|
"shoulders" and too-dark front labels. Tents also do not lend themselves well to stark or dramatic high-contrast lighting moods. Another problem with high-angle broad sources, like silks, is reflections in shiny subjects. Reflections easily "tuned out" in a conventional shot become impossible nightmares to tame when everything is moving a few miles.
The only workable answer for a high-contrast mood is a relatively low-altitude, but well off-axis key and fill arrangement.
Since wide angle lenses are most commonly in use, product backlight or rim lights will have to be managed carefully. Tiny french flags will have to be made from small pieces of black wrap or black cardstock. You will also find that small reflectors--often smaller than business cards--placed in a critical location will give you a fine deliberate highlight or fill where nothing else will do.
Motion Control Trade Secret Number Four
A famous adman once said, "...the job of advertising is to nail down an idea with a vision, or an emotion." And that's what motion control is for.
Just imagine...
It is Thanksgiving. A dining room table is exquisitely set. Dreamlike, the camera flies low, like a tiny helicopter, barely skimming the fine crystal and antique silver of our sumptuously laden feast. The scene is all about color, texture and movement. As our fanciful flight nears its end, the client's product dissolves in --- that's just one of the simpler things motion control can do.
It is nothing less than an exciting new way of viewing. And, considering its terrific visual impact, it can be accomplished with surprisingly simple and affordable methods.
--30--
|
|
