GH2 How can I achieve this look with the GH2?

G

Gargravarr

Member
Not sure if this is actually a camera-related question but here goes:


For interviews I would like achieve a similar quality in terms of skin texture, softness etc.
Despite the lighting setup and everything that's not coming from the camera itself, would the GH2 be capable of producing such an image?

Also if so, what settings would you use to start with?
I'm mainly shooting with old Nikon and Canon prime lenses, no filters, just some post production softening and grading of the images but I'm not sure if I'm on the right track.

Any pointers appreciated or if it is at all possible to emulate that look if it should indeed be camera-specific? *scratches head*
 
Gargravarr said:
Not sure if this is actually a camera-related question but here goes:
For interviews I would like achieve a similar quality in terms of skin texture, softness etc.Despite the lighting setup and everything that's not coming from the camera itself, would the GH2 be capable of producing such an image?Also if so, what settings would you use to start with?I'm mainly shooting with old Nikon and Canon prime lenses, no filters, just some post production softening and grading of the images but I'm not sure if I'm on the right track.Any pointers appreciated or if it is at all possible to emulate that look if it should indeed be camera-specific? *scratches head*
Click to expand...
Do you have soft boxes for your lights?
 
I'm no expert, but from what I do know about lighting, this is a great lighting job with big soft sources, and provided you could create similar lighting, I don't see why the GH2 couldn't capture this. You probably already do this, but I'd shoot with the histogram turned on (and probably the Smooth profile, though others like Nostalgia could work) to ensure you get a flat image that you can then tweak as much as you need in color correction afterward.

I'm curious if anyone has specific recommendations for getting the skin texture here? My only guess would be a) soft lighting and b) adjusting the curves in Apple Color (or similar software) to make sure the wrinkles in his forehead, etc. have the right soft dark look, while the rest of the skin has that smoother glow. Hmmm...

Also, it's worth zooming in on his eyes--you can see some of the lights they're using reflected in his pupils, and that should help guide you.
 
Chaos123x said:
Do you have soft boxes for your lights?
Click to expand...

Yepp, big ones in a classic 3point lighting setup, even have tried a big diffusion panel that is several foot tall. Still,
I can't seem to get similar results so I wonder what else has been used to achieve this. Someone recognize the effect?

Here's another great example, different person, different camera (I know a RED has been used according to the author):

 
are you filming on a set with white walls, floor and ceiling too? These all act as indirect difused light sources too
 
Use 4x4 pieces of foam core and bounce the lights off of that.
I use a small dimmable backlight and adjust after the key
and fill are set.

Sometimes I will tape some flaps on the foam core
to reduce light spill.

And sometimes I will use a light grey 4x4 foam core
for the key light bounce....

The only drawback to lighting this way is that you need
plenty of room.
 
HVXguy said:
Use 4x4 pieces of foam core and bounce the lights off of that.
I use a small dimmable backlight and adjust after the key
and fill are set.

Sometimes I will tape some flaps on the foam core
to reduce light spill.

And sometimes I will use a light grey 4x4 foam core
for the key light bounce....

The only drawback to lighting this way is that you need
plenty of room.
Click to expand...

Thanks for those tips, will try for sure!
 
I'd never use walls and ceilings as bounce though. One other big factor is the ratio that you get on the face... That's the big thing when you want to avoid a split and have a super large latitude range...
 
Justyn said:
I'd never use walls and ceilings as bounce though. One other big factor is the ratio that you get on the face... That's the big thing when you want to avoid a split and have a super large latitude range...
Click to expand...

Can you elaborate a bit on this? You mean the distance or intensity from the lights to the subject?
 
I've done something similar:


This look was achieved as follows: large studio with a 3 sided white cyc - 2 x 5k HMIs each through a 20ft x 20ft diffusion sail - 2.5k HMI with diffusion as a backlight / rimlight on the actor. Shot on an HVX202 in 1080 25p in film mode (no special settings used). Graded using Magic Bullet to desaturate and soften the final image further.
 
eggmedia said:
I've done something similar:


This look was achieved as follows: large studio with a 3 sided white cyc - 2 x 5k HMIs each through a 20ft x 20ft diffusion sail - 2.5k HMI with diffusion as a backlight / rimlight on the actor. Shot on an HVX202 in 1080 25p in film mode (no special settings used). Graded using Magic Bullet to desaturate and soften the final image further.
Click to expand...

Hello there,

thanks for the video but this is very similar to what I can achieve already. While it looks good the persons in the videos I posted have much more depth, rich shadow details whilst retaining that very soft look. It's got "pro" written all over it but at the same time this perception is so subtle that I'm having difficulties pinning it down. I'm guessing it's how the shadows are being lit, they are not washed out. Your video on the other hand, whilst very clean looks very flat and "2D", same result I get with my stuff :(
 
Gargravarr said:
Not sure if this is actually a camera-related question but here goes:


For interviews I would like achieve a similar quality in terms of skin texture, softness etc.
Despite the lighting setup and everything that's not coming from the camera itself, would the GH2 be capable of producing such an image?

Also if so, what settings would you use to start with?
I'm mainly shooting with old Nikon and Canon prime lenses, no filters, just some post production softening and grading of the images but I'm not sure if I'm on the right track.

Any pointers appreciated or if it is at all possible to emulate that look if it should indeed be camera-specific? *scratches head*
Click to expand...

You can see the lighting setup reflected into his eyes (i.e. what the other posters have said). That's the general way to discover lighting setups. :-)
 
Erich Ocean said:
You can see the lighting setup reflected into his eyes (i.e. what the other posters have said). That's the general way to discover lighting setups. :-)
Click to expand...

Ain't that highly speculative? So what does it tell you? My untrained eye tells me there's two lights, one key head-on with a weird split in the middle and one -probably fill- angled to the right.
That tells me about s**t since it doesn't make much sense :( I'm sure someone who's really experienced can see the lighting technique being used here but I'm not, otherwise I wouldn't be asking ;)
 
My trick is to be careful not to balance the power of each light source correctly so it doesn't blows up all over the place. Make sure you balance each light properly.
For egg media example the light is too frontal, place your key on the side, then slowly bring your fill (use a dimmer if possible, it helps... or gels, more annoying)
Then if you look at his left shoulder, you notice a back light that is giving a lift.

Also use a few more lights to design your background (this is more than a 3 lights setup) Notice the vignetting effect behind him? It also seems that the wides have some sort of ceiling source (doubt it's bounce since they are in a studio)
It is also good to make sure you are not overexposing anything.

Once shoot go to color and toy around the game curve, your shadows and highlights to get the right exposure.

Anyway, overall, it makes me think of Apple's products presentation videos. (also apple is more frontal with nice skin reflections)

The real solution, try, fail, try again, fail, still try, etc... you will end up succeeding.
 
Thanks Phenixone!

Phenixone said:
the light is too frontal, place your key on the side, then slowly bring your fill
Click to expand...

I'm guessing this is a big factor. I've learned to have the key and fill at approx. 45° angle to the subject and I never thought of increasing the angle and moving them to the sides more, will try that next :)
It motivates me that it's probably "just" lighting and not equipment related.

Trial & error it should be then :D
 
Here is one I shot on the GH2 - using 4 lights - 2 on the background and 2 in a 40 degree angle on the talent. I used EOSHD.com's nostalgic setting.

 
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