event lighting moving profiles have the ability to interchange gobos this video will walk you through the steps to swap out gobos to do this you will require a Philips head screwdriver and needlenose pliers using your phillips head screwdriver remove the cover from the unit release the safety wire from the cover to access the unit easily be sure to use the locking mechanism to hold the unit in place choose the gobo you want to replace lift the rim of the gobo with your fingers and use the pliers to pull the gobo out to reinstall the gobo reinsert the gobo to by slot check the gobo does not protrude higher than the other gobos you

what's going on everybody it's Chris from profoto and this is geared up this is our weekly live broadcast where we talk about lighting techniques gear Photography in general anything that you want to discuss we can discuss that here but mostly with an emphasis on lighting and definitely with an emphasis on profoto if you're watching this on profoto.com you're going to see some stuff pop up around the screen that is going to be something like whenever I say uh profoto A2 and A2 will click up if you want some more info on what it is we're talking about you can click that and keep watching us if you're watching this on Facebook or YouTube or Twitter you're not going to see that if you don't really care cool just keep hanging with us if you want to see it check us out on profoto.com so let's jump into our topic for today today we're talking about gobos gobos are short for go between so it's something that is put between your light and your subject or your light and your background it's just something in between that you use to cut light shape light cast patterns whatever it is that you're trying to achieve you're just using something in between your light and again your background of your subject to add some sort of visual interest whether you're using like a flag to try to like maybe split like somebody and keep you know this side Shadow and this side and the light or whether you're doing what we're doing today we're using a house plant to broadcast um as you can see the house plant in the corner of the screen uh to broadcast uh certain shapes onto either your subject or your background so that's what a go between this it's it's a very very simple term it's a very very simple idea but we're going to talk through why we do certain light placements and why we're choosing certain lights for what we're shooting and that way you also kind of understand uh whenever you start to use some gobos why you might want to make the correct light selection make the correct light placement to achieve the look that you're going for so let's talk about what we're doing today so first and foremost the vibe that I I was going for with this shot is something kind of like kind of like a moonlit Vibe something a little more tropical feeling that's why you see more of a tropical plant here we have Monsour plant uh it's my wife's Mentor plant she named it his name is Monty she's very very happy with him uh so I have to I have to be delicate I have to be delicate so but the idea is to shoot something that feels a little more tropical which is kind of why we're going to uh be using this plant with these shapes but I wanted to kind of have this night feel to it like maybe you're going for like a little bit of a stroll uh and like the Moonlight is low and it's coming in direct right through the plants and it's casting this beautiful Shadow but you're getting the nice um the nice light from you know that Moon look so that's kind of my idea behind it like an evening stroll through maybe some Tropics with some cool plants and the moon's low in the sky and it's full and it's bright and it's broadcasting so let's talk about how we set up for that so first and foremost I have a um translucent uh shoot through umbrella above here with a b10x plus um and inside of this umbrella uh let me grab my connect pro cool so inside this umbrella you'll see that there is a blue gel can they see that turn blue a little bit it turned blue it's blue there's blue light in there so there's a there's a blue gel in there so it's got the um I just put the uh the ocf two the uh the ocf2 uh grid filter holder in there and then just clicked in a blue gel just one single blue gel not peacock blue just straight blue and that is to this is kind of like a big room fill so the um umbrella is acting like a lantern like uh like you would see any any other type of lantern on like a film set or something like that and what its job is to do is to throw light everywhere broadcast it all around the light is going to hit the inside of the umbrella it's also going to bounce back up and hit the ceiling which is going to start to throw some more diffused light everywhere so it should give us a nice room uh a room fill and we will take that shot so you can kind of see what that looks like uh with just the lantern then we have a three foot OCTA I don't know if they can actually see this gotcha I actually need to start I'm gonna start bringing it back into place so there's a three foot OCTA right here also if you look here gel blue in all directions yeah so gelled blue so you can see the blue light is in there as well the reason that we are gelled blue is because the light from the evening is generally has a very cool blue tone to it so we want to kind of make that uh that look and feel so we've gelled The Fill light blue we've gelled the overhead fill blue so it should give us a nice cool like twilighty feel to it we're also going to keep the power of them relatively low so that we can um so it's not introducing too much blue and then what we're going to do is we're going to take an A2 and we're going to blast it through this Monsoor plant Monty if you will we're going to blast it through the plant but all it has on it is a 20 degree gel or I'm sorry a gel 20 degree gel a 20 degree grid so and the reason we have the 20 degree grid is I don't want the light being thrown too wide I don't want it to knock out a lot of the blue tone that's in the uh with the gels the uh tough thing about using white light and gels is if the white light starts to creep into it it will overpower the color it'll get rid of it completely so the 20 degree grid is to take that light tighten it down and kind of keep that light right where we want it again to kind of have that feel of the Moonlight being a little bit low and just super direct so really really cool stuff we chose A2 because the head size is smaller so uh as opposed to a traditional profoto uh like the B10 uh the b10x pluses which we're using for the softbox uh and the overhead we're using the A2 because it's not 100 millimeters it's 70 millimeters so we already have a smaller uh a smaller flash area which is going to make the light a little bit harder it's going to make the Shadows a little more pronounced which is kind of cool so very very fun stuff um also I use the b10x plus here on the uh the fill light you don't