What I like about Karl, is that unlike most YTubers he actually backs up his talk with real work! Running my business is hard enough, doing that plus making RUclips videos is a hell of a lot of work. Respect!
As a self taught photographer i can fine tune my knowledge of lighting through your work.Thank U so much for this amazing video for lighting car and showing each light effect.I had been waiting this kind of video.Thank U
Outstanding work Karl! From Latin America. Keep on the creative track, it's the best road of success in photography. I've been working in photography for just one year, but the reward of discipline and effort comes without a doubt, when you're committed in always giving your best. Thank you for such a wonderful inspiration.
Super useful thank you. We have to build a similar light ceiling for our large studio at our museum - this will be super useful to show our colleagues who will be helping us build it.
Karl, well done, as usual. What I get from your videos is a good dose of motivation. If I'm going to get the best from my business, I need to "up my game." Thanks for all that you do. Your studio is killer! Tim
Well done Karl Ben and the rest of the crew no-one see, s always high quality images and work, you make the hard work look so easy you nailed it guys, as always well done 👍🏻
Hi Karl, thank you for creating and sharing such an informational video!! I'm working on building a small automotive-specific studio for one of my clients (a vintage car dealer). I need a hybrid photo & video setup, and was thinking of doing a panel similar to yours, with the lighting solution being 6-8 COB LED lights that are operated via a DMX for both photo and video. Do you have any advice or tips with regards to building this setup? Thank you in advance!
Thank you Christopher. There was a mix of Broncolor studio flash on Scoro packs mixed with some HMIs I believe on this one. There are also other mixes I use and you can learn all about those here - karltayloreducation.com/section/car-photography/
@@VisualEducationStudio thank you so much. Sudden move from 30 years of travel photography to a shoot involving a formula e car next week. You are a lifesaver. Thankyou so much.
Thanks a lot for your time, quality and effort that you put in your videos. Definetely we what to see more car stuff photography. i like to see the real deal with this kind of photos. People usually don't realise what it takes to get shoots like these because they just think you have to direct light the subject but not. Next time, something more dramatic or low light coud be a great video to see ;)
Lovely work Karl! I just have one question, which kind of plastic you used to build the floating panel? I do photography for pre-owned cars and I think using this technique could be very helpful. THANKS!
Great video, interesting topic. I'm surprised to know that there's still a market for "real" car photography, given the fact of 3D taking that bussines realm by storm. Congrats on your adaptations of your studio and energy for attention to that level of detail 👍
It depends on how big the ceiling is and how much spread of light you want. I've used it from 10cm away to 2m away. Check out our car photography videos on our website.
Thank you, and yes, if you watched to the end of the video you would see I was using continuous lighting in HMI and LED for the video elements of this shoot.
How are flashes useful with still photography vs constant lights? I watched the splash photography with the speed light to freeze the image but this object is stationary. Thanks.
So as you've pointed out flashes are useful for moving subjects such as splashes, crashes and fashion models jumping. They are also vastly more powerful than most continuous lights allowing you to achieve smaller apertures or lower ISO more easily additionally because shutter speed isn't relevant to flash then you don't need to work in a completely darkened studio because your shutter speed can cancel out the existing ambient light while your flashes record only the exposure. With continuous light you need longer exposures, dark rooms to work in and only still life subjects. If your studio already uses flash and has enough of them it doesn't make much sense to purchase additional continuous lights to do the same job. However in saying that I have both and I sometimes mix them as I did on this shoot. The main reason I have both though is for when we need to produce video.
Is it easy to create a fairly even reflected light all across and how many stops do you think you lose with a float vs a giant softbox equipped with strobes.
It's relatively easy to create a graduated light across the bodywork if the reflector panels are big enough. If you want an homogenous light across the body work then you need very big softboxes. I've never measured the difference between direct or reflected but this stuff is covered in more detail in the 'automotive' section on our site.
@@VisualEducationStudio Karl, thanks a lot for the reply. I am actually planning a system to shoot sofas in a 21 feet wide space so you convinced me that a box would be best suited as I need fairly even light for this project. However, since I will build it myself I may build it with some kind of L frame where I could insert 1/2 inch gator boards if I wanted to create graduated light. Thanks again.
