Key Camera Gear Checks all Pros Do
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- Опубликовано: 25 мар 2024
- Get ready for your next photoshoot like a pro with these essential tips! We’ve rounded up everything you should do before a commercial photoshoot, from preparing your wardrobe to skincare and more. Follow these steps to ensure you look and feel your best on camera. Don’t miss out on this behind-the-scenes look at a photoshoot prep!
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Love your content and how you bring it. Learning a lot. Never thought a Nike photo is more then a dude in a garage with a flashlight. ;-)
I did underestimate gravely all that is required for a (high end) product shoot. Very impressive to have the glimps inside and bit of insight you can share with us.
Scott another bit of gold content, I can just show this video to clients now and they can understand the amount of prep that can go into a commercial shoot. If it helps me get any work I will gladly pay you a commission! Off to join your patreon now!
Great video! Chrono sync is good but Carbon Copy Cloner is amazing.
Thank you Scott!! Very helpful
When I first started shooting product on digital, people thought I was crazy for having 3 very large hard drives, one of which was always rotated out to an offsite location. Good post Scott. Yep this is the way the higher end shoots work.
Really digging the grade on these newer videos!
thank you!
Been binging your older videos. Finally catching you live. Thumbs up peeps.
You rock!
Very interesting, before I started watching your videos I really didn't have a clue so much went into it.
I love the drinks holder. In the 1980's, I was in a 1930's band and we had a drummer (who happened to be the Music sub-editor of the local paper) who had a special attachment to his hihat stand (that is the one like a couple of cymbals facing each other horizontally on a floor stand next to the snare drum if you aren't familiar with these things) and that attachment was a cigarette holder and ash tray. Bear Grills - the bloke that does the survival stuff - was on one desert island and had to build a raft to get to a neighbouring island. He was asked why he was building a chair on the raft and his answer - as I recall - was something along the lines of; his old sergeant said that you don't get brownie points for being uncomfortable. That has stayed with me since I heard it. Nice one.
Great video!
Thanks!
Solid.
Can you imagine a days shoot being on one or two sheets of 5x4 transparency. Maybe a couple of unprocessed spares but that was it. I can’t remember a shoot getting lost. I’m thinking there is a degree of paranoia here.
No need for me to imagine - I lived it a few hundred times.
Imagine me as an assistant back in the days loading those 4x5 sheets in the darkroom for a 6 figure shoot 😬. But I like the digital set up explained here a lot.
Ohh yeah, thats how it was shooting cars. Running a dark slide down to the lab for a quick 90 mim process before we broke set for the next shot.
@@mattharvey2327 yep I’ve lost count the number of times I rushed to the lab with a sheet of film, off loaded into an old film box to get a rush process. Now it’s a quick look on the monitor. Kids today don’t know how simple life is!!!
good evening your videos are really helpful keep it up so i can ask you a question what mount is used computer monitor mount
Hey Scott,
great process but curious about the pocket wizards. Personally I haven't used them for years and find the the Bron triggers super reliable.
Why are you using the PW? Also just have to say I love your no BS no fluff presentation of a real shooter.who knows their craft
I use them because they are universal and every shoot I get handed a diff trigger from a diff brand and it’s just one more thing to learn on the day
I love your camera setup so much! Honest question, 'cause I am curious: Could you do what you do also with the 110mm Fuji Tilt Shift lens? This seems like a dream lens for product photography. Or is the bellow setup still better? Thanks!
The bellows set up is considerably better if not needing to do stuff hand held or fast. If you want perfect - bellows, If you want easy - tilt shift (y)
Absolutely bonkers how much stuff and procedures are needed to end up with a photo!
When he said minimum equipment 😂 that's more than what i can ever buy in my lifetime
You would be amazed. I started out skint with a camera I borrowed, It obviously took years, but a decade in I had loads of gear without every financially pushing it. It all kinda snowballs. Then you have the mess I have haha
So many people for a photo! This is wild! I love it!