have to use a b10x plus I did it because it gives you room to uh I'll take it down in a minute and show it to you because I just don't want to um mess with it right now before we take the photos but what it gives you the ability to do is take the three foot OCTA so I have an ocf three foot OCTA on there it gives you the ability to push the OCTA back a little bit and then reach in and pop the ocf2 gel holder on there with a blue gel so it's gelled with an ocf uh to blue gel inside of the three foot OCTA pretty awesome stuff the one thing I didn't do earlier and I want to do this really quick before while I'm thinking about it is they didn't push it back a little bit so [Applause] yeah I've got a little room so there we go so that way it's uh not cutting off too much of the light on the inside very cool so this is what I want to do now so let's take the um let's get kaded here we're gonna bring the camera in and I'm gonna show you how I built the uh setup so that way you can kind of see you know how I chose the look for the overhead how I chose to look for the fill light and then you can see what happens when we bring in the A2 so yeah that's perfect because all the stuff's relatively relatively close um Kate uh positioned probably um and one of the things I like to do I'm gonna kick some of this light down a little bit like maybe this light right here yeah I pulled a little bit further forward because I wanted to try to get some of it off the um off the background uh cool hey everyone so let's go and kick on these lights one at a time so let's kill the main and the fill light perfect so now we just have overhead so cool so slide over just a touch Kate uh this way sorry to your left perfect right there so here's what it looks like just the overhead fill light here we go three two one so again it's just supposed to kind of give like this Cool Glow to it uh honestly it might be a touch overpowered for what I want I might need to pull it back I know it looks kind of nice I'll bring it back a little bit it's a it's a tiny bit overpowered for what I want um but it looks pretty good you can see that the uh it does a nice job kind of filling the whole area so let's oh yeah thank you you rock we usually have it faced the other way whenever we're doing all of our shooting stuff so let's go here let's pull the power back to seven and a half let's take another oh let's go to seven and see what happens here we go take a tiny step back uh sorry the uh yeah you're back three two one that's pretty good actually really like that so we pulled that power back to seven so it's a nice subtle uh blue it's not it's not too heavy on the Highlight so it doesn't feel too much like another light source so now let's bring in the three foot OCTA to give us some fill light coming forward so we'll go here to group b turn that bad boy on and let's let's start at power level seven just to kind of match it's probably going to be a little too underpowered but we can kind of play with it just to see where we are so let's get this 30 foot OCTA kind of into place perfect so we go a little step uh to your there we go three two one I think that actually looks pretty good so what it's done is it's brought a little bit more fill light into the shot well I'm gonna see what happens if I pull back by half a stop just for funsies ready Kate three two one actually think I like that better the half stop I think that half stop makes a big difference and so the other thing to know about using gels is that when you're using gels if you bring the power down so if you're not jamming a whole lot of power through the actual gel itself it's going to start saturating a whole lot more and so that's why the blue is kind of really rich is because we're not we're we're honestly a little underexposed for what we're doing let me I'm going to try one more shot half a stop down a little bit lower I just want to see kind of how that's broadcast on you three two one let's see if I like that better you know what I actually think I like that better I think I like that way better so um so now we have this nice kind of room fill from the uh overhead like the lanterns the umbrella kind of set up like a lantern and then we have this really nice forward fill from the three foot OCTA so now it's starting to feel like a really big light source kind of just everywhere we're lighting everything so this doesn't feel directional which is nice it just feels like the evening so now we can do the fun part we get to add in the uh the Gobo the actual the the heart Monty and the hard light so some things to know about uh you just hang right there Kate you're good so some things to know about um using some gobos so you want to oh we're here we're there so some things you might want to know about using gobos so one the further back that you can get the light from the thing that you're using to broadcast the pattern the more defined the the thing that you're broadcasting the pattern is going to be so right now this A2 is relatively close to the Monsour plant itself so it's going to kind of fall off towards the edges a little bit um so that's just something to know and then depending on the size of the shadow that you want uh from the thing that you're broadcasting you're going to also play with the placement of the the thing creating the pattern in relationship to your subject so if I were to start backing uh backing it up a little bit more I could get a little bit bigger pattern a little bit closer the pattern's gonna be a little bit smaller a little bit tighter and then also that's going to be predicated to on the distance of the light from the uh from the thing broadcasting the pattern so cool how do you white balance a shot like this does it matter uh well I mean I'm using gel so it doesn't really matter to wipe out so someone's asking how do you white balance a shot like this generally I have my camera set to flash um when I'm when I'm in the studio oh or I have it set to I take it back I have months that do a custom uh white balance of 5900 it's just where I like to be so you can Auto white balance if you if you want to but your camera is going to try to fix it I would just set it to flash and let the gels do what they do so uh give you one more yeah you can give me another question when you stack grids and gels is there an order of operation to the way you recommend stacking these so gels and grids there's not an ordered operation when you're stacking them so I don't have I don't have a gel on the gridded A2 it is just the the grid against the white light flash um but if you're using diffusion and grids there is an order that you want to stack them so like if you're using like so here let me just show you this thing really fast so we have this uh grid filter holder thing outside chat oh yeah so I know it's kind of hard to see but we have this grid filter holder thing right and you has this little little card that comes with some diffusion oh yeah thanks Kate so as this little card that