All language subtitles for 31-StaggeredPlanesLocationSpecificsAndMotivatedLighting.mp4

So we've taken a look at the first
shoot so far, which was a lot of fun

and was really focused on recreating
something pretty authentically, or at

least to the best of our ability.

For this one, we were looking to do
something a little bit more

of a bigger production, a little bit
wider, a little bit more involved, and

not rooted in something we had to
adhere to

quite so specifically.

So just to throw this back up on the
screen, this was the source material

that we were working from.

And it gave me a general idea

of what I wanted that composition to
look like.

You can see the bigger plane in the
foreground, the spitfire in the

background.

I've got someone standing on the back
of the spitfire, which I thought would

kind of give me a little bit of visual
interest.

Back in that corner, I've had the two
guys interacting in the foreground.

Now, I also, for this shot, only have

two subjects.

And when I was looking at the
researching, the

source kind of images for this, the
ones that I really like, with the ones

that had like a lot of different people
in the scene.

And so what I would do, in addition to
having the scene created over on the

left hand side, was I actually had them
kind of like take off their hat and

move around the scene.

And because they're all out of focus,
they got to play multiple roles in the image.

And so we're going to go ahead and take
a look at the intro to this and get us started.

So we're setting up here for shoot two.

So I want to take you through
logistically, a little bit of what's happening

now, for the most part, the entire
approach to this particular shot is

very similar to the first one, of the
theory behind it.

What is motivating?

The shot,

really, pretty similar.

So again, I'm using

scrims.

This time they're stacked

one on top of the other to give me a
little bit more,

a little bit more coverage for my two
subjects standing up.

Because the light has now moved and we
have changed positions.

So the lights a little bit more
directionally to the front, which is

fine for hard light, but I actually
want it to be a little bit softer.

So it matches the other image.

Now I know that this is going to create
a few complications

in the image.

So

basically, I am looking at harder
shadows across the board.

I've got hard shadows on the ground
because of the scrim.

And this is something that I'm actually
going to have to remove a little bit in

post production.

It's going to be a little bit tricky on
that particular

idea.

But I do need to spend some time
softing those shadows a little bit if I

want to get something that feels very
similar.

Also,

the light is now not

totally separate from the scrims.

I'm shooting through the scrimps again.

This is about creating light that's
already motivated by reality.

But by putting a light through the
scrim and making it a little bit more

powerful, it kind of works the light
that is already there, but it becomes

the background, becomes a little bit
more dramatic because we're able to

overpower it a little bit.

I am still shooting on my three stop Nd
with a polarizer, so it allows me to

shoot at a pretty low aperture,

along with my relatively so slow
shutterspeaches.

I'm shooting again at 28.

I'm going to be like 1125th of a second
in iso 100.

The lens choice for this particular
image is a little bit different from

the first one.

In the first one, we shot with a ninety
mill lens, somewhat similar to 72

millimeter on a full frame.

And that gave us a significant amount
of compression between the subject and

the background, put the background
really out of focus and kept the

perspective pretty consistent.

Here we've switched to a 55 mill lens,
which is about a forty mill equivalent

on a full frame.

So if you think about it, it's somewhat
similar to about a medium length, 5050

millimeter lens, and a full frame,

more or less.

And so what that's going to do is it's
going to give me a little bit of

distance between my foreground, mid
ground, and background.

And so we're creating a little bit more

depth with this composition.

The bomber is taking the left side of
the frame.

The spitfire is now in the back and
it's kind of creating converging lines

of perspective.

So the bomber, on the one hand, is
going to poke in the left side of the

frame and camera, and the spitfire is
going to kind of go in the back, and

it's a little bit of a zigzag of
composition.

Helps us showcase a little bit of
depth.

I am still on this lens, running my and
d filter with a three stop Nd with a

polarizer.

That's helping me gauge what the
reflections on top of the glass look

like a little bit.

I can temper that and make that look
exactly how I want.

And a polarizer went on is also going
to give me a little bit more blue to

the sky.

And because this particular sky is

pretty, without pretty much no clouds,
the little bit of extra blue helps it

retain a little bit of something
visual, so it just doesn't look

completely washed out.

So I have that going for it as well.

So I've got the scrims in place.

Obviously, they are needing to be
supported and held up.

It's a little bit precarious.

We're at this particular point, almost
holding up giant sails when they're

sideways like this.

So what I'm trying to sort out is
making sure the height of my octabox is correct.

Too high, it's going to scull out the
eyes.

So I'm trying to make it a little bit
lower and balance it to my subjects.

They are going to be on the left side
of the frame.

We're going to have them interacting,
shaking hands, and then in the

background, we're going to add in one
of them.

We're going to have them do double duty
and stand on the spitfire in the back

they're going to be at a focus, you're
not going to be able to see it, but

it's going to give us a little bit of
extra depth.

And we can utilize the fact that we are
using only two people to achieve the

roles of three.

All right, so let's take a look at what
that lighting diagram

looks like.

So I have my two subjects.

This is obviously just a small section
of what you're about to see in terms of

the overall scene, but it's what I have
to light.

So I've got the two guys.

They are interacting with each other in
my frame.

They are

blocked from the sun by scribs.

And I've had to stack these.

And this is a little bit

precarious, because remember, I said we
generally wanted to make them flat.

Well, we couldn't because of the angle
of the sun.

They were hitting them pretty straight
on.

So they are

really heavily anchored, and made sure
that someone is standing with them so

they don't blow away.

Now to soften that light.

But give it a little bit more of a
punch.

That five foot octabox

is behind it,

which basically

reinforces the direction of the overall
light, so it's not competing.

It's meant to feel a little bit
natural, but the light itself is going

to be quite a bit more flattering than
what that hard, direct sunlight would

have been.

And so that's kind of the reason for
putting that over on the left hand

side.

So basically the sun and the octabox
are coming from the same direction, but

the octabox is a little bit more
powerful relative

to what the subject's light would be,
naturally with those scribbs in place.

So that's what the lighting looks like.

And

I believe we have a question.

Yeah.

So when you're taking multiple shots,

in composing multiple shots, are you
thinking about a narrative or

continuity between the shots, or is it
ok if they end up looking really

different?

I mean, it totally depends on what the
purpose of the set of images is meant

to be.

Because we were in this one location, I
was aiming for cohesion.

I wanted them to look similar.

And I had spent quite a bit of time in
the development process last night

messing around with it, because I
wanted to

make an image that was backlit, almost

more or less

something that's frontlit.

And so it took me a little bit of time
and effort to play with those

contrasting tonal values a little bit
to match it up.

Secondarily to that,

the color of everything that's in the
image is a lot different.

So in the first image, I went a little
bit more traditionally,

Rf, where there's a lot more blues in
the frame, whereas this one uses a lot

more yellows and greens.

And so I also wanted to play a bit with
tempering that color to balance it out.

So I took the opportunity to make it
seem like they were a series of images,

even though they're both very different
Scenes, they at least feel close.

Because I wanted some cohesion.

I can present them together and say,
hey, look at this project.

I shot

versus.

Hey, these couples of singular images
that don't really connect to anything

one way or the other.

There's no rule that says you have to.

I just think it's a little bit more
impactful when it's presented as

something bigger than one frame.