Takes a big team to produce super high end work
@@TinHouseStudioUK it's a chicken and egg situation - to get high end jobs, you need to make high end work. What if I can't afford/get a big team together and want to get high end work? What I've been doing now is doing everything myself, my output is just much slower than ideal
"unless your shooting Hasselblad..." I still don't get why they refuse compatibility with Capture One... You are so organized. I'm a bit of a mess compared to you but redundant backup of course. What I sometimes do is at the end of the shoot just hand off a copy of the job/HD in its totality to the creative director. One, it creates another system in case of some catastrophic file loss but also the client feels somehow reassured that the have the job in their hands. Usually done with the proviso that the cleaned-up, retouched files will be delivered as per schedule.
How would a client sign off for the images work, when the photographer still shoots Film? Do they do that onset with polas or afterwards, when the images are developed?
Polaroids and also shoot in the morning and get the transparencies over lunch. Shot lists are shorter back then, but you had to get it perfect in camera
Using 2-4 strobes and working handheld with a tethered camera, my biggest distraction is watch out for creative team members tripping over cables. Any advice?
we usually tape them down once in place and have an assistant hold my tether cable if im walking about with a camera
In 15 years of shooting, I've had one local hard drive failure and three NAS drive failures. I also have a colleague who had their shoot laptop stolen after a shoot and another who's client (at least, their assistant producer) pocketed the #1 backup SSD without asking!
Anyone who fails to have a rigorous and fail-safe backup process is setting themselves up for a very expensive disaster.
About stolen after a shoot, never happened to me, but it's good to take the time to back up on a card and hide it in a sock or somewhere else when you leave the location or travel back home. When clients let me access their network, or I can connect somewhere, I also use a vpn to upload to dropbox while on location.
Where is the best place to look for a good agent?
The sync software you use I believe is for Mac only? Do you know of a windows version?
I don't think there is one unfortunately.
There are many paying and free options for Windows as well. There are also opensource solutions, like FreeFileSync, works great, easy to use, and free. FreeFileSync is very well maintained and available for Mac, Windows and Linux.
@@TinHouseStudioUKa mac mini is good enough? I would’ve assumed you needed something more powerful. I was looking at getting the base mini for some photo editing as an amateur.
@@Black_Jesus3005Mac mini is totally fine
How do you think AI will affect your workflow and do you already use it? Not so much making the actual images, but things like managing backup and storage?
I’ll add this to the next Q&A
What role does your agent play on the day? And what does a producer do on a shoot like this?
Are you planning on tripping on the tether cable?
Every single shoot haha
It would be great to see you do a shoot with what was available in a 1970s studio.
I can prob do a 1980s studio, think I have everything for that
@@TinHouseStudioUK so here’s the challenge. Do a 1980s shoot. You don’t have to use film and Polaroid but you do have to use digital in the same way we used film back then. So budget for a set amount of film and Polaroids for the shoot. Say 4 sheets of 5x4 per set up and 3 or four Polaroids. Exposure should be set initially by a light meter. Focusing, composition etc with the camera. No tethered shooting. Limit yourself to an assistant and a stylist. See how that goes.
@@motorvelo And the live view image should be upside-down to mimick the ground glass view. A bit dim too, if possible.
@@motorvelo I get a kick out of all the backups we have available now. I like your idea of a 1980's style shoot. My usual from the 1970's until 2000's would have been 6 sheets of chrome, 2 by the meter, checked with a Polaroid, then 2 over and 2 under brackets, plus a negative for prints. 3-4 Polaroids would usually do it. Then wait to see if the processor worked right! SO I guess you would have to wait an hour from shooting until you could load the images on the computer to simulate that anticipation/anxiety! I remember loading film in hotel bathrooms with a towel stuck under the door "just in case" and hoping the security scanners at the airport didn't fog the film.
@@1reeves when shooting transparency I hardly ever bracketed. The trick was shoot an extra couple of sheets or roll of film that could be put through the lab and then adjust the process to push or pull the exposure. When you worked closely with a lab they could even adjust the colour balance by about 5cc. You had to pay an additional cost though. We used Polaroids too. Type 54 B&W neg was a favourite as you could check critical focus using the neg on a light box.
Well, safety of data is tremendous ... but you are the weakest point : taking all the drives and laptop back to home with you is the most dansgerous moment when you could loose averything at once (what could happen on a road ... ) .So consider having a second person transporting the second flash drive ...