comes with some diffusion if you'll notice when you pop this into the uh unit itself and make sure I have it in the right way I'm fighting with it oh that's because I need to do it this way there we go perfect wow now I'm struggling with it I was trying to show you guys something cool and now I'm struggling with it's cool so if you look there's still a space right here for you to put the grid inside of it so when you're messing with the fusion the diffusion is the thing that becomes the light source because it's kind of opaque it's not see-through um if it was clear it wouldn't matter but because it's opaque this becomes the light source so if you want to control that light you want the Grid on the opposite side of that diffusion diffusion so gels not a big deal because they're see-through diffusion you want to make sure that the grid is the last thing in the chain of light so cool sweet so now you understand why we have blue gels on the overhead why I have blue gels in the front and placement of the light for your gobos now let's take some photos so use your um use your continuous light on your uh on your flashes to place the Shadows right where you want it it's very very it's not very very important but it just makes life easier when you're trying to figure out where um where you have your light falling so like for me my goal is to try to keep at least a sliver of light on Kate's at least one eye and two her lips so we're going to use the continuous light of the A2 to to achieve that I was one of the continuous light pretty hard earlier I'm gonna change out my battery just just for the measure good measure so it just just remember just remember that your battery power uh is consumed by The Continuous light so that's why I changed it out I've been using my continuous light what's up Kate oh some of us asked me if there's a difference between a go-go and a cookie go bows and cookies no no no no no nothing I don't know no so so a cookie a cookie and a gobo are the same thing if you're talking about a stage light uh so if you're talking about like some sort of a projector that's projecting the light and the shape a gobo and a cookie are the same thing but in the world of just something being I'm very very dark there was the shadow of the thing so in the world of just something being between the light and the subject that's also called a gobo so a gobo and a cookie yes or the same thing used in like theatrical projection spotlights or things like that to it's how like they broadcast shapes I'm like she was an opera she's an opera singer she's an opera singer but she didn't know she doesn't know much about lighting she's saying so uh so yes cookie Gobo the same thing in a projection light a gobo is just something that goes in between your light and your subject or yeah so and that's what the cookie was doing so yes it is and yes they are called cookies which also coincidentally enough I kind of like I like cookies well this isn't a cookie because the cookie is actually circular it's like a little disc that you drop in the thing yeah yeah yeah you know semantics so I'm gonna use again The Continuous light you probably aren't going to be able to see it as well oh you can kind of see me kicking it on but I'm going to use the continuous light of the A2 just to kind of get the um the Shadows roughly where I want them uh Kate will also kind of position herself so she can see them light with my eye so something like right there maybe all right yeah I think so set up right here so three oh let me reposition my camera here we go so three two one so now the white light is going to flood in and start covering the um start over kind of over powering the the blue light and so again it's going to start feeling like that um that Moonlight that I'm going for so if I wanted to tighten those Shadows up some here let me I'm gonna just kind of play around with some of this stuff a little bit too just kind of a lot of playing with placement could you look back over your shoulder and just kind of tell me what you see I see it now I got it right there or at least I see the light Okay cool so here we go three two one okay so and again this is why you want to play with A continuous light so right now the bottom of her face is lit it's a little bit tougher in here just because we have a lot of overhead lights uh so it's a little harder to see it so let's see if I can bring this down just to see a little bit more kill that overhead killed this overhead cool I can see it a little bit better now so look back over that shoulder there we go stay right there three two one so cool so now we're starting to get some more light onto the face but we still have some kind of cool shades because the light is so close to the mod to the actual thing that we're broadcasting through the light isn't the shapes aren't as defined so if we want those shapes to look a little more pronounced that's the light up so that's what we're going to do so let's back the light up some cool you can look towards we'll play around with it so I'm going to back this up as much as I can and then also what I'm going to do is I'm going to so I'm going to show you how can you take a tiny step this way I think I can see the Shadows on the background I'm trying to make sure that like there's something there can you is this look over look over your shoulder right there yeah yeah perfect here we go here we go three two one so there so because we backed the light up some more we're getting some more definition into the actual plant itself uh it's a little bit harder to to get the the angle of the plant the right way that I want but it's just it's kind of just walking around uh and playing with it I also have this extra Leaf so what we could do can I get you back in there Kate yeah did somebody have a question um yes let's back back it up back back it up yeah but let's see wow impressive that belt out some Opera oh she's not warmed up she would warmed up one day now where so it depends on what you do so if if you're like an event photographer uh so someone's asking what is the most important gels to start with so if you're an event photographer I would say the most important gels that you could start with are going to be your color corrective gel so like a CTO gel or a CTB that way you can actually correct for uh tungsten lights or uh use it or some some cooler fluorescent lights or something like that those are probably the most important gels for that type of photography if you're just um getting in and you want some funky creative gels what I would tell you to do is one I love blue so like this just sings to My Style and what I love like shooting something like this is just what I love so I would tell you to get a color that you love and then get its contrasting color right so the contrasting color to Blue is going to be orange so get a blue and an orange uh or if you like green and red or such and such you could look at the color wheel look at one side and then look at the very