All language subtitles for 06-32-Glenlivet-Full Shoot Part One.mp4

So first and foremost.

We've got our dur trends in the back.

I have a pair at 88, which is just my
favorite light.

I think you guys probably know that

I love the para 88, and it's just
pushing light evenly across that

dirtrands.

Background.

Remember, you can put anything back
there.

You can have ahead with a reflector and
some diffusion.

You can have a soft box.

Probably want to remove the diffusion
panel in the front.

Just have it be a little bit more
directional.

I want directional light coming through
that dirtrands because I wanted to come

through it and give me good reflection

on my surface.

And that's a key factor, reflection on
the surface.

I think a lot of people miss that when
they're doing something purely in post

production.

They don't get that convincing shadow,
or they don't get that convincing

reflection happening on the surface
because it's not really there this way

we're getting, we've got that light
pushing through, it's going to hit on

the surface.

So that para 88 is going to give us
that sense of light, that sense of direction.

Now above, I'm going to switch this out
a little bit.

I always have a panhead

above my set pushing light down.

I wanted to give volume and shape to
the shoulders and to the rim of my glasses.

I want this to have a little bit more
of a direction.

I'll feel more of a pool of light,

yet at the same time, I know this
location was shot

with window light coming in.

So I'm going to kind of mix those
sensibilities.

We switch that pan out to just a piece,
seventy reflector with a twenty degree

grid.

I put a polarizing gel on it, so I can
control that highlight a little bit as

well.

So that's kind of kind of pushed down.

And I'm going to play with that.

I want to bring some directionality
onto a couple of things.

One, the shoulder.

But two, I really also want to make
that emblem, that emboss,

really pop.

I want a good gradient going across it.

But it's only an object, that's an inch
and a half in length.

I want a gradient on it.

I can't do that with a huge source.

I need to do that with something
smaller,

more directional and

give it a little bit of life.

So I'm going to play with that guy,

probably in a couple of different ways.

I want to bring some light onto the
bottle from that top reflector.

But I'm also going to move it around

and get a stronger sense of light
coming through

both the bottle

and the glasses.

I want to give kind of directionality
to the reflection that I'm getting.

So to create that window look that I
want, we didn't have a huge bank of

Windows.

This is just more like a residential
window.

It's kind of tiny.

But I want that sense of natural light
coming in on this set.

So we have a diffusion panel, just
rascal 3008, with a monoblock and a

gritted reflector behind it.

We can play with that too.

We can kind of raise that up or down
and shift where we have the highlight.

I don't want it coming down the
entirety of the bottle.

I don't want a strip light source.

I want this kind of

window light that's coming in, giving
me a bit of a white highlight, but I

don't want to cover in the whole
bottle.

So we're going to be able to really
control it with that monoblock, in that reflector.

And I've got a Matthews

flag here, just cutting that reflector
off.

I don't want to ton a spill.

I don't want it coming all over the
set.

So we're just kind of tapering it down
a little and that gives me the ability

to also control where it's hitting on
that diffusion panel.

Then, as always, I've got to have
something to light up the labels.

So we bring in our visitech with the
impa spot on the front of it, and

that's going to give us the ability to
get some nice gradient light coming

across that label.

And as always, I'm going to do it, as
you read, from left to right, going to

give it that nice bit of roundness to
help give the bottle volume.

Last thing I want to do is look at
composition.

I know that

if I'm not careful, this is actually
going to look a little forced and a

little staged.

So there are a couple things I want to
do.

One, I'm going to start with a white
lens.

I'm going to go 35 millimeter, and I'm
going to come low.

I want to make that bottle feel really
heroic.

I'm going to put a glass in the
foreground, with another one in the

background, kind of right next to the
bottle.

Because, again, I'm going for the idea
of sociability.

Nobody wants to drink alone.

You always want to feel that you can
join in in that environment.

So we're going to have a couple of
cocktails out there

now with the 35 millimeter.

I know I'm going to get some warping,
particularly down that low with a

bottle that's pretty tall.

I'm not going to worry about that so
much, because we're going to fix that

in post.

We're going to get things

squared up in post production.

But I want the perspective that that
lens is going to give me.

I want that perspective of being low,

looking up and seeing a more grand
scene, that's going to make that bottle

feel more heroic.

So

I'm going to take a look at that.

But I'm also going to take a look at
loosening the bottle up.

We're going to shoot it with the cap on,

because I know the client's going to
want that.

