Another interesting show. My #1 pitfall hint: If you're a backbutton focus guy don't forget to setup your camera focusing by shutter button!! Otherwise it won't focus! Another one I had with my PW on camera to release a remote: It didn't fire until I hit the test button once to wake it up. #3: I had to setup my remote D850 in the afternoon before show day high in the truss. I tried this setup in my office a week before to make sure battery last and everything works. I then decide to power the PW III by my iPhone usb power with the appropriate cable. Production gave me the power socket for it. Everything was fine! Another problem I had with remote in the truss (with 14-24 at 14mm): I had only one chance to set it up and get it high up. So l the pics missed half of the drummer. Sh... happens.
Great show again. It's always interesting how other styles of photography is created even when I know I would never try it. Keep up the great podcasts.
STEVE! I'm catching up on some old videos I missed and y'all broke my heart on the Auto WB vs set K. 😅 I've always thought Auto WB sometime chooses funky colors, but now I'm gonna have to re-test this to see if I still have this preference. Always learn something from you!!
Hey Boston! First of all, thank you. Seriously appreciate you taking the time to watch. I didn’t remember what we said about using a fixed K vs Auto WB, so I checked a transcription, but if I’m talking about something different than what you meant let me know. You are correct, Auto can end up odd, with a wonky interpretation of the scene, but there are a few reasons that’s ok. A) if you’re shooting RAW it doesn’t really matter because you can change it in post. Changing it afterwards will be the best control in fact for a few reasons. The example David gave of cheap studio lights being one of them. We don’t know what lights we are shooting, and even if the whole lighting rig is technically 5600 we don’t know those lights are accurate, that they are not drifting. Plus, if some are drifting and some are not…. Now you have two different white balance temperatures, in addition to LED or gel colors. A fixed K setting will give a consistent WB across all images, so they might not need to be changed I post, but that’s only if the K was set correctly for the whole rig. We can estimate the most common K, but any given show can have light fixtures that are not the same. Some may be 5500 or 5600, while others are not. What you end up with is mixed lighting, not very different from shooting a portrait in a room with incandescent and fluorescent lighting. Another reason, we can call it B) accurate WB is just simply not as important for what we shoot. You can have a solid red or green or blue, or purple and magenta on the same face. Setting an “accurate” WB can actually make it look worse. Let me give an example. Let’s say that a kick drum head is true white, and we know that because we saw it under good light. Plus, the vocalist is wearing a white shirt, and the guitarist is playing a white guitar. (For those that will read this and yell at me that “you should set WB off neutral gray, not white”, ok. Pretend I said neutral gray for the drum head, shirt, and guitar…. Happy now?) So we have three strong spots to use an eye dropper on. Have you ever noticed that if you sample the drum the singer is clearly not right? Or sampling the shirt on a singer front of stage makes the drum head purple, even when we know it’s white? Do that with the guitar on stage left - now the other two points are “not right”. Why? We have a mix of colored lights. White isn’t white under a solid red light, it’s red. Even if the singer has a white follow spot on them there may hints of other stage lights you see. So our goal is to either leave the colors as the LD (Lighting Director) intended, or to correct enough to have more flattering skin tones and a more true look to what we think it should be. In either case, if you can get a clipped red, or a banded purple to not have a person look ill… we win. So, in the end, Auto allows for some adaptability in camera, at the expense of different WB per image - which could be accurate or not. But I think even people that lock a K setting still grab an eye dropper for some images anyway. Hope that makes sense, and sorry about the length. ~ Steve
When I first saw this shot that David posted, I thought that it would be a good subject for this podcast. Lo and behold, it happens! Willing things into existence! Ha! Great episode as always. Two photographers whom I respect the most share their expert insights once again. Thanks for the details on this shot. Also, thanks for the shoutout on the article I wrote for PetPixel. Thank you both for sharing some tips for the write up. Hope to shoot with the two of you again real soon! Keep up the great work and keep inspiring!
1:05:37 - I have the RF 15-35mm f/2.8L IS, and the lens hood comes off way too easily. I've had to go back and look for it many times, glad I still have it.
Wonderful image by David and another really interesting episode, Steve. It really gives a great behind the scenes perspective on what goes into a remote setup at a concert. I would definitely be interested in a Shoot From the Pit workshop if there’s one on the West Coast of Canada, next year (and I’ve joined his mailing list to find out).
Another interesting show. My #1 pitfall hint: If you're a backbutton focus guy don't forget to setup your camera focusing by shutter button!! Otherwise it won't focus! Another one I had with my PW on camera to release a remote: It didn't fire until I hit the test button once to wake it up. #3: I had to setup my remote D850 in the afternoon before show day high in the truss. I tried this setup in my office a week before to make sure battery last and everything works. I then decide to power the PW III by my iPhone usb power with the appropriate cable. Production gave me the power socket for it. Everything was fine! Another problem I had with remote in the truss (with 14-24 at 14mm): I had only one chance to set it up and get it high up. So l the pics missed half of the drummer. Sh... happens.