opposite side right from the color that you love get that color as a contrast it it's really really good stuff or you could also look up that same color and find a complementary color uh and just start there if you you know I honestly think one gel is fun to play with just especially as you start to learn that more power means less color less power means more color but obviously less light stuff like that perfect cool in the house oh Cliff's here what's up Clippy cool so what I'm going to do now so let's do this I'm going to position the light a little bit more over here to where it's hitting you in the face a little bit more do you see all the light right there right here perfect stay right there and so what I'm going to do is I'm going to use this Leaf to bring in so when you look over the shoulder does it um is that blocking your face all right okay three two oh I'm not even I don't even have you in the frame here we go three two one cool that's beautiful that's actually really beautiful what I want to do is I want to bring the power up just a little bit more let's stay right where you are so let's bring the power up to a power level of let's bring it by let's start with a half a stop but we were eight and a half yeah well The Continuous light turned off there we go I want to make sure I thought I put a full battery on there I did as I said I couldn't score a little better so here we go three two let's make sure I get the shadow on the background for this one three two one foreign Sparkle a little bit more honestly I want to bring in just a little bit more light so let's take it to nine and a half and just so you know the A2 from Kate right now is probably a good 15 feet away wouldn't you say so so oh for some reason my continuous lights kicking off let's see maybe I need to do a firmware update so here we go is that blocking your eye or can you see it just fine three two one be it's really really beautiful so now I've got a nice little pop from the A2 you guys can see that shot there I have the really cool broadcast of the monsora onto Kate which is really really cool and it's a really really easy technique for uh and some visual interest so you can use the Gobo to light a pattern onto your subject or you can use that Gobo just to light that pattern onto the background and maybe just leave Kate all kind of like mysterious and blue looking so let's do that really fast someone's also asking what would it look like if you added grid here if I added a grid yeah what did you want me to add a grid to do you want me to add a grid to like the three foot OCTA because the A2 G how it would look so the A2 does have a grid on it the A2 has a 20 degree grid on it uh and that's just again to keep some of that light on to Kate and that way so like right here when you look at the the edges uh I'm keeping a lot more blue in that background so that's that's kind of the goal of of what that 20 degree grid is doing I could tighten it up a little bit more and and control some more of that light but it does have a 20 degree grid on it so let's do this now let's bring you like here I think and then I'm going to bring Monty the months we're here and I'm gonna shoot this past gate so we're gonna try to broadcast this onto the background and just like Kate with the blue so I just have to make sure I keep this off of her and so for here I might actually use a tighter grid so let's get a let's get a 10 degree so just a little bit tighter on the the grid pattern just to keep the light right where we want it uh let's see if we can turn see it broadcasting there not really not really so let me just make sure that I can see it broadcasting in my screen so take a step back yeah I think so three two one oh I shot too soon but that was actually a really really cool shot so we were able to kind of get this really cool silhouette that's not like it's not blacked out there's still a lot of cool blue tones in there we could even bump the the main light or the The Fill light up on cable bit so jump back in there real fast Kate I'm gonna actually pump the power up of the A2 to full and then I'm going to take this up by a stop there who goes to three two oh wow I'm I'm firing like crazy you know what it's just to keep you it's just to keep you on your toes oh yeah so that's cool so now we have this really really cool pattern on the background and again I don't have the because of the way that I'm angled I don't necessarily have the space to back this light up some more uh at least I don't at least I don't think I do let's see but oh I could put it I could put it on a boom maybe and get it there's a little yeah I'm gonna I'm gonna do something Ultra sketchy I'm just gonna tilt the light against the wall just because I'm living on the edge cool just want to make sure I'm getting the Shadows on oh that's that's way more pronounced so let's see how that looks here we go three two one there we go so we have some sharper Shadows on the background uh and it looks really really cool I think yeah that is pretty really fun stuff cool so when you back it up it makes it a more yeah so we so when you when you back the light up you're making the light source smaller in relationship to the thing that you're bouncing against and you're making a harder light so you're filling it up so let's look at some photos see if you all have any questions and then we'll sign out of this bad boy face can you make it stop so the light so are you talking about the the current light so the current light the light is not harsh on her face it's actually quite the opposite uh because we're shooting with a big gigantic softbox um sorry I've got some light stands over the top of our power cables here there we go so the the main light in the so let's go here let's compare these two side by side so the hard light is what you need for broadcasting the the pattern of whatever it is that you're shooting the light through onto your subject so if I need that pattern to be on Kate I have to shoot her with a hard light it's just what you have to do um you could mitigate some of the hard lightness a lot of the times what people um misconstrue harshness with hard light is Shadows if you don't like it as shadowy as I I like it with this uh then you could also take your fill light and you can bring that fill light up and drop the contrast and that's going to make it feel a little bit less harsh because there's not so much of a difference between your main and your fill light so but in order to get that pattern onto Kate I have to shoot the hard light at Kate so the hard light has to be the thing that is Illuminating Kate so for the second light or for the second shot that we have I wanted the the shape to be broadcast on the background and I did not want that on Kate so I had the option of keeping the soft light on her which is what we did and just letting the hard light hit the background and broadcast the shadow but again in order to get the shape you have to have hard light because hard