That said, working with one light is not only very flexible, but also portable, allowing you to create tons of great images as you learn the ropes of off-camera lighting. I’m betting the deeper you delve into OCF, the faster you’ll discover more lights equals more flexibility and creative options. For many, this is due to the intimidation factor, while for others, it’s simply a matter of budget. Most of us start out working with one light.

These are all very easy, and will work with speedlights, strobes and constant light sources.

I’ll lay out the pros and cons of each, and break down some of the images from the two shoots I did for this article.

To build on my article last month on off-camera flash systems, I want to introduce you to some easy off-camera lighting setups featuring one, two and three lights. Shutter Magazine is the industry’s leading professional photography magazine. Launch the September issue of the magazine by logging in or signing up for a free account by clicking here. This is all fine and dandy, but I really miss working solely from Premiere, and the vastly increased performance that it brings.Want more information on this article? Get access to video content and additional supporting images. This makes timeline performance horrendous, but the total rendertime is “only” around 2 hours and 30 minutes. Same workflow as above, but I just embed the AE project in Premiere instead of rendering from AE. Result is much prettier than UltraKeyĪE Project in Premiere Pro. Additional rendertime is two hours, bringing the total to five hours. This nets me no GPU acceleration at render, but timeline performance is great. Put the rendered view in Premiere Pro, and work as normal. Apply the Keylight effect in aftereffects, render to 10Bit Cineform, which take around 3 hours to render. Rendertimes are great! 100% GPU usage, and around 15 min rendertime for a 20min clip, and an incredibly workable timeline.ĪE Render in Premiere Pro. Premiere Pro only: I apply keylighting in Premiere Pro via Ultrakey, and get a mediocre result. All material is shot in dnx hr hqx 4k on a Ninja Inferno For all three I use my greenscreen studio with 5 lamps – two front, two for the greenscreen itself, and the last for back lighting of the subject.Ĭomputer specs: 7700k 4.9Ghz, no AVX offset. I find myself in a bit of a struggle between After Effects powerful Keylight, and Premie Pros lesser Ultra Key.

Using keylight 1.2