{"id":41230,"date":"2024-03-28T14:37:04","date_gmt":"2024-03-28T14:37:04","guid":{"rendered":"https:\/\/dev2024.spyder.datacolor.eu\/spyder\/?p=41230"},"modified":"2024-04-09T17:22:50","modified_gmt":"2024-04-09T17:22:50","slug":"the-fast-furious-by-hernan-rodriguez","status":"publish","type":"post","link":"https:\/\/www.datacolor.com\/spyder\/blog\/the-fast-furious-by-hernan-rodriguez\/","title":{"rendered":"The Fast & Furious by Hernan Rodriguez"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]The Fast & Furious; Noel Gugliemi \u2013 The Quick & Easy; Spyder Checkr Photo<\/strong><\/p>\n

I had the magnificent pleasure of working on a multi-faceted photo shoot with actor\/philanthropist Noel Gugliemi, from the blockbuster movie series, The Fast and the Furious. The purpose of the shoot was to create a range of images to be used for editorial and publicity purposes. I was initially contracted by talent agent Gloria Hinojosa of AEFH (Amsel, Eisenstadt, Frazier & Hinojosa, Inc.), in which we discussed the planning of the photo shoot. Noel had not done a professional session for well over twenty years, so our intent was to create as many looks as possible in a three-hour session.[\/vc_column_text][vc_empty_space][vc_single_image image=”41231″ img_size=”large” alignment=”center”][vc_empty_space][vc_column_text]SHOT LIST<\/strong><\/p>\n

What Gloria needed from the session with Noel, was specific, and quite straight forward. Nothing conceptual or requiring extensive storyboarding. A clean publicity shot, highlighting him in the best possible light, a commercial head shot, which is also used as a press shot, and a theatrical publicity shot. We also were able to create an editorial lifestyle shot and one outdoor shot with a classic GTO car, which was to be used for an upcoming project, plus, fast cars are synonymous with Noel\u2019s brand. To keep the focus on Noel, we used clean backgrounds, relying on great, authentic expressions, and strong character lighting. It seemed simple, but to accommodate the range of looks, the style of lighting had to be adjusted every time. Using the new Spyder Checkr Photo came in quite handy. In photoshoots that are fluid, indoors and outdoors, I can keep it in my back pocket and grab a shot before every lighting change.[\/vc_column_text][vc_empty_space][vc_single_image image=”41241″ img_size=”large” alignment=”center”][vc_empty_space][vc_column_text]CREATING A STUDIO ENVIROMENT<\/strong><\/p>\n

I often get asked whether or not it\u2019s a good idea to have, or work in a home studio environment. My take on that – It depends on the job and the client.<\/p>\n

For my commercial work, new clients, or most celebrities, I often shoot in a commercial space. This opens the opportunity to create multiple setups with varied lighting, and the subject just walks in on set.<\/p>\n

In my initial conversation with a client, I determine if I\u2019ll use my home studio or a commercial space. Clients are often quite content shooting in my home studio for reasons that include privacy, or there may be a scheduling conflict with a studio rental, or simply that my home location is more convenient. Ultimately, my clients are confident in my work and trust me, which makes them comfortable and open to my suggestions.<\/p>\n

One important note to keep in mind when working from home is \u201cfirst impressions are one time.\u201d Maintaining a professional and clean working environment is essential. The more you can streamline your environment, the better it will make for a creative space. Having amenities such as a vanity room with hair and facial products, a large body mirror, as well as an allocated changing room with a wardrobe rack is important.<\/p>\n

Just as important is having a set place for refreshments, snacks, fruits, and if the shoot runs long, an actual lunch break. When working with a makeup artist, you also need to create a comfortable space for him or her, a table for the makeup tools, and make certain you have great lighting available for them.<\/p>\n

Also, have several seating options for your client. For the clean headshots I usually will have one posing stool without any backing, one or two decorative chairs with arm rests for the publicity shots, and a posing table, which helps for hand placement, and are good for expressive theatrical closeup shots.<\/p>\n

For theatrical shots, low-key lighting with strong character expressions are quite commonly used for actors. I usually like to suggest an expressive attitude for my subjects to adopt, such as confidence, or an alluring, pensive or stern look. Lastly, I have a couple of apple boxes with a neutral finish at the studio, which are great for foot placement and can be used to seat your subject.[\/vc_column_text][vc_empty_space][vc_single_image image=”41251″ img_size=”large” alignment=”center”][vc_empty_space][vc_column_text]SETTING UP LIGHTS<\/strong><\/p>\n

The first thing I had to consider was the amount of natural light in the room. Though the shoot was to take place in a large room in front of three large bay windows, it was still not enough to affect my overall exposure when shooting with strobes as my shutter speed was over 1\/60th of a second. Dragging my shutter speed any lower would register the ambient exposure. Initially I thought of creating some portraits with natural light, and adding an LED light as a kicker, but after testing, even with an ISO in the 400-800 range, my shutter speed would be in the 1\/30th to 1\/60th range, and would have required a tripod, thus impeding a natural flow with my subject. Since these were for commercial use, I also needed sharpness throughout the entirety of the image, so I decided to shoot strictly with strobes.<\/p>\n

TIPS:<\/strong><\/p>\n