light creates definition soft light fills in things and and takes away definition so it's why you know generally if you're if you're shooting someone who may not have the best skin in the world soft light might be a little bit better just because it's going to start filling in some more maybe some of those deeper pores or some of the unevenness of the skin whereas a harder light is going to make that crazy pronounced so and then you can use that same that same idea in photographing maybe if you are shooting like an old weathered sailor right and you want to exaggerate the the time and the the wrinkles and the and the just the harshness you use a hard light because that's going to increase the definition so really really cool stuff um again this the idea behind this shoot was pretty simple I wanted it to feel like uh oh man I'm all caught up in my I'm all caught up in my cables yeah yeah I unplugged everything hold on hold on I do have a question here is it possible to photograph with gels in it is possible to photograph with gels and TTL but what's going to happen is so someone's asking uh is it possible to photograph with gels and TTL yes it's possible to photograph with gel but the problem is is that TTL is going to try to make the scene 18 gray so it's going to try to give you a proper exposure what that's going to do is probably make the gels not so colorful so as you pump up the power of a gel the saturation drops okay so if you want a more saturated deeper blue like we have here or a deeper red or whatever you want that power to be low so and that's what we did here also one of the cool things about working with gels and uh and like gobos and stuff like that and things that can broadcast Shadows is the blue the things that are blocking the main light are going to be color shifted into the color of the gel which is really really cool so that's why you have these really cool blue fronds from this plant for your uh inside of all the Shadows which is really really neat so fun stuff any other questions um let's see how about a Mist filter on the lens you could totally use a misfilter I mean uh yeah I mean that's just gonna yeah it's gonna add some more the the glowiness um but it's I personally like the hard light look it's it's something that I it's a look that I really love and I prefer shooting that um so for me it's not that big of a deal uh for you if you don't love the harshness then yeah you could use something like a pro Mist to try to maybe bring some of that uh kind of bring some softness back into that that way but it's never going to change the fact sorry it's never going to change the fact that there the Shadows are going to be more pronounced because all you're doing is softening between the camera and the and the subject the image but the light on the subject is just the light on the subject you could you know you could you could hit diffuse the light so if you wanted to you could use um where's my A10 let's see if you wanted to try to diffuse it out a little bit with the A2 you don't need to so much because the actual cover of the um flash tube is uh sorry I'm making a lot of noise with the other gobos that we brought out just in case I guess I could show people other things you could use for gobos yeah um but if you wanted to it's not really necessary which and you'd have to buy it separately but we make this Dome that comes with the a10s and a1s and stuff like that you could in theory snap it onto the front of it but one you're going to lose the effect of the grids which stinks uh unless you don't mind throwing the light everywhere and this will diffuse it out a little bit but the front of the A2 is pretty soft now this on the front of the uh A10 would definitely smooth that out a little bit more so cool and then just also so you know like you can use all kinds of stuff for gobos and it just reminded me as I was clacking stuff around over there so these are just like little Metal Sheets like printed aluminum sheets from the hardware store and you can broadcast all these types of shapes yeah so let me see if I can get in a little bit closer cool but you can broadcast all kinds of shapes on your subject all you're doing is trying to put this in between your subject and your life so and then it was something like these with much smaller patterns you're going to want to make sure you back that light up some more or use like a snoot or something to make the the light source a lot tinier uh that way uh I don't know the black's Really Gonna Change anything Black's just going to keep things from reflecting around what do you think about I was trying to find the um are you talking about the things that we did for like the live last week with the our big no I was looking for the um the blinds oh oh yeah and then you can use stuff like this so I bought these for photography stuff like these literally just stay inside the studio all the time I bought them at a yard sale for like I think we paid like five bucks for them so you don't have to I mean if you want to if you you know don't have a yard sale that you can get these from you can go to the hardware store wow they're gonna open all the way but but you can shoot your light through this and the cool thing is you can kind of change how the the louvers are as far as like the the width that's viewed by the light and you can broadcast light that way too which is really really cool you could take a piece of foam core and you can cut a window frame out of it and broadcast a hard light through that and make it look like the lights coming through a window so you can do a lot of really really fun stuff with gobos again you can use house plants you could buy pre-printed metal whatever it is that you want they're just a really fun way to add some visual interest maybe help tell the story a little bit more uh and I really really had a lot of fun with them so uh any other questions from anybody before we sign off cool well thank you guys so much for coming and kicking it with us today a super super good time talking about GoGo gobos making some cool images I'm really really happy with both of the images that we made modifier focusing on hold on what was that uh you might want to read it let me read this really fast from mine uh you could try projector modifier focusing it on the background that way the part of the Gobo hitting the subject will be defocused and have a softer Shadow transition I mean you could I've never I mean Kurt maybe you could send me uh like just like add another comment in the thing with like a link to something that you're talking about I'd love to see it I've never seen a modifier like that but I'm always open to see new cooler things but if there's something out there that works that way that can keep the light diffused on the subject but hard light on it you could you could in theory take a very very large softbox like the four foot OCTA or the five foot OCTA and you could pull half the diffusion panel off and you could pull half the