High-Speed Sync- Combining Speedlight with Pack & Head

High-Speed Sync- Combining Speedlight with Pack & Head


It’s hot here in LA so we decided, “Hey, we’ll
just hang out in the pool with a few rocks, and trees and wings and smoke and things.” But hey, we’re going to teach you the principle
on how to High-Speed Sync your camera with an 800 watt/second pack and head system. Great thing to know. We’re excited about our first ever photo contest
here at The Slanted Lens. On August 18th you can post your images. The image with the most likes on August 31st
wins a Tamron 35mm 1.8 lens. So get over to theslantedlens.com/giveaway
or our Facebook page to get all the details. [Music] The reason you High-Speed Sync is because
I didn’t want F11 or F14. I’m shooting in the middle of the sun. I want to have a very small aperture which
will give me a shallow depth of field and let the background go out of focus. That’s one of the main reasons I High Speed
Sync is because I want to have a small aperture. This allows me to shoot my shutter speed as
fast as I need it to go to give me that small aperture and to crush the background. And it looks fabulous. One of the biggest issues you have with High-Speed
Sync is the loss of power which means you don’t have enough power a lot of times to
give you the f-stop that you want or to give you just the power you need to get the shot. Using an 800 watt/second pack is really a
valuable thing. So here’s how you do it. It’s a very simple process. First I’m going to put my speed light on manual,
and then going to turn on the High-Speed Sync and I’m going to switch it to 1:1. What it does is it tricks the camera into
saying, “Okay, you can shoot at faster shutter speeds now.” And that’s all it’s really doing is telling
the camera, “It’s okay to shoot at 1/2000 of a second.” If you don’t do that your camera will only
allow you to go to like 1/200-1/250 and then it just it won’t allow you to go any faster
than that. So when you put the strobe on here it is now
telling the camera, “It’s okay to shoot at 1/2000 of a second.” Now my Speedlight becomes a trigger method
for my strobes. This is an old way of doing this. I simply set my strobes on slave, which means
when they see an influx in light they go off. And then I take this and I did it exactly
like this, I pointed this away from my subject so it’s flashing this direction. I got a little bit of fill on her but not
very much. And I fired my pack which I have here on the
camera right side. So when that pack blows off, now with the
slaves on the other strobes on the setup here it sets those off. The hard thing about doing this in sunlight
is sometimes it’s hard to get your pack, the slave on the pack, to see the change in light
from the strobe. There’s some things you can do about that. You can put a little bit of black wrap around
the slave so it just is going to collect any light and it gives a little bit of shade on
it so there’s more of a light shade around it. That helps. Certainly, as you point it towards the strobe
that’s going off, it’s going to be more likely to go off. Get it as close as you can to the camera,
it’s going to be more likely to go off. Now you have an 800/second pack that’s going
to go off and you think to yourself, “Well, why would that High-Speed Sync with my camera?” Well, because the pack has got a long enough
flash burn that it covers the entire move of the shutter across the sensor. So it gives us a complete exposure. And that gives you a lot of power, but I was
High-Speed Syncing at 1/2,000 of a second to get rid of the sunshine around us so it
could shoot this not in the middle of the night…even though it took us into the middle
of the night to finish. But we could shoot in daylight and get rid
of all of that ambient light on set. Gives me the ability to control the background. And I get that kind of a little bit of sky,
a little bit of clouds, a little bit of trees back there, but I can control that with my
shutter speed. I’m sure you could High Speed Sync this even
a faster shutter speed than 1/2,000 of a second. So let’s break this thing down and see what
we’ve. First off, our setup. We put a platform in the pool. It’s a 4′ x 8′ piece of plywood. We’ve got a structure that our angel’s going
to sit on. We took and we clamped our wings to the back
of the structure so they’ll be right in the right place behind her. We’ve got a bunch of plants that Julian got
from Home Depot. And we’ve got fake rocks. In the background, I cut a bunch of branches
off from the trees in the yard and just covered up the edge of the pool with those. We did stick one of our old rocks back there,
kind of give it some kind of break-up in the background. So there’s that kind of our setup. I told Julian, “This is going to be kind of
simple. It’s not a big deal. You know, a structure, a platform, little
bit of water.” Julian’s going, “Are you crazy?” And it turned out to be a big deal. So now let’s talk about our light. I really wanted to have a nice light from
above, kind of this ambient light from above, angel coming down. So we got a large OctoDome above us, gives
us a nice beautiful soft light from above. But as she turns her head up, we get a nice
highlight on her face. As she turns towards the camera, we get this
kind of chiseled look on her face that I thought was really beautiful. And then we added a light from the camera,
just a little bit of light on her face maybe to open up the shadows just a bit. And then we brought in a fill card on the
camera left side and then a fill card on the camera right side, kind of opened her up in
the foreground. We then added one light directly from behind. It’s going to light our smoke up so we put
that right behind her. So it’s going to light our smoke up. The problem with smoke is it’s basically a
lighting tool. The more smoke you get on set, it reflects
light and you have less density in your shadows. You have more open shadows. So as the smoke got brighter around her it
started opening her up and made her a lot more bright. As it got darker around her it became a little
more dense and you see a little heavier shadows. So smoke is that way. It changes in every shot. We shot this with three smoke machines. A smoke machine in the front through a chill
box to give us smoke on the ground. A smoke machine on right and left to give
us a nice background. The one on the camera left really did most
of the work, gave us a nice background. We send the smoke machine through a box fan. As you tilt that up and down it just moves
the smoke up and down, gives you a nice painted background back there. So we got everything set up, we started to
shoot, we’d only shot about 10 or 12 shots. And then all of a sudden all the power goes
off. Someone had hit a power pole out on the street
next to us and we had no power. We quickly brought in generators, got everything
repatched, and started shooting again. It was a bit of a setback but we made it happen. Let’s take a look at some of the images. The way Lauren moved her hands and her arms
was just amazing. So take a look at some of these. There’s three people that really made this
happen here. If it wasn’t for Lauren Abraham, she was fabulous. She has a dance background so the way she
used her arms and her body was just incredible. I mean, that was fabulous and made this shot
work. Also, Teri Groves and Makeup Magik. I mean, she did a fabulous job. She did pale skin on her whole body and then
some great eyelashes just made this whole shot look fabulous. And last, of all, my sweet wife Julene, who
always makes it happen, wardrobe and other things. So there you have it, those three people made
it happen. So there’s our setup and there’s our lighting. And that’s how we High-Speed Sync our camera
to an 800 watt/second pack and head system. So keep those camera rolling. Keep on clicking. If you’re going to grow in your business,
you’ve got to get some help. You’ve got to get help from mentors and people
who can help you grow. I can do that for you. Go to theslantedlens.com, sign up for our
business material. It will help change your life. You can sit and think about business or you
can do something about it, and it’s time to do it. [Music] Subscribe to The Slanted Lens. Where do you get excitement like this? Only from The Slanted Lens! Subscribe. We want you. My mother subscribed, why wouldn’t you?