Thanks for watching, Bert!
Great show again. It's always interesting how other styles of photography is created even when I know I would never try it. Keep up the great podcasts.
Thanks Auzy! Hoping you had a great holiday and New Year.
STEVE! I'm catching up on some old videos I missed and y'all broke my heart on the Auto WB vs set K. 😅 I've always thought Auto WB sometime chooses funky colors, but now I'm gonna have to re-test this to see if I still have this preference. Always learn something from you!!
Hey Boston!
First of all, thank you. Seriously appreciate you taking the time to watch.
I didn’t remember what we said about using a fixed K vs Auto WB, so I checked a transcription, but if I’m talking about something different than what you meant let me know.
You are correct, Auto can end up odd, with a wonky interpretation of the scene, but there are a few reasons that’s ok. A) if you’re shooting RAW it doesn’t really matter because you can change it in post. Changing it afterwards will be the best control in fact for a few reasons. The example David gave of cheap studio lights being one of them. We don’t know what lights we are shooting, and even if the whole lighting rig is technically 5600 we don’t know those lights are accurate, that they are not drifting. Plus, if some are drifting and some are not…. Now you have two different white balance temperatures, in addition to LED or gel colors. A fixed K setting will give a consistent WB across all images, so they might not need to be changed I post, but that’s only if the K was set correctly for the whole rig.
We can estimate the most common K, but any given show can have light fixtures that are not the same. Some may be 5500 or 5600, while others are not. What you end up with is mixed lighting, not very different from shooting a portrait in a room with incandescent and fluorescent lighting.
Another reason, we can call it B) accurate WB is just simply not as important for what we shoot. You can have a solid red or green or blue, or purple and magenta on the same face. Setting an “accurate” WB can actually make it look worse.
Let me give an example. Let’s say that a kick drum head is true white, and we know that because we saw it under good light. Plus, the vocalist is wearing a white shirt, and the guitarist is playing a white guitar. (For those that will read this and yell at me that “you should set WB off neutral gray, not white”, ok. Pretend I said neutral gray for the drum head, shirt, and guitar…. Happy now?)
So we have three strong spots to use an eye dropper on. Have you ever noticed that if you sample the drum the singer is clearly not right? Or sampling the shirt on a singer front of stage makes the drum head purple, even when we know it’s white? Do that with the guitar on stage left - now the other two points are “not right”. Why? We have a mix of colored lights. White isn’t white under a solid red light, it’s red. Even if the singer has a white follow spot on them there may hints of other stage lights you see.
So our goal is to either leave the colors as the LD (Lighting Director) intended, or to correct enough to have more flattering skin tones and a more true look to what we think it should be. In either case, if you can get a clipped red, or a banded purple to not have a person look ill… we win.
So, in the end, Auto allows for some adaptability in camera, at the expense of different WB per image - which could be accurate or not. But I think even people that lock a K setting still grab an eye dropper for some images anyway.
Hope that makes sense, and sorry about the length.
~ Steve
When I first saw this shot that David posted, I thought that it would be a good subject for this podcast. Lo and behold, it happens! Willing things into existence! Ha!
Great episode as always. Two photographers whom I respect the most share their expert insights once again. Thanks for the details on this shot. Also, thanks for the shoutout on the article I wrote for PetPixel. Thank you both for sharing some tips for the write up. Hope to shoot with the two of you again real soon! Keep up the great work and keep inspiring!
Mario! Thanks for watching buddy!
As always, GREAT episode. Both of you guys are amazing pros.
Thanks Bob!
1:05:37 - I have the RF 15-35mm f/2.8L IS, and the lens hood comes off way too easily. I've had to go back and look for it many times, glad I still have it.
Yup. I have replaced that damn thing twice and now use tape.
Wonderful image by David and another really interesting episode, Steve. It really gives a great behind the scenes perspective on what goes into a remote setup at a concert. I would definitely be interested in a Shoot From the Pit workshop if there’s one on the West Coast of Canada, next year (and I’ve joined his mailing list to find out).
That’s the best way to keep up to date with him on dates. It really is a blast.
Thanks for watching!!!
My worry is when some idiot guy trip the tripod so hard and crash it and i didnt even id who did it
It’s a camera on a stage where no one is allowed to go.
@@BehindTheShot , i am talkin about me using a remote camera in an event.
Yeah, you’d never use a remote unless you had full access to place it where it was safe.
@@BehindTheShot , i do have access but in a wedding n birthdays, the guest have no boundaries specially now with everyone having camera in celphones