So...I went to the link to see what it was all about.
Well! I have been contributing to this forum for a long time and I have clicked on many of the links that folks have suggested. I disagree with some of them, others are good resources. Many of them are just full of HYPE and folks trying to sell stuff that is not really the right equipment for the work they are supposed to be teaching about. I have never commented on any of the U-tube and other videos that I disliked or disagreed with. It was just that the introduction that kinda turned me off. The presenter said "KILLER" product shots numerous times and used many superlatives like "cool, awesome" and "how cool is that" pertaining to a lot of flat uninteresting shots. There are many ways and alternatives in doing all kinds of photography but this video is just full of bad information. Sorry for the bad news- the presenter comes from Brooklyn- so do I, so I like plain straight talk!
He spent the first several minutes talking about the Cactus speedlight equipment and was basically fumbling with it. He created a video and did not have all of his settings and exposure lined up. If you're trying to sell the stuff, at least, learn how to use it smoothly and accurately.
Then he expounds on the virtues of cross-lighting- 2 equally powered light on each side of the subject. That is good lighting for falt copy or mugshots at the police station. Remember I mentioned making "portrait-like images" of still life subjects- not mug shots! He extolled the beauty of that nice little Leica M-3 he was photographing but he did no bring out the classic beauty in its design or the brilliance in the lens. Then he went on the talk about including and excluding the ambient light in the exposure. If you are doing a product shot with electronic flash, ambient light has nothing to do with it. Keep the room dimly lighted except for the modeling lamps and shut them off before the actual flash exposure if you are concerned about them bleeding into the exposure. He brought his shutter speed beyond its synchronization limit to ostensibly eliminate flare or background washout that was actually due to his background lights that were accidentally left on at full output.
The presenter also mentions the fact that you can do this kinda work with the gear you already have lying around and then proceeded to use 4 speedlight, 2 umbrellas, and two light stands. For the price of all that stuff, you can probably score a nice little monolight, a softbox, a boom stand a couple of reflectors. Then he gets into radio-controlled triggering and TTL exposure settings. In a small set up like this, all you need is one good light, a softbox and you can hardwire it to the camera. Exposure can be determined by a few test shots and the standardized for the basic setup.
He admits that he does not want to produce "moody" shots and probably doesn't understand that directional lighting can also be "even". So-called "KILLER" shots should have viewer impact, mood, dimension, and selling power! Even still life images that are made simply for artistic expression should have some of these attributes.
Please understand, I do not pontificate that the method I have suggested on this thread is the only way to do still life tabletop work. There are dozens if not hundreds of time-honored methods. I have used umbrellas, softboxes, raw light in parabolic reflectors, bare bulb, daylight, window light, skylight, Fresnel spotlights, tungsten, flash, lighting tents, LED, and mixed lightings. I recommend, however, a basic simple method, at least, to get new folks started on the lighting principles. More lighting units and other methodologies can be added later on.
There is nothing wrong with speedlights, however, they do not have modeling lights and unless the photographer is already very familiar with all the required lighting forms, and can guesstimate positions of the lights, good lighting will be difficult to achieve without endless trial and error. Modeling lights proved precise control and are especially helpful in LEARNING to create excellent lighting. Once you know what you are doing with your main lighting source, speedlights can be added to boost background intensity, etc., however, another set of monolights would be ideal.
I also fully understand that many good photographers receive sponsorship from equipment manufacturers, importers, and retailers and they have a perfect right to endorse whatever kinds of equipment they like. The least the can do, however, is to get all their ducks lined up, write a script and devise a logical lesson plan before producing a video and show the best application of the equipment they are demonstrating.
Sorry to say- that video is not worth the time to view it! It's a mess!