26 thoughts on “High-Speed Sync- Combining Speedlight with Pack & Head

  1. Incredible! Looking at hss with my Einstein 640's and trying to see how best to trigger them. So many questions about pocketwizards do you have a video going over the tt5 and the mini working with hss and strobes?

    As always amazing work, learning something new every video!

  2. Another suggestion is to buy YN-622C or N triggers. It has a built in HyperSync, like the pocketwizard. You can also fine tune the timing or let it to choose for itself just like Elinchrom.

  3. i liked this video 🙂 really good mood and information 🙂 i think its the first or second comment i do in your videos but i watch you for a very long time now, over an year or 2 x)

  4. Great video…..Always some useful tips from tour shows. Thanks
    ….So I could use my old bowens head with my canon 580ex flash and get some hi speed sync images?

  5. No offense but for all that work and some of the images have a pole going up the angels butt. Photoshop to the rescue…

  6. @1:27 you started explaining how to do it. Putting the flash on manual and turn on HSS so it tricks the camera. Well guess what? The camera is not being tricked whatsoever. Once the flash is on the hot shoe the camera goes back to its Flash X sync speed 1/200 for my D5300 and blocks me from going any higher.

    Is this related to a firmware update they did recently according to that your clip is like 2 years old ?

    Is there any other trick ? What about going -EV on Ex. Comp like 1 or 2 stops? Will that help

  7. Are you just shooting in the area where there is no black shutter line? I have never heard of this working and getting full frame.
    How many watt seconds were you using with the Dynalite pack?
    Also why 400 iso?
    Thank you

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