All language subtitles for 24-TheaterShootCapturingInTheSeats.mp4

Let's move on to shoot three, work our
way down to the simplest

of the three chutes.

This was

lounging on the edge of

the row.

And this is just like the third row in.

And what I wanted to do for this is I
wanted to make it a little bit more

visually interesting by streaking

one of those spotlights across the top
left corner of the frame where not much

else was happening except for the

seats.

So I just want to make something look a
little bit interesting.

But unfortunately, lights very hard,
not really particularly flattering.

So right next to it, I brought that
five foot octa in, positioned it

relatively close.

It uses a softer light, and it gives me
a prettier look to what that light

would have done.

Now with this particular light,

I actually think the way it turned out
it's not quite as perfect,

but I prefer it.

I have a couple instances where the
light is a bit more flattering, but I

actually prefer it

the way it ended up because it looks a
little bit more authentic to

the environment.

And we'll talk a little bit more about
that in just a moment.

But in the meantime, let's see how that
turned out.

You

stretched out just a little bit more.

Can you sit?

on the end of the seat.

Yeah,

that's nice.

Yeah, this is much better.

That's great, right there.

So my issue is based on the angle.

I'm losing a lot of her dress.

I'm losing a lot of her dress.

It's making her look

Shorter than she is.

So what I'm trying to do

is

show her length.

So I'm trying to figure out how I can
create a compositionally interesting frame

in a way that still makes her look

nice and long.

So that's what I'm trying to work
through right now.

Nice,

beautiful.

That's great.

I'm just not shooting her feet.

That's my solution.

That's good, really good.

Yeah.

I just need to see, exactly.

Got to say a little bit more to the
light.

Nice,

good.

This is really nice.

The wide really does look.

Nice.

Beautiful.

Can you turn that light to me a little
bit?

Please?

The spot.

Aha,

you go.

Right?

I got a lot of Hays.

So where's the words.

The fan at

it.

Hey, Guinea.

So we got to get the fans,

too,

and then give me a favor and

angle that back a little bit to how it
was.

That's nice.

Good.

And then, face to the light for me.

Good.

Angle the light just a little more to
me,

yes, please.

That's great.

So the thing about the thing about
working with a hazer is, when it comes

in at first it's usually really thick.

And

that is sometimes the effect you want.

If you're in a smoky club or a
nightclub, and you'd want to make it

look like that.

But if you just want to make it look
like a normal room,

the trick is quite a bit less heavy
handed on the haze.

And I'm kind of going for somewhere,
slightly in between the two.

So it's just a matter of once the haze
comes in a little bit too thick.

You've got to blow it out with a big
old fan.

It's a little bit hot.

The octa is a bit hot.

It's too, right

down.

So, well, you didn't just turn it at me

off a hur a little bit.

Good.

That's nicety.

That's nice.

And I turn the head back just this way
a little bit.

Good.

That's beautiful.

Really nice.

Good.

Turn the face a little more.

Good.

Now, turn it back to her a little bit,

because now I lost it completely.

Bring it to me.

Let me see it.

Can you turn that foot?

So it kind of sits like this

one.

Will that work?

If you bend it kind of work

with both.

So you're kind of sitting in a little
bit more of a wider stance.

The knees are kind of

out a little bit.

Yeah, that's fine.

I'll try that.

Very flary.

What's the power on it

down to two.

Much better, much better.

The thing with making these spots work
is they either have to move across the

frame so you can see the beam, or they
have to point at the frame.

So it flares at you, looking at the
cross and looking at the flare.

I preferred the look of the flare on
this particular shot.

The downside of the flare is.

It was too bright, so I turned the
power down.

I went from five to two, so I brought
it down.

Three stops.

Turn your shoulders to me just a little
bit, but keep the face to the light.

Beautiful.

Right?

That it's great.

I'm just trying to make her look,
because sitting poses are kind of

awkward.

Trying to make it look a little bit
longer.

Give me some environmental stuff.

And

that's really all it is.

With the dress.

Yeah,

good.

Arm.

Back on the arm, for me,

on the arm

of the chair.

Sorry.

You got good?

Yes,

ok,

turn your face to the light a little
bit.

Just look off

shoulder.

Down and kneck a little bit longer.

Just kind of like you're looking at
somebody

open the chest.

To me, just a little bit good,

rolled a shoulder in

there,

head up a little more

nice.

All right.

So you can kind of see that one, in
particular, was a little bit more

loose in terms of the way I was moving
around, the way I was configuring the

lights.

That was one of those instances where
it was like, hey, we got 45 minutes to

set this up and get this shot.

And so it was a matter of doing it
relatively, quickly and efficiently as

we could.

So that was kind of the entire way we
were working for that image.

And

as I said before, this was the least
complicated of all of them, by a mile.

It was just too light.

We had one light that was creating the
spotlight effect, and I had another

light that was

creating the main light on the subject,
or filling in the light a little bit more,

in, creating a bit more of what that
key looked like.

