HDR Light Studio is designed for professional 3D artists looking for a fast, efficient, accurate, controllable, and creative approach to lighting CG shots. A dedicated lighting application connected via Cinema 4D plugin, as well as a chosen renderer, HDR Light Studio includes a wide range of presets for lighting content.
The new Reflection Filter offers creative possibilities for the lighting process. Now you can easily create symmetrical lighting designs around an axis on the HDRI. The filter is ideal for speeding up studio lighting for product and packaging shots.
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Adopting the True-Tone SMD's specially developed for photo and video applications, the CineLED Studio panels outperform many of it's competitors by reaching high scores for color fidelity (CRI 98+ / TLCI 99; TM-30 Rf 97 & Rg 101) which ensure rendering color on cameras with high accuracy demanded by professionals.
Having a robust, full aluminum structure, the panel can withstand intensive, daily use on busy sets. The solid housing has a functional design with built-in back handles and bottom legs to easily manipulate, mount and store the panel.
The CineLED S-300 can be ordered with a built-in wireless DMX receiver module to enable wireless communication between a DMX lighting console and the LED panel. A wireless DMX sender it is required to be added in the DMX network. The DMX sender and can be ordered from accessory page.
Additionally the CineLED Studio line incorporates the 2.4GHz radio technology, enabling remote operation of the fixture. The included wireless remote is effective from a distance up to 50 meters away from the panel. Up to 99 panels can be controlled individually or simultaneously by using a single wireless remote, without the need to manually reach every panel, saving considerable time and effort.
The back panel digital display shows useful information like brightness, color temperature and the DMX channel number the panel is set on. Having this information easily accessible for the user comes in handy especially when multiple LED panels need to match in the same scene. Three large selector knobs can be easily handled (even with gloves on) to fine tune the desired values.
The optional softbox with silver interior can be used to intensify the panel's output. By adding the front diffusion on the softbox, the panel becomes a broader soft light source. The honeycomb front layer can be used to narrow down the beam angle and reduce the spill.
The CineLED studio 300W can be feeded directly from an AC 100-240V power outlet or by two optional V-Mount batteries hooked on the V-Lock mounts from the back of the panel. Additionally, a 26V XLR-3P port is available for external DC powering.
Studio portraits with natural light can be cool too. I don't mean to say that I never shoot natural light in studio, I'm just more often frustrated by the lack of ability to control the light and often find the intense highlights reflected off seamless paper backdrops to be distracting. You need such large and tall windows in a studio for natural light to be flattering and soft, that it often is easier to just master strobe lighting.
The other downside is you lose all ability to creatively isolate your subject from the backdrop with natural light. This means any imperfections in your backdrop will be visible and with seamless paper that isn't fresh out of the box, this means lots of photoshop work.
Ignore the dog butt. The large modified on the right edge is my key light and the tall, smaller modifier is my fill light. It's positioned just high enough to avoid a second catch light in my subject's eyes. I find 2 catch lights to be really distracting and unnatural in portraiture.
I tend to create a Rembrandt or loop lighting pattern with the key light, meaning the light is angled down and to the side such that the shadow of the nose is either connected to the shadow of the cheek or there is a small gap between.
I do shoot with other film cameras in studio, some with strobes and some without, but for studio protraiture on film with strobes, this is my go to kit. The 140mm F4 macro lens allows me to shoot a tighter crop which is flattering for portraits and let's me use more narrow seamless paper backdrops.
If you are inspired by what you read, I'd love to invite you to reach out about the photography services I offer. My guarantee is that you won't find a photographer that cares more about you and your story than I. I'm endlessly passionate about telling stories on film and pushing the boundaries of art in editorial, lifestyle and portrait photography. I operate a photography studio in Charleston SC and Traverse City Michigan. I'd be thrilled to work for you and document your story, wedding or business in Charleston South Carolina, Northern Michigan, or any destination abroad. LGBTQ supporter and firm believer in the cause for all races to fight for equal rights.
One of the most important points in the development have been the models. The avatars look extremely real and harmonize perfectly with the new light calculation. Hait, make-up and clothing is changeable.
I cannot recommend Set.a.Light enough for photographers of all skill levels. Whether trying out new lighting techniques or perfecting your existing skills, this program is essential for sharpening your skills.
Not only is Set.a.Light perfect for storyboarding and visualizing your lighting setups, but it also takes the guesswork out of lighting for clients. Simulating various lighting scenarios allows me to show my clients exactly what to expect on the day of the shoot. This gives me 100% confidence when showing up on set, knowing I can deliver the lighting setups I promised.
For the planning of a filmproduction and the setdesign of each scene, lighting is of central importance. So that the lighting settings and the lighting design can be adopted directly on the film set, we have also extended our unique real light simulation for the continuous lights and practicals. We have researched for a long time to make this possible! We worked with cinematographers and Gaffer to find the best solutions.
Several changes can be made directly at the flash inside the studio now. Just one click away, in the revised settings panel, you can change the light shaper, add a honeycomb grid or swap a flash head. With this small but powerful feature we can further optimize your workflow.
The Film Shooters Collective is an international group of photographers united by a love for film photography and cameras. All FSC photographers use 35mm, 120 medium format, and large format film and cameras for the works featured on this site.
Studio lighting has been popular since the dawn of photography. North facing windows, flash powder, incandescent lamps, and most recently, electronic flash photography. People have been very successful with these techniques over the years and you can be too.
Older technologies had additional features to make up for their limitations. Many of these have sadly evolved out of cameras as they have been replaced with newer technologies. Large focus screens with split-prism finders have disappeared with the advent of auto focus. Depth of field scales have disappeared with the introduction of zoom lenses. Modeling lamps are on the decline due to the proliferation of small speedlight flashes. A modeling lamp is a low power lamp inside a studio strobe flash head. Its purpose is not to add exposure, but to help the photographer visualize what the light is doing. These lamps help to show where the light is falling but not necessarily the power level of the light, depending on the model. When you use more than one of them together, keep this in mind. In summary, to help with visualization, it is best to choose a technology that allows you to preview the image in real life as a film photographer of the past would have. Speedlights are becoming an increasingly popular tool for studio lighting, however their lack of a true modeling lamp is a large handicap to the film photographer.
Color is another aspect that was dealt with differently on film. Your studio light may come from a window, a tungsten lamp, a fluorescent lamp, studio strobes, etc. There are many tools to help deal with the different color temperature of these different light sources. Most film is daylight balanced. It was designed to work with the sun or daylight balanced studio lighting. Tungsten film is also available and has been designed to work with the orange light of incandescent lamps. Assuming one wants to work with daylight balanced color film, there are a few different options available to match the lighting color temperature to your film color temperature. One can use color correction filters attached to the camera lens that shift the color of the light striking the film. Be careful to apply the correct increase in exposure to make up for the light absorbed by the filter you are using. Another option is to put a color correction gel over the light source. The final option, available to the modern film photographer, is to correct the color in post-production. This option is also available in a color negative enlarger head. If you plan to correct color in post, it is strongly advised to take a photo of a white balance card under your lighting conditions on the same roll of film as the rest of your shoot. Cards with black, grey, and white are more powerful tools for color correction than a simple grey white balance card. Further details on color correction filters and post processing are beyond the scope of this article.
Double check your settings! You don't want to find out when it is too late that you had the wrong ISO dialed into your light meter or the wrong shutter speed or aperture dialed into your camera. If you have a rangefinder or TLR, take the lens cap off! 152ee80cbc