If I bring the light away from the wall, the gradient gets less dramatic. If I want a fast-falling gradient, I put the light in close. This takes the flash pattern out of play and makes the tone of the wall a pure distance thing - with a smooth gradient. I chose to aim the second flash at the back wall, using a dome diffuser.
Now our white wall is totally black, which means we can make it anything with a second strobe. This is all because of key-to-subject distance. Another bennie is that we have the ability to take that nearby white wall to black. Even dialed way down we will get plenty of aperture to hold focus through the face. So, our key is relatively powerful because it is in very close. You really need some sort of boom on this - gotta get that light right out front, and you do not want it moving. (I end up using that outfit chopped into separate parts just as often as I use it together.) The "boom" holding up the SB-800 / SB-III keylight is the flash arm off of a CSB Micro Mini. Here is the setup shot, courtesy Syl Arena.
Not nearly as out-there as what Peter Yang did earlier, but definitely on the same branch of the family tree. That's why the light gets darker as a crawls up Brett's head. Which, in turn, created a more coming-into-a-shaft-of-light look. This gave the shaft of downlight a more defined edge. So we gobo'd the edge closest to Brett with two strips of gaffer's tape to make a quickie barn door. Even so - and even with the control you get with the SB-III - his hair was still a little hot. Actually, it is even pointed a tad away from him and back toward me. The shaft is hard (-ish) and pointed straight down. If we come in high and in front of Brett, we create a shaft of "third-degree" -type light that you might see in an interrogation scene in a movie.
KEYLIGHT 1.2 HAIR PLUS
But the not-hard / not-soft look, plus total control, in a small package is too much to resist for me.
KEYLIGHT 1.2 HAIR MOD
It is really my go-to light mod for close-in speedlight portraiture now. I'll give you one guess as to what I used for a key light. This time around: High-axis key light with just enough strobe on the background to separate it from black. At left is Brett, who was lit right where he sat in a classroom chair in an unfinished commercial building with a primed drywall background.
KEYLIGHT 1.2 HAIR SERIES
If people need to see this, I can export a clip and provide a link to it but I've seen this type of problem in many videos that use keyed backgrounds so I assume it's a common problem with a specific solution.Last in this series we looked at Riaz, lit entirely by flash against a darkish wooden wall. I don't know what this effect is called, but is there something I am doing or not doing that would explain this issue? I repeatedly have this problem even when working with different subjects wearing different colors (obviously not green). This occurs over the entire subject, not just the face or his/her clothes. My problem is that, while the key itself doesn't look too bad, I get blackish artifacts on the subject, and when I play the video, it sort of has that analog-fuzzy look that moves.
Adjust screen shrink/grow to get rid of any lines around the subject. Adjust clip white to get rid of the black in the white area.Ħ. Adjust clip black to get rid of the gray in the black area.ĥ. Select the screen color close to the subject's face.Ĥ. I'm using Keylight 1.2 in After Effects to key out a green screen for an interview subject.Ģ.
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