And that was the five foot octabox.

And the multi spot was creating the
spotlight effect.

You also saw a little bit of Lindsay,
holding that flag in place.

And that's because that light was
hitting a very white dress.

And it was causing a lot of highlights.

And so that flag was there to kind of

keep that brightness down a little bit.

That's what that flag was doing.

In those particular images,

I was alternating really quickly in
between

a few different lenses there.

I was using the ninety millimeter lens.

I was also using

the white angle lens that I was using a
lot of those shots.

Ultimately, the shots that I liked the
best were the 55 millimeter lens.

And this one over here I will show you
is probably the one that I liked the most.

That's probably one that I like the
most from the set.

I liked her.

Her expression, I like to pose it felt
kind of natural a little bit candid.

Also showed the environment

quite a bit, which I really liked.

You can see that the flair over here,
it makes it look like there's a

spotlight effect.

And even though I would probably look
at this image under a lot of the Rules

that people will tell you about
lighting and say, it's not like,

there's a highlight on the nose, and it
feels a little bit rough,

I actually like it because it feels

natural.

Whereas with this particular image,
which is also another one I like

the light's a bit prettier.

And this one feels a bit more fashiony,
where the other one feels a bit more,

the other one feels a bit more
cinematic.

Portrait.

Again, not that either one is right or
wrong.

I'm more drawn to the image on the left,

And so

that's kind of the image that I would
probably gravitate, even though the one

on the right

would be the

better

lighting.

So that's not necessarily always the
right, the right move.

This is also something that I addressed
earlier on,

be careful about a haze machine looking
too smoky.

It doesn't work in this environment.

The smokiness doesn't work.

It doesn't.

Why would a theater be smoky?

Right?

So

that's probably why I would grab, just
keep out of mind.

We said, hey, let's scragg, the fan
let's move it out.

So you've got to run it so you can get
it and then back it out as well.

And so these are just, you know, a few
of the other shots.

And you can kind of see how it breaks
up that background a little bit.

She's kind of in the direction of the
light.

And that was just a few of the images
that

I ultimately

liked and wanted to go through on that.

But

this was ultimate, was ultimately the
one that I thought was the strongest of

the set.

And so

we've kind of paired down in terms of
lighting.

And I've shown you a few different ways
to deal with the scene, from the very,

very complex

to the very, very, relatively simple by
comparison.

But they all still fit together.

And that's really the point.

They have a very similar feel.

They feel like they could be a part of
the same set of images.

Even though they are all lit
differently, they look differently.

They're all really achieving,

very fundamentally similar goal.

So

now that we've kind of looked at that,
take some questions maybe on shoot.

Three,

forgotten questions over there.

And, yep, yeah, yeah.

This question is about, do you always
try to get lighting in the camera?

Are there any post production tips for
people that can't afford all these

lights?

Like, can you accomplish some of this
impost

so

you can fake certain things?

So, for example, I could show you how
to kind of fake a spotlight a little bit.

It's not going to be the same thing,
but it's

close.

So I generally always try to get it

significantly close in camera.

There are times where you're going to
need to make a concession in one waver

or the other.

Either

excuse me, you are missing stuff.

You don't have enough lights

you can use.

You can help augment some things.

You're running out of time.

Hey, we don't have the time to get this
hundred percent right, because we're on

it or down.

We've got to move along through the
shots.

See, there are certain times you can
fix some things.

For example, I'm going to show you guys
this a little bit later.

But like listen, I would have loved

to have a light that was powerful
enough to create the spotlight effect

on the stage where I could see it.

But I didn't.

So I'm going to make the spotlight on
the stage in Photoshop.

But everything else is there.

Like this, is there?

The beam?

Is there?

The light on the face is.

There are certain things you can fake.

There are certain things that

you can get away with faking.

But I will try to get it

if I can.

I mean, work on the day, so you can
save yourself, work later.

The pre production and post production
is by far the most time consuming parts

of all of this.

So why do you want to give yourself

more work to do if you can

avoid it?

That's kind of my philosophy.

So,

are you using capture?

One, I'm using light room light room.

Ok, what are your settings

to achieve that color tone?

Are you doing anything?

So this uses, and I'm going to talk
more about this

in the development.

I mean, it's white balance.

And

there is a little bit of play here in
the split toning section about it, a

little bit of blue to the shadows and a
little bit of warmth to the highlights.

But I will talk about that in the post
production section tomorrow.

All right.

Well, you guys,

I noticed that you're oftentimes
intentionally introducing flare.

And a lot of the new lenses, with all
these fancy coatings and stuff, are

actually fighting that

ability to do that.

You see,

how do you get around that?

Or do you?

Do you see a market for older lenses as
a result of that?

I mean,

there are definitely a lot of things
that we can do to minimize flare.

And

if I were to shoot, this is a start
with a new lens.

