All language subtitles for 04-20-Gunpowder Gin-Drink Styling.mp4

I'm going to do simple cocktails.

So, again, this is the vesper.

This is

just

the original bond.

Drink a gin vesper.

I just want a very simple garnish.

I've got a really cool set here it's
kind of monochromatic in that there's

lots of golds in it.

The vesper itself is going to be almost
clear, but I'm going to add a hit of

the elder flower in there to give it a
little bit of tone.

And I'm just going to add lemon,

just lemon.

Peel that's all this is going to need.

We can't.

Some alumn peels are ready.

Let me port.

We do me favor.

Yes, we look through the camera and
watch the liquid level.

Tell me when it's good

ready?

Yes.

Up there

let's try it

front bottle,

front glass.

Can you see now?

Such as, based off of what you partnish?

Smells good.

I think we're going to have to drink
these afterwards

yea.

Now for it, higher or lower.

I can't tell

you often.

Beside yourself

that's good.

Come

me a little higher.

Yes.

Definitely will hire on the left.

They could be a little brighter.

I think we need to put a card behind it.

Do you?

Yeah?

There are some cards like cool.

I got this whole other.

Tray, here ain't it

why I've not been using that?

Think the whole time I could have been
using it.

Due

words of the ugarnish need to go on.

This guy,

definitely, right side, kind of in
there.

Do you want some blue?

I'm curbing a room and let them stand.

I don't want to be flat.

If I curb this is going to catch a
little of that light

and through some moon.

But if I do it flat, it's going to

pop that to what it looks like.

Yeah, that looks really great.

Do you see the card now?

perfect.

Ok.

This other one, I'm going to have to
catch a light from further back.

Boy, it's.

The one thing that's cool about that
one is it has a blue refraction on the

right side.

So if you can save that,

maybe

let's dry.

I think,

no.

If I'm getting enough light,

seeing the top of the card.

Other than that, I think that's right.

Who?

The drink on the left is awesome.

Haul.

I love it.

The lemon like a lemon's groovy.

That's interesting that gold card is
casting a highlight that I actually

like, see it's even picking up in those
back,

and it's totally killing that.

But that's ok, because we have another.

All right?

So, if we're seeing the top of the
card, I've got to bring that closer.

If bringing it closer, you can't catch
the light.

We can cut it down.

We know there's a good amount of light.

There's a good amount of, like, coming
through the bottle.

I'm going to get that.

I'm so sorry.

Turn.

That

there's a blue one in.

Yeah,

that's a little hard.

And that was where it was.

That's perfect.

All right.

And I bumped.

I pump that guy.

Bring that back

out of garnishes.

Look,

I don't really notice where the one on
the right is, but that's, ok.

This one looks great.

Let's bring that one in.

Man, the carters precarious.

I do know what touch that.

I meant the thought.

I know

I'm showing your card right now.

I don't want to.

If I bump it

and mushled up,

you know,

pop up.

I wonder for it.

Maybe when I just tried piece of
diffusion on it,

when they died.

Ok, just to soften it, this is too much

agreed.

And you lost the blow.

Damn it.

I lost the blue.

This is like the game operation.

Do you want a little cut square of
diffusion?

It's going to go where it wants to go.

It's better without it.

Ooh, terrible.

All right.

Try to just kill it.

Just take it out.

You don't need it.

Quite.

Diffusion,

you know, I want to try a diffusion dot,

see if that is better.

Ok, nosert,

a scotch tape in the drawer,

that metalline that you need to soften.

Not the edge.

I think

we honestly might have to do that with
us.

But more record,

but it do still feel like that edge is
a little hot.

Yeah.

So this is an old trick I've used

when I want to knock down just a little
tiny bit of light.

And this goes back to my early product
days,

when you're using a dot in a finger,
but you still have just a little hot

spot.

You put a little bit of tape

on your dot, or your finger, or just
any kind of mark that you have.

If you actually hold this up to light,
you'll see how it actually diffuses

light a little bit.

Just a scotch.

Sometimes you just need that little

tiny hit.

Since it's a trick, I've used forever

c.

If that helps it all.

Poppet.

Hopefully it knocks just a little, that
edge out.

Oh,

did it?

Yeah,

this is very right.

See,

it's a good trick.

All right.

Pop, that near, totally in the shot

card completely.

Were my head really the cart

damage.

But there, bring it lower,

it's down the shot.

Just as soon as I get the label.

Honestly, if I get a place in Chile,
they won't go

that brings them this way of time

it's because it's a foil, that's
affecting the foil, but the foil looks

good, but it's this part that doesn't?

So

it's

making it gray.

Oh, so close.

I got you.

All right.

We've got to go from here

to

here.

I'm not getting that toil.

I know.

You know what?

Honestly,

I don't want to crank that foil too
hard.

I mean, I'd like to get something like
this is really nice

to tell.

Yeah, it's just this tale, which is
really weird.

Ok, so this is a time where I do not
want to use

a cannabar because I'm going to knock
my cards over.

I actually use the canna air to dust
this guy,

and I just pull the dust off.

And what I don't get, we can clean and
post.

All right,

where's that silver card

that's all cards show you.

Oh, yeah,

to that.

Poos.

We're just doing that separate card
though.

I

pop, that's

good.

We still see a little,

you know, I haven't from before.

So meant,

not too concerned.

That is a nice shot.

All right.

Let me see.

The last thing I can do is get

a little bit of highlight on that,
jackalop that whole thing.

Pop it.

Please.

Snap out.

Figure card, picking stuff up.

He still has a weird tail.

And, iah, the town's better, dark,

but the label's good, marked out for
the we'll mark that for the label.

I'm going to try a couple more things.

I actually really like the highlights
up there.

I think that's really nice.

I want to see if I can get a little bit
more

light in there.

Just a hair.

I'm going to try to get that rabbit a
little bit differently.

And I popped out.

Did that help?

Yeah,

a little bit.

You're getting proud better.

All right.

Try that.

This one's for the neck.

The foils on the neck.

Ooh, too much.

Way too much.

Do you think?

Yeah,

yeah.

I just like that.

I think it was better.

I don't need to fill in.

I really don't.

I think we have it.

I know we have it.

I like it.

I really like it.

This shot is going to come together in
just a couple of images, which is

really nice.

And it was done with one light.

That's awesome.

I love that.

I actually love kind of stripping some
stuff away, not using so much,

and letting that light kind of speak
for itself.

Look at what this one light is doing.

Now I've got it pointed

like right up here.

So the center of the light is actually
hitting

right here,

which means

the wall.

And all of this is being lit by

this lower third and that edge third.

If you were to look at that light, I'm
really using almost like a crescent

shape, just on the side, that's where
the body of that light is coming from.

And look how pretty it is.

It's giving us direction, it's giving
us shape, it's giving us volume.

I think a lot of people get hung up
thinking,

my light's got to point directly at
something.

Not the case.

Some of the most beautiful light is a
part of the light.

It's the edge of the light.

Let's get this in the post, because
this is going to rock.

I'm super excited.