait for the rain to stop, but then I had a whim and wanted to try the real rain scene. So I communicated with Xiu xiu in advance, and the price was to risk catching a cold and getting wet. This time, in order to highlight the rain scene, a purple flash was placed on the back of the old man's back1. Why purple? Here is a reference to the plot of the old man's ability to activate. Add a blue patch of flash 3 to the rear of the right as an ambient fill light and tone, and it is not impossible to treat it as a night color at night. A magenta similar to purple is chosen in the front left as a fill light for the shadow on the character's face, and flash 4 on the rear right illuminates the character's outline. The rain was heavy enough, the purple backlight hit the raindrops, the front and back scenes were clear, and the foreground of splashing water on the ground was also very colorful. Here I would like to give a suggestion to COSER who likes rain scenes, even if it is artificial rain, it must have a raindrop effect before and after the character to be real enough.
Final Fantasy X.-2 by Payne
CN：7SHUN
Canon EOS 5D Mark II., Lens Canon EF100mm f/2.8 Macro USM, Focal Length 100mm, Aperture F/2.8, Shutter Speed 1/80s, ISO1000, Color Temperature 5300K, Chongqing
I often go to the waste factory, most of the outside shooting COSPLAY should be very fond of this kind of steel frame and rocks, the background color is more uniform place to shoot the location. The reason I like it is that every little detail has something to photograph and ponder, the structure is complex and challenging, and it is not easy to take a good picture. This shoot refers to a CG image of the original game, and I want to make a movie-like texture. When shooting, find a high platform to put on the light stand, put the flash 3 on the blue color sheet from top to bottom to illuminate most of the environment where Payne is located, the higher the light, the farther away, the better the effect at sufficient brightness. This is learned from the film's cloth optics, which is the common lighting method used in most movie night scenes, and readers who love to watch movies can come to this conclusion with a little observation. Flash 1 on the right is for the place where the flash 3 behind can't shine, acting as a supplementary light to the environment, which is also a remedy that does not let the background be empty and dark, and the background can be lit with a lamp. With ambient light, there is also a fill light, and here a warm red light is used in the left rear, which can be imagined as the flame black magic on the battlefield. After arranging these 3 lights, it seems that everything in the scene is illuminated, but the front of Payne is still black, and there are only 3 lights at the time, so I find an LED light while focusing and filling the light, so it looks very safe. In this fill light, the light is not directly hit on the face of the character, because the character and the scene fusion are kept uniform, which is more in line with the CG screenshot effect in the game.
Fate/EXTRA Nero
Canon EOS 5D Mark II., Lens Canon EF16-35mm f/2.8L USM, Focal Length 16mm, Aperture F/2.8, Shutter Speed 2.5s, ISO500, Color Temperature 5500K, Chongqing
I used 5 lights to finish the shoot. This time I had two friends who were my photography assistants, one in charge of smoke and one in charge of petals. Why didn't the photography assistant mention the previous shoot? If you have enough light stands, the photography assistant is not necessary, but the trouble is that you must move the light stand yourself to adjust the position and intensity of the light when shooting. We took Chongqing's famous location for shooting castle themes as a shooting location. Of course, not every location is exactly the same as we imagined, and it will have more or less shortcomings, leaving us unable to start in the later stages. As a photographer who wants to do most of the work in the early stages, it is the most important thing to spend more time on the early stages. We have to face the dark sky, and as a distant castle of the golden theater, the upper part meets the requirements, but the lower part, in addition to the small European Roman columns, the structure inside is a small square door of the clear water room, so the smoke plays a crucial role. It can both block the bug behind Nero and give the bare flash an effect of adding a natural diffuser.
First of all, I put a slightly more powerful flash 3 plus a yellow color patch on the platform on the 2nd floor as usual, as usual as the basis for lighting up the whole scene, flash 2 and blue color sheet are also common configurations for night scenes, but here only play a role in adjusting the balance between cold and warm in the picture. Flash 5 serves as a fill light for the character's shadows, using warm shades of orange that are uniform on and off the environment. With 3 lights, the picture is already bright and rich, and then add a homemade beam light tube to Flash 1 to emphasize the protagonist in the picture. As for why the flash with the same ambient color was added at the end, it was because the downstairs door opening could not receive any light in the scene, which became a dead end in the entire lighting, and after that, the texture of the small Roman column behind it was also highlighted. Combined with the scattered rose petals, such a golden theater looks very dreamy, full of European fairy tale style.
Friendly reminder
Beam light tubes (commonly known as pig's mouth) constrain the illumination range of light in a cone shape to better capture the shape and contour of objects, and a small hive grid can be applied to make the light mesh and produce heavier shadows, which is convenient for shaping special shapes. It is mostly used to play the background, beat the lamp and other parts that need to concentrate the light point. The homemade beam tube practice can be searched for the Internet.
finish
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