I mean,

I put a lens hood on this, it's going
to make flare less, but I didn't,

because I wanted it there, right?

The other thing is, when you put a
light at the lens,

you're not going to be able to
eliminate the flair entirely when it's

pointed at the lens.

And also, when you're using haze, the
flare is not just the light being at

the lens,

it's also lighting up the haze.

And so that's not a flare.

It just

kind of sort of looks like it, because
your light particles are catching light.

So like in this particular case, what
you're seeing lit up is a little bit of

flare, but it's also

the particle is being lit.

So there are ways

to kind of get around it.

But again, it's all about

what you want.

Like some people want the flare, some
people don't.

Yeah,

I guess I'm just wanting to know more
about you, and what lights you love,

and what do you get most excited about?

I don't know if I got to skip that.

I want to know my value.

Oh, ok, yeah,

I love shooting stuff like this.

I love things that feel like big
productions,

because,

like I said, I wanted to make movies
when I was a kid.

And so I kind of, I kind of get super
excited whenever I get to make

something that looks like this, or
shoot something that I wouldn't

normally get the opportunity

to shoot as often.

So when I'm doing personal projects, or
when I am able to really get away with

shooting something,

but has a big,

big body of energy and people behind
it.

That's the kind of stuff that I like to

mess around with.

So tomorrow

I'm super excited to show you guys what
we're going to do tomorrow, or we're

shooting on an airfield.

As I was saying to these guys these
earlier is, like, how often often do

you get the opportunity to shoot with

antique airplanes on an active runway?

Like that?

Kind of sounds crazy, cool.

It doesn't happen all the time.

And you get to go and walk in these
planes.

And I'm a sucker for

old things and antiques and stuff like
that.

And so I really, really like the
opportunity

see, see things, and

touch things, and go into places like
that that you wouldn't normally get to.

There's just so much history, like,
there's a richness to the history.

And I love things that have

a lot of history behind it.

I think that's just

one of my favorite things to do is
travel, and visit places that are

way old.

Like, I love going into museums and
stuff like that, and

just seeing things that have been
created and handled by people hundreds

and thousands of years ago.

I think it's

phenomenally fascinating.

And so

that's what I like to do, and that's
why I love shooting stuff that looks

like paintings so much it's.

I love things that tell a story, and
things that have a lot more depth to it

than just exactly what you're looking
at.

And so when I'm trying to create
images, I'm trying to make it look like

it's more than exactly what it looks
like.

I think when we start out doing
photography,

we photograph in words.

And so you say, this is a dog, this is
a baby, this is a squirrel, this is a place.

But I think the more and more you

understand

photography as a visual language,
you're able to speak in sentences or

paragraphs or short stories, or
whatever the case may be.

And I love images

that extend beyond that exact moment.

You want to know more about it.

You want to know, what's happening.

What's a story with this person what's
happening over here.

Why are they looking like that in the
room they are in?

I think that's what's phenomenally
interesting about

fine artwork in general, is the work
that

needs a statement to talk about it,
because

it's more than just what it is.

A project can be more than just what
the image is.

Maybe it's

the body of work, maybe

it's an artist's body of work that
speaks to something significantly Greater.

And so I think photography

has

a power to do that.

It has an ability to do that.

And I think when people are able to
reach that point within the medium

that's the kind of work that I love.

Question from online, do you,

when you're shooting cinematic,
cinematic portraits, you think about

the narrative differently and how
you're building it.

Is this story different for you, or how
do you think about this type of

photography differently than you would
other?

Yeah.

I mean,

I think

in this kind of work, if you are
driving an environment, it's helpful to

create a narrative.

And the narrative doesn't have to be
some really specific story.

I mean, it can be

very, very vague,

very broad.

The one that we're doing tomorrow is a
lot more specific.

There is a very specific story to
tomorrow's it's based on one of the

images, based on historical photograph

whereas.

This one was just this vague concept of

starlit in a theater kind of a thing.

And then my whole exploration toward
the image would be all right well,

what's going to make this interesting
to me.

Why would someone behave or emote or
pose in a way in this space that is

interesting?

And I love the contrast of, here's
someone in a beautiful gown in an

amazing space?

And then how would they interact in
that space

in a way that's compelling?

for me, it's all about the contrast.

And so

the performer or the introspective, and
for me, the introspective smallness and

the personal

expression of the shot, I always
thought was really a lot more interesting

in an environment like this.

If you look at,

so, step away from this for a minute.

But if you look at the painter
rembrandt's work,

Rembrandt was all about painting

very significant Scenes in a way that
was deeply personal

and singularly human to

this meant to be a very personal story.

And so he could create a scene that had

multiple moving elements, but it still
felt deeply relatable and deeply

personal.

And so

you could tell these big stories in a
simple way.

And that's what I like about doing
images like this, where you're creating

a bigger scene, which you're trying to
relate it to the person in a smaller,

much more specific way.