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here in a photo studio today discussing
the principles of TTL flash using the
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Profoto off-camera flash system that you
see behind me a five-foot RFI octa it's
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fitted with a pro photo B 12 the model
aight battery-operated system right and
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I got TTL control over it if you see
that size of light especially in a
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studio historically you would say that's
a manual light I have to go over and
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adjust that late it's got manual
controls only but the beauty of the
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Profoto system is not only it's got this
tremendous array of lightsabers it also
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has now the new technology of TTL
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able to stay here at the camera with an
air remote and talk to that light
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alright relax for second PTL through the
lens it means basically that the camera
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is judging flash exposure relative to
what the camera actually sees so the
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only information that is being
translated actively into judging the
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exposure the flash is in fact the frame
of the camera the camera discerns the
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information that it views through the
lens and then uses that to factor the
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flash exposure
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there are two flashes that are involved
in every exposure one is called the pre
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flash which emanates from the flash
prior to the actual exposure what that
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does is it limits the field of view of
the camera and gives the cameras brain
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something that you on information you
know about color and reflectivity and
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all that kind of stuff that the camera
needs to ascertain to tell the flash how
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to behave so what the camera and the
flasher doing basically is having a
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conversation the pre flash pops out and
the camera judges that and then it sends
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a single that to the flash this is how
much light to put out or how little late
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to put out it is actually a conversation
that the two units are having here's
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what you do with a location is like
peeling an onion right you don't leave
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until you get all the layers of it done
and with a TTL system like this it's
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perfectly tailored to do that kind of
maneuvering because you are moving fast
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and the system keeps up with you here we
go
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group a channel 11 light it's with a OCF
umbrella that got a diffuser rabbi is
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kinda like an umbrella box some folks
would refer to this like we got there ok
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and I know why do TTL first frame right
out the box gets me in the ballpark this
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is perfect rain I don't really have to
do too much
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which is nice you know I can concentrate
on the aesthetics I can concentrate on
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the emotion I can concentrate on paying
attention to my subject alright so kind
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of proof positive I just went from five
point six on the fly to 1.4 and there
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was no change in the exposure me know
it's obviously a change in the way the
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light handled itself a remote took that
information from the camera decoded it
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went over to light and a light responded
so I went to High Point 62 F 1.4 on the
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fly