diffusion panel off and light your subject with the half of the diffusion panel that's still there and then let the hard light that comes out of the side of the the uncovered diffusion panel broadcast the pattern but again it's only if you're trying to broadcast that pattern onto the background and not onto your subject once the pattern has to be on your subject it's got to be a hard light and if you want that to be a less harsh then you need to bring in a fill light and bring that up so at what power from one to ten is the key light okay so depending on the placement of where I was so originally when the light so someone was wanting to know the main A2 where its power level was so when it was up close and right inside the plant I believe we'll hear a power level of like eight sorry on the very last shot that we took where we were back way up we're power level of 10. so and that was just to get more light through it obviously we backed it up a whole bunch it's easily 20 feet from the background so you need a little more coverage and then you have a grid so it's yeah um so it's kind of a tough say just because they are very different powered lights so that's a these are both 500 watt lights that's a 100 watt light at almost full power these are uh 500 watt lights and I believe we're at we're at six and a half and seven so honestly because they're all running through um they run into a gel which takes away power and they're running through a soft modifier which takes away power they're honestly probably all very very close to the same power technically like if you let's see 500 watts at nine is 250 at at 8 is 125. so I mean honestly they're pretty close in power to one another right now as to how much watt seconds they're putting out um just the A2 doesn't have to go through anything it's going through a grid and straight up whereas the um the b10s are having to go through gels which the blue gels take away a lot of light they are they do consume quite a bit and then they have to go through diffusion so uh but yes so cool really really fun doing all this kind of stuff I'm so glad you guys brought some seriously good questions to the lab today uh we had a real a lot of fun making a couple of different images if you have any other questions you can jump into one of our one of our one-on-one breakout sessions uh honors might be there today or gibba I'm not really sure who's there today but I'm also around uh later on so you can come and chat with me if you'd like to in the meantime I hope you have an awesome rest of your week thank you so much for watching geared up peace out everybody

hi I'm Thom Browne rental manager here at angstrom lighting and today we're going to talk about how to order custom gobos I'm going to assume that you know what a gobo is but if you don't we have a video on our website you can look up what the heck is in gobo you can find that at ww angstrom lighting com / videos there are three steps to ordering a custom gobo here at angstrom the first thing you're going to want to do is decide which type of gobo you'd like to use there are two types steel and glass there's also the Roscoe image pro slide but we're going to talk about that in just a moment steel gobos are inexpensive the light passes through the cutout in the steel creating your image it's fairly simple but it is fairly inexpensive now if your image involves multiple colors or different shades of gray you're going to want to choose a glass gobo glass gobos can project a rich colourful image and the gobos themselves can last a very long time the thing to keep in mind though is the price color gobos also take up to five days to make depending on how many colors and how complex the image if you're looking to project a full-color image but don't want to pay for a full color glass gobo there is the option of the Roscoe image pro this is a Rosco image pro slide which fits into the Roscoe image pro slide projector now this slide projector will fit into a standard source for fixture now the image pro slide will not last as long as a glass gobo in fact you'll probably get one or two uses out of this slide however they are much less expensive and the turnaround time to create one of these images is one business day once you've decided what type of gobo you'd like to use the next step is to prepare the artwork let's say you'd like to make a custom gobo of this angstrom logo the best way to prepare the image is to make an electronic file of it we accept most graphical formats including JPEGs gifts Tiff's adobe illustrator and Photoshop files PNG and PDFs just make sure the image you're sending us is at a high resolution at least 300 dots per inch or 300 DPI once you've prepare the image you'd like to use you can give us a call here at angstrom at 8 66 275 nine to 11 or you can fill out the contact form at our website wwn extra lighting com tell us what kind of gustan gobo you're looking for steel glass or an image pro slide and how soon you need them then all you have to do is send us the image the fastest way to send the image to us is either by email or if it's a black and white image a clean fax will do you can even bring the image in person to our headquarters here at eight thirty seven north cahuenga boulevard in hollywood or you can mail us the image and have a scan it here but that will obviously take a little longer if you order an image pro slide it takes about one business day to make if you order a custom steel pattern it takes about three business days and if you go for a full color glass gobo it'll take five business days in the end you'll have a beautiful custom gobo to use for your event i'm thom browne thanks for watching i look forward to helping you find brilliant solutions to all your lighting needs here at angstrom lighting

hello my name is Joel Nichols I'm with Apollo design technology and we're here out in our shop area where we make a lot of gobos chip a lot of other products outside of gobos and we want to talk to you a little about our parents Enix 2013 we introduced our print scenic gobo and that is a printed gobo made for LED based lights those lights are run a little cooler and we were curious if we could develop a lower-cost product for that particular fixture those types of fixtures and we did and that was our print Scenic's about a year and a half ago we decided we really need to improve the resolution on the print Phoenix it's a great product meant a great product but one of its shortfalls is its resolution so we said can we go back at it let's improve the resolution with that I kind of like to show you what we've been working on back in our print scenic area and so here is our print scenic printer I can't show it to you that's why I got it covered up but I am going to show you a little what we've been working on this is a printer we did a lot of research on trying to find some that would do it we've got some custom modifications also that helped us out a little bit can we kill the lights and and then we