When I first got into photography, flashgun was something stuck in the camera's camera accessory and connected to a short-range computer compartment. At the most advanced level, the PC cable was not required, and the camera and the flash both had a hot shoe connection. All it did was produce crisp bright light, timed to coincide with the camera that is fully open. The art of photography in films was all the question of calculations and the best guess changes.
The main problem with filmmaking in movies is that the description can not be seen until printing has been made. In addition, the location where flashgun is attached to the camera is less than ideal for some types of photography, portraits for example, as it produces very flat light and throws visible shadows. A good result, therefore, requires the photographer to understand how to use this installation, and knowledge is a result of careful experimentation and experience.
There are two things to be successful in filming. The first is the right exposure. Each flashgun has "suggested numbers" for each movie speed (although the number of 100 ASA / ISO is most commonly used), and this figure is based on the flash flashing directly on the subject. The higher the guide number, the stronger the brightness is, although some output tends to dominate their abilities. It's important to know the navigation number for your flash.
The second piece of information required to calculate the correct exposure depends on the distance from the camera. If a direct tin is used with an SLR or remote control camera, this measurement will be easy to set up. Calculation calculation is the route number, divided by distance, and the result is equivalent to the aperture required.
Guide Number = Lighting
If flashgun has guide number 80 and the subject is 10 feet away, aperture f / 8 (80, 10) is required. Shutter speed should be incompatible due to the need for synchronization of the flash communication buttons (ie generally 1/60 second). With blisters, everything is slow, as long as the camera's speed does not go beyond the flash duration (but with normal electronic hours of approximately 1/100 seconds, this should not be a problem).
Some glossy pads have a small illumination guide printed on their cover, which shows the appropriate f-stop for various distances (the calculations have been made for you). Others have a "calculator wheel" where the distance (and movie speed) is checked and the aperture indicated (as a manual-controlled exposure meter) is recommended. In addition, some explosions require the user to work in meters rather than feet.
Someone who is serious about shooting in movies may wish to experiment with his flash and take some bracketed exposures to a test image (ie with changes to the f-station used) that enables the recalculation of the True guideline numbers for their gun based on best exposures in their experiments (ie distance x aperture = guidance number).
Further exposure calculations are required when flashgun is used by the camera or the LED is modified differently. Both of these methods can improve the performance of basic shooting.
Some of the better (yet simple) flashguns have articulation to the light source. This usually slopes either by 90 ° (ie points in the subject or straight up, and all angles between), or side to side (and sometimes they can do both). This allows light to shoot from a close reflective surface to the subject. The headlight has more dispersed nature and will throw a softer shadow. Its direction (from the above-mentioned sides) can probably resemble natural ambient light. Suitable reflective surfaces should be white to prevent the lighting from being colored: Loft is often a good bet. The photographer must aim at the flash at an approximate point, as the light will reflect back on the front of the subject (somewhere between the camera and the image).
Adding the total distance from the camera to the mirror at a distance from the reflector to the subject and the division of the guide will approx. Determine the open size required. Some descriptions will be lost, so the aperture needs to be raised with one or two f-stations: Exactly how much increased exposure is given is a matter of experience.
If flash mode does not rotate or tilt, it can be used from the camera. This installation has some inconvenience. The flash must be mounted on a tripod (cold tripod clutch shoes are included), as well as having to connect the flash to the camera with a longer drive. Improved lighting is often realized when the light source is away from the camera and in the corner of the subject (with or without bouncing). As with flash flash, something that is important to acknowledge here is that flash photography is not necessarily done at very low brightness and it will often become an environmental light. Moving flashgun outside cameras enables it to take place as it will not shed a shadow that fits the natural light. Sometimes a very powerful flashgun is not a useful tool.
Some tones come with a white translucent diffuser. If you buy the accessory, these accessories are often missing, but it's easy to create home-based operations by using something similar: paper webs that have an elastic band can have the same effect. This distributes the light and reduces the intensity of the flash and thus reduces the high shadow.
As before, the exposure determination begins by dividing the control number with the distance, to obtain the required light setting, and then add additional stop (or two) based on the thickness of the distribution and experience. It is also possible to simultaneously spread and jump on a flash.
Other Ways to Use the Flash
I just touch this here because the content is big enough to fill another article, but there are many other ways that simple flashing can be done use (rather than simply install it on the camera and point it directly to the subject). This includes an outdoor window, a flash and the use of more than one flashgun.
Becoming drowsy with a flash shot takes experience of experimentation, but there are some simple rules that will follow you to take some guess and get into the ballpark intentionally and a conscious description.