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  • Though you may be aware of what three point lighting can do for a subject, it doesn't

  • always work when you are lighting product shots. Products can be either transparent,

  • translucent, opaque, or all three - all factors which strongly affect how well they handle

  • light. In order to master how to control light with any surface, we'll give you some tips

  • on how to place lights so that your products can look both tempting and professional.

  • Objects that are transparent allow light to travel straight to another object behind or

  • beneath them without obscuring their image. Things like glass, plastic, and water are

  • all transparent objects that can be notoriously difficult to light - but not impossible. In

  • fact, transparent objects can often give off the most interesting light since they can

  • reflect or refract light in unexpected ways. The thing to keep in mind is that transparent

  • objects don't take direct illumination well. The light simply passes through them. The

  • best place to start is by p up a strong spotlight placed to the back and side of the product.

  • Especially if you have a dark background - this backlight will define your product's edges.

  • Next, to show off the contours of the surface without getting overexposed highlights, place

  • a large soft-box or diffusion frame close and to one side of the object. This will draw

  • a line down the object's surface showing off its contours and texture. You'll probably

  • find that multiple areas of shadow and highlight end up looking best, so count on having to

  • use plenty of diffusers, white bounce cards, and flags to achieve the best effect. Also,

  • if you'll be lighting colored glass or liquid, you may want to build a simple light box to

  • achieve a more pleasing light gradient near the bottom of your product. To build one of

  • your own, you'll need to get a medium sized cardboard box, a pane of glass to cover the

  • top of the box, a small light stand, black fireproof cloth, scissors to cut a hole in

  • the box and cloth, and a light dimmer. Using your scissors, you'll want to carefully cut

  • a small 1-foot by 1-foot flap into the cardboard box and a small hole on one side of the black

  • cloth. These openings will provide access to power for our light. Then place the black

  • cloth into the open end of your cardboard box and the put your light stand on top of

  • it. Be sure to trail the power cord and dimmer through the black cloth and box before you

  • cover the box so that you can turn on the light from outside the box. Lastly, place

  • the pane of glass over the top and arrange your products artfully on top. Now, using

  • your light dimmer, you can slowly bring up the intensity of the light inside the box

  • until the liquid seems to glow. If done right, this can make any product look both interesting

  • and enticing.

  • Translucent objects on the other hand, allow light to pass through without being able to

  • see the image behind or beneath it. Common translucent objects include smoke, fog, steam,

  • etched glass, and gems. With these kinds of objects or products, the most important light

  • will be a backlight. Backlights will give these objects a very defined rimmed highlight

  • which will help prevent them from getting lost in your scene. If the product has a bit

  • of texture on the surface you may want to put a spotlight near the side of the object

  • in order to cast areas of light and shadow over its ridges. It's important to have a

  • dark or completely black background when setting up any scene with translucent objects because

  • a light background may make the objects difficult to see.

  • The last kind of surface is one that is opaque. Opaque objects simply absorb or reflect light.

  • The bulk of objects you'll encounter will have this quality. Those surfaces that absorb

  • light, or the matte surfaces will be the easiest to light. These kinds of products will work

  • well under the same principles that govern three point lighting. As such, having a backlight,

  • to separate the object from the background as well as a key and fill light angled 45-degrees

  • downward will end up looking best. The hardest lighting situation of all is to control overexposed

  • areas on glossy or shiny surfaces. Even so, there are some simple lighting techniques

  • you can use to dampen them. By making your light quality as soft as possible, you can

  • come very close to eliminating highlights. You can use large framed diffusers, reflected

  • light from large white surfaces such as foam-core board, and as a last ditch effort, a light

  • tent. A light tent is a fabric that surrounds an object with a white or diffused material

  • in order to hide the edges of specular highlights. They work by having light shine in from as

  • many directions as possible while seamlessly diffusing or spreading it evenly across the

  • object. Usually there is a small hole cut in one side of the tent for the camcorder

  • or camera lens to shoot through. Though these tents work incredibly well for object close-ups

  • they don't make for very realistic backgrounds so they shouldn't be used if a natural background

  • is needed in the shot.

  • Knowing how to light a variety of surfaces in a professional way is an important skill

  • for any cinematographer. Not only does it give you a starting point for knowing where

  • to place lights in almost any scene, it gives you the comfort of knowing that no matter

  • what the product looks like, you'll be able to make it look great.

Though you may be aware of what three point lighting can do for a subject, it doesn't


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より良い動画を作るためのコツ製品を照らす方法 (Tips for making better video: How to Light Products)

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    Book Liu に公開 2021 年 01 月 14 日