can show this a little better so we've got two fixtures here we've got a no ceramic ríos which is projecting now and then we've got a source for LED first generation and so I want you to key on this think about this look at this I call this my little happy face this guy right here look at the eyes the color the eyes the nose and a little mouth check that out let's put in a brand new print scenic look at that incredible higher definition on the eyes better color everything's beautiful look at the color on the full gobo you've got to see all the saturation is better all the color variations better vastly improved product incredible switch back again we got to look at this one more time look at that see the difference a lot more muddied a lot more struggling with the detail this is a fairly small image it's only about an inch and a half flip it back again Tracy you're doing a great job keeping up look at that that's beautiful incredible wonderful resolution wonderful color let's turn on the source for so we can see those side by side now you're going to see the side by side a little better so here's the original and you can see the colors got a lot more muted and the definition wasn't there you come over here Wow better detail all of this all the lettering all the color variation vastly improved products absolutely incredible the picture speaks for itself this is the Apollo print scenic gobos brand-new reintroduced as higher resolution better quality and just an incredible product check it out thank you you

so here we are on b2s the same day that we shot what exactly do we mean by daylight now we're doing another daylight interior scene and we're looking about ways to spice it up and one of the things that I was thinking of was introducing texture texture's just breaking up light when you have solid dull areas of your frame maybe or you want to just break up light and create a little bit of texture we use these gobos and we create texture and make visual interest exactly and if you don't know what gobos are they're basically these things that you put inside spotlights and we have a couple of options for gobos that really just make the lighting look more interesting if you ever heard something like a brancholores this is exactly what we're talking about and that's what we're going to explore today exactly yeah let's do it let's do it bro foreign so we got the crew back here setting up a couple lights one hitting the kitchen in the foreground we're gonna add some texture see what that does and then one in the background kind of splashing against that back wall the fixtures that we're using right now is 1 600x as well as a 300X both of those have the spotlight mount on them we're gonna put the Gobles in the lights and see what kind of textures we can get this is a gobo basically it's a shape that you throw in front of a light that casts another shape on another surface so there's a bunch of different patterns there's a bunch of different textures so in this scene we have the opportunity to light from motivated windows that are off to the right so we're gonna finish setting up some stuff and then we'll be right back with you so a lot of doing this is really subjective you can really do anything the fun of this is you can kind of craft your image you can create these shapes and these textures using these different gobos what we went with is in the foreground we have kind of a venetian blind it's basically creating textures on this back wall and that's just our foreground now in the background we chose kind of like a cucolores type of Gobo and what that does is it creates this nature Vibe like maybe there's a tree just outside that window it's also pulling our subject out of the background we don't want everything super bright we want our Focus to be in this like centered framed Wes Anderson style shot so do it to your taste you might want to choose a different Gobo for yourself maybe in the front you don't want that even venetian blind maybe you don't want to go with anything I turned all the lights off and I even liked that too what's cool is these gobos now come with customized shapes that you can make you can go put your name on something and shine it up at a wall maybe at a wedding or something the creativity is up to you choose the kind of shape that you want but I love the doors that this opens up for filmmakers they're almost like having different lenses on your camera except you have a lens on your light that changes up the character of that light so I'm looking at our wide angle here and I'm really liking it although I am noticing that on this wall here it's just a little too bright what I'm going to do is I'm just going to have them dim it down a little bit that's the first thing but I also want to like pull away some of these sharp edges so I'm going to have them defocus it as well on the spotlight Mount you can see as it goes from kind of this this kind of sharp line now it's all blurred out it's more subtle it's not as defined though we don't have those sharp edges kind of almost blending into the center of our frame which is our Focus point and our character right there in the middle so I love the flexibility that these gives us the gobos allow us to do that and because we're in the spotlight Mount we can defocus it's all about these tools that you have around your belt and just being able to pull those out again this is all subjective it just comes down to your taste what you see and you know if you're inspired by the way the light's hitting the scene then you're starting to develop your own style and that's really cool I know as I'm maturing into you know making more realistic natural looks or at least looks that I'm aiming for this is something that I hope to continue learning so the key here that I've been learning a little bit more and more is not to overlight it don't go too hard on it some might argue that this was already too much some might not but this is that's the point it's subjective it's up to your decision how you feel how you like it you look at the image and if you want to change it change it and the last little bit we have to do is just add some Haze and then we are on and rocking let's get it let's go guys [Applause] foreign [Applause] [Music] [Applause] no of course not everyone has access to all the gear in the world maybe you just have one light maybe you know just rocking one 300D or even a 120d right now we got a branch of Loris an actual real Branch that's hanging up on a c-stand and we're just shooting that light through and we're gonna see what it looks like compared to the actual gobo foreign [Music] actually looks really good I think it looks good I think the branch Loris it's natural so it actually looks the most natural so yeah it even looks better than the cucar sometimes do you want to shoot it let's shoot it [Music] foreign [Music] [Applause] [Music] foreign that was cool I thought that turned out really cool I like the way it looked what do you think yeah it's