I'm waiting for the A7s iii. I'm also not interested in 8K at this point in time. People are only just adopting 4K and 8K will just slow down the editing process, the storage requirements etc etc. I'd much rather have good slow motion and great low light capability in 4K and I'm hoping Sony are going to deliver on both.
What I like about Karl, is that unlike most YTubers he actually backs up his talk with real work! Running my business is hard enough, doing that plus making RUclips videos is a hell of a lot of work. Respect!
thank you
As someone who worked in plasics for 5 years you gave yourself quite a job sanding and paining a large sheet. Love your videos and learning a lot.
Thanks 👍
Well done, I learn more about lighting a subject from 10 minutes watching you then 10 hours of others videos.
Wow, thanks!
Thanks for sharing Karl! Brilliant solution!
A lot of really hard work thst payed off really well. Congratulations!
thank you
As a self taught photographer i can fine tune my knowledge of lighting through your work.Thank U so much for this amazing video for lighting car and showing each light effect.I had been waiting this kind of video.Thank U
Glad it was helpful
Karl Love your work, Im a cinematographer / Director / Photographer for 21 years and I really love how you work.
Thank you
love all of your work and how down to earth you seem to be. you are my idol
thanks
This is hard work paid off.
Very well done! I think I'm going to build that exact frame. Thanks for sharing your wisdom
Thanks Karl for sharing all insights with smallest details and results are amazing too !
My pleasure
Outstanding work Karl! From Latin America. Keep on the creative track, it's the best road of success in photography. I've been working in photography for just one year, but the reward of discipline and effort comes without a doubt, when you're committed in always giving your best. Thank you for such a wonderful inspiration.
Thanks a lot
Once again Karl you show us all what a consummate professional you are. So envious of your studio - not so much of the running costs lol
Very kind thank you. And yes the running costs are quite expensive!
Super useful thank you. We have to build a similar light ceiling for our large studio at our museum - this will be super useful to show our colleagues who will be helping us build it.
You're very welcome!
Karl, well done, as usual. What I get from your videos is a good dose of motivation. If I'm going to get the best from my business, I need to "up my game." Thanks for all that you do. Your studio is killer!
Tim
Thanks Tim
Great
GRACIAS!!!! THANKS!!! from Argentina!!
G'day Karl. Thanks for the effort you put into these mate. Much appreciated.
Well done Karl Ben and the rest of the crew no-one see, s always high quality images and work, you make the hard work look so easy you nailed it guys, as always well done 👍🏻
Many thanks
Thanks for sharing another great video Karl, Love and admire your work and hey,, love the new rig!!
Glad you enjoy it
That's a great setup! Thank you for sharing. Always fun to build your own equipment to make a shoot happen.
Thanks Jimmy
Superb Video and photography Karl and also your team. Congratulations!
Many thanks
A lot of added value to your studio and great results from all your efforts. Thanks again for a great informative video Karl.
My pleasure
Bravo Karl! Wonderful! I love your work, my friend.
Many thanks
SIR .Really love your work and content you have been producing on youtube . THANK YOU for this
My pleasure
Congratulations for this tailor made studio!
Thank you!
Killa Karl!!!! great vid!!!!
Hi Karl, thank you for creating and sharing such an informational video!! I'm working on building a small automotive-specific studio for one of my clients (a vintage car dealer). I need a hybrid photo & video setup, and was thinking of doing a panel similar to yours, with the lighting solution being 6-8 COB LED lights that are operated via a DMX for both photo and video. Do you have any advice or tips with regards to building this setup? Thank you in advance!
Hi, thanks for watching! All our automotive photography advice can be found here: visualeducation.com/section/car-photography/
Awesome insight. Thanks a lot for sharing!
My pleasure
Great results Master
Thank you
Very interesting and awesome BTS clip man!
Thank you
I'm speechless!
In what respect? :)
Great Stuff, Really enjoyed the video and learnt something new as well.
Glad to hear it
Hi Karl , superb video. Just a quickie. What were the flash heads you were using ? Thanks in advance.
Thank you Christopher. There was a mix of Broncolor studio flash on Scoro packs mixed with some HMIs I believe on this one. There are also other mixes I use and you can learn all about those here - karltayloreducation.com/section/car-photography/
@@VisualEducationStudio thank you so much. Sudden move from 30 years of travel photography to a shoot involving a formula e car next week. You are a lifesaver. Thankyou so much.