such a simple scene yet there was so much Mastery behind it because we added these techniques we played around with all these options and hopefully you got a lot out of just seeing exactly like oh like what one pattern does and what another pattern does even something as simple as a tree branch you know hopefully it motivates you to put this Into Your Arsenal and just get really creative from there absolutely sometimes it's just simple we want to teach simple stuff and we had a simple scene and I thought it looked great exactly we got one more thing to go right yes we got our comment question as always and don't forget put your comment questions down below anything filmmaking related but from Swiss color one thing I always wonder when looking at your tutorials what color temperature is the camera set to you use a 5600 Kelvin light source as well as 3200 Kelvin so how do you decide what you set the camera to in order to get the right look so that is a great question thank you guys for asking I'm don't think there's a right answer right with filmmaking it's so open-ended it depends if you want a warm kind of look raise your Kelvin higher if you want the look to be cooler and you're looking on the monitors there's a lot of warmth in here I want to cool it off a little bit bring it down lower it's there's no right answer I'm a rule breaker the way I look at it is like you start off with yes 3200 Kelvin 5600 Kelvin depending on the lights that you have in your Arsenal you know you may be working with more tungsten heads than LED heads but it's all about kind of working with the lighting that you have available to you and the color temperatures that they have because you want to achieve the the best skin tones possible and the way that you do that is when you set your lights to complete white and then it's a marriage of like both your white bounce and camera and white balance of your lights so that's a great starting point obviously from there you know you can do anything from gelling them like blue or orange to get any sort of color or tone that you want I totally agree let's get out of here I'm tired but before we go please subscribe here's our Social Links down below subscribe comment tell us what you think how would you guys use gobos I'm tired let's get out of here yep all right absolutely see you guys see you guys peace [Music] I'm back on my grind again now let's let's alter that just a tiny bit I can do it that was good

how to use gobos to create special lighting effects a gobo is a perforated metal or color stained glass disc inserted into the gate of a spotlight between the lantern and the lens the light is projected through the gobo to create highly detailed patterns or special effects go blows can also be used with special gobo projectors in which the gobo is placed directly in front of the lens for the same effect the term gobo is a shortened form of goes between or goes before optics and was minted in the theater film and television industries since then the term has expanded to include any form of light blocker in photography the term refers to flags and cookies or keuka neurosis both of which are placed somewhere in the lights path but not inside or up against the light source the term even has use in the recording industry in which a gobo is a foam partition used to absorb reverb or placed between musicians so that each musician can be mixed separately this article addresses the original and still most common sense of the term for any theater film or television lighting technician a basic understanding of Goebbels is essential instructions know your go goes a metal Gogol creates a black and white pattern against a scene or backdrop its internal edges are distinct a glass gobo on the other hand can be dyed with complex ly color designs and or texture to diffuse areas of life within the design gobos of either type can be used in combination to create original projections know where your go go goes it goes between the lantern and the lens of the earth or Fresnel spotlight inside the gate slot since the light hits the gobo before it hits the lens the projection will appear exactly as the gobo artist intended if you are using a gobo projector the gobo goes in front of the lens outside the projector since the gobo is so close to the lens the clarity of the projected image is comparable to one produced by a nurse or Fresnel spotlight know your go bow holders come in tab style sandwich Stalin the host of others some of them are easier to load some of them sturdier try out a few different makes em models try your hand at using rotating go bow holders projectors these machines come in single double triple and larger arrays you put your goebbels in the gates and you are good to go flip on the power and watch the fireworks

hello my name is Joel Nichols I'm with Apollo design technology we are the world's largest producer of gobos and I'm here to talk about Globus today so I often get questions asking me how is our gobos made differently than the competitions and so we're number one in the market number two in the market is probably Roscoe and so I brought a Roscoe gobo with me and so obviously we're going to Orosco Google Apollo Global comparison and there's three primary reasons our goals are superior better just an incredible product and that is our product is thicker than the competition's our product is laser-cut giving it a straighter wall and last if non-magnetic materials so the material itself is a better quality material than our competition if I if I grab my micrometer and I've had this one for 30 years the Roscoe gobo is 6,000 thick and sometimes it will actually run product and 5,000 that I've seen that before with most of theirs is 6,000 ours is 8,000 stick so the thickness alone you're going to get about thirty percent more life than Orosco go bond thickness alone it gives a nice robust prot really holds up well the second thing is that ours are laser-cut which means it's going to have a very straight wall so you've got a thicker product with a straighter wall a edging process puts a little taper in and so as the product is in the light longer and longer it starts to change its form slightly and the laser cut straight wall will hold its form and image longer than an S cut the last quality and that is Rosco gobos are all made with 400 series stainless and so if you take a magnet and check Orosco go black actually lift it up it is magnetic I try to do the same thing with the Apollo Global it's non-magnetic it's 300-series stainless so the Apollo Global has more chrome in it and more nickel in it that's going to get a lot more life so on average the Apollo Global will last thirty to forty percent longer than Orosco go go for the same application the same lighting fixture just a vastly superior product so those are the three primary differences there is a big difference we make a better product that's an end of sentence remember we've got both thicker laser-cut and better quality material thanks