Amazing work Karl! As always, congrats for a new setup - a lot of work invested in it.
Thank you Denis!
Thanks a lot for your time, quality and effort that you put in your videos. Definetely we what to see more car stuff photography. i like to see the real deal with this kind of photos. People usually don't realise what it takes to get shoots like these because they just think you have to direct light the subject but not. Next time, something more dramatic or low light coud be a great video to see ;)
Thank you
Lovely work Karl! I just have one question, which kind of plastic you used to build the floating panel? I do photography for pre-owned cars and I think using this technique could be very helpful. THANKS!
Hi, it was foamex
Amazing work Karl!
Thank you! Cheers
Thanks a 100 billion.
Huge work and resources! Any resemblance to an existing Flinstones car is purely coincidental.
🤣
Great results! That new setup will be worth its weight in gold, I'm sure. I spotted some familiar models as well! :)
Cheers
very nice work, Can we see final images somewhere?
Great video, interesting topic. I'm surprised to know that there's still a market for "real" car photography, given the fact of 3D taking that bussines realm by storm. Congrats on your adaptations of your studio and energy for attention to that level of detail 👍
Yes most new car photograph is CGI, especially on location but there is still a demand for classic car real shots, or for owners etc.
Great investment and vision Karl.
cheers
Amazing Sir. Really useful for us... Thank you
You are most welcome
Thank you so much sir💐💐💐
Most welcome
Muchas gracias
How far away should the ceiling be from the car for best effect? Is it ok if its a couple of meters above?
It depends on how big the ceiling is and how much spread of light you want. I've used it from 10cm away to 2m away. Check out our car photography videos on our website.
Amazing job.
Btw can we done this photo shoot with continous light only?
Thank you, and yes, if you watched to the end of the video you would see I was using continuous lighting in HMI and LED for the video elements of this shoot.
Cute car
How are flashes useful with still photography vs constant lights? I watched the splash photography with the speed light to freeze the image but this object is stationary. Thanks.
So as you've pointed out flashes are useful for moving subjects such as splashes, crashes and fashion models jumping. They are also vastly more powerful than most continuous lights allowing you to achieve smaller apertures or lower ISO more easily additionally because shutter speed isn't relevant to flash then you don't need to work in a completely darkened studio because your shutter speed can cancel out the existing ambient light while your flashes record only the exposure. With continuous light you need longer exposures, dark rooms to work in and only still life subjects. If your studio already uses flash and has enough of them it doesn't make much sense to purchase additional continuous lights to do the same job. However in saying that I have both and I sometimes mix them as I did on this shoot. The main reason I have both though is for when we need to produce video.
Is it easy to create a fairly even reflected light all across and how many stops do you think you lose with a float vs a giant softbox equipped with strobes.
It's relatively easy to create a graduated light across the bodywork if the reflector panels are big enough. If you want an homogenous light across the body work then you need very big softboxes. I've never measured the difference between direct or reflected but this stuff is covered in more detail in the 'automotive' section on our site.
@@VisualEducationStudio Karl, thanks a lot for the reply. I am actually planning a system to shoot sofas in a 21 feet wide space so you convinced me that a box would be best suited as I need fairly even light for this project. However, since I will build it myself I may build it with some kind of L frame where I could insert 1/2 inch gator boards if I wanted to create graduated light. Thanks again.
Y excately did u use the a7s2 ??????
Because it's good.
@@VisualEducationStudio now that the R5 has 8k RAW will u go for that ???
I'm waiting for the A7s iii. I'm also not interested in 8K at this point in time. People are only just adopting 4K and 8K will just slow down the editing process, the storage requirements etc etc. I'd much rather have good slow motion and great low light capability in 4K and I'm hoping Sony are going to deliver on both.
is the 8bit video from the A7SII enough for television?
Yes
i`ll try this with my toy cars :P
These were a bit like toy cars, I'm looking forward to getting a DB5 in the studio
@@VisualEducationStudio sexy car indeed ^^ lucky you
Almost could argue to green screen the actors, then have the cars change without all that difficult rotoscoping.
两个漂亮女助理，很少见
That's not a car 😂😂