But then I'm going to take the cap off.

I'm going to pull some of the liquid
out.

I'm going to make it feel a little bit
more natural, a little bit more

editorial.

And hopefully that's going to loosen
the entire scene up just a bit.

Why don't we get the lights fired up
and take a look at where we are?

Full frame.

There's no crop on that, right?

Let me pull back a little bit.

First and foremost.

I really do like the control.

I have with a phoba stand, with a
camera stand, you can just make nice

small movements very gently and make a
big difference in your composition.

So a couple things,

unlike, when that's going

compositionally

still looks off.

Our light is really sucking

nowhere.

Our light is really not there.

So let's get it better.

Are you?

Like in the bottom,

I think I need to rotate a little bit.

It feels like it's facing away too much,

doesn't it?

Yeah,

I won't bring it forward, too.

It feels like it's leaning.

So I'm going to put a crop on this
again, because I'm going to be

wanting to drop this into my portfolio.

I want to see how it's going to fit
into the grand scheme of things.

It's not bad.

I might be losing a little bit of the
dirter.

And right here you can see that I've got

a little bit of the white showing.

I'm running out of image.

I'm not super concerned about that,
because we can actually adjust this and

post production if we need to stretch
that out.

The thing I know I'm going to do.

I really and truly

like this scene.

But I absolutely

hate this wall.

It was a denim wall, and it has these
stripes in it

that's not working for me.

I know I'm going to want to change that
out and make it better.

And also I'm probably going to want to
change

the color of the couch.

I just wanted to have a little bit more
contrast and pop off.

Right now.

Everything is a little too
monochromatic back there.

I want to bring some more life into it.

So, did you bring that light up?

Sit in?

Ooh,

I'm definitely linking the position of
the bottle.

I'm getting a couple of nice things
that are starting to work.

That is really hot

right again.

And this does not have that kind of

drag across the surface.

I want

now, this light, I am going to keep the
monologue awful lot.

I just have a reflector with a grid,
and I've got that polarizer gel taped

on there.

That means all that heat is going to
build up in there really quickly.

If that monolights on, it's going to
melt this.

So

I use the monolight to look

and see where my light is hitting.

And then I turn it off, because I don't
want to burn up those gels.

Remember, these things can get really,
really hot.

You want to preserve your gels, if you
can.

All

whoa

chao and mine.

Pardon me, Chile and marker,

right again.

Still really hot.

So

I

really have the feeling I'm going to
like it.

With the cap off,

the light's starting to come together
on the labor.

We can work with this now it's moving
in the right direction.

I'm starting to get some light coming
through here in a way that I want, but

I want to push it a lot further,
because it's just not there.

I'm also noticing a couple of things.

The facets on this glass they're
interesting, but they're not there yet.

They're going to need some work.

I really want to highlight them.

I want them to stand out.

What I am seeing is right here in this
front guy from this light.

I know I've got a good amount of light
popping one of those

vertical

cuts.

I want to highlight those.

So we're probably going to take ahead
and move around the set,

just aiming in at those glasses to get
some of those facets to shine.

We'll put that together in post
production, because if we can get some

of those to pop, that's going to help
give those glasses a lot of form, a lot

of volume and interest.

It's going to pull the eye to it.

But those lines are also going to lead
you back into the bottle.

So I think about that kind of stuff,
and I want you to be thinking about

that as well.

What can I do to make this part of the
image interesting?

Draw the eye to it, yet lead it back to
the other important parts of the photo?

That's a really critical way to be
thinking.

I also know that

if you look at the bottle right now, if
we start to look in these areas,

in where the liquid is, behind the
label where the liquid is, we're

starting to see that dura trends come
through.

But again, that territory is really
dark.

There's just not enough light coming
through it.

We're getting decent reflection, but
not enough.

So we're going to have to really pump
up.

That light in the background it's going
to overexpose for a lot of stuff.

But we're going to be doing a blending
of the light coming through the bottle

with the light that's actually in the
scene on the surface.

So

we do that now, pump it up a bit and
see what it's going to look like.

I'd put a stop and a half into it.

Maybe even two

there's a stop and a half, to try

mark

another stop at least.

Ok,

that's cool.

So a couple of things I'm seeing I'm
absolutely starting to see some of that

life coming into the bottle.

If you look where we were here two
frames ago, it's dark.

There's now much going on.

I move here.

Now I'm starting to get some life in
it, giving me that sense of direction.

The right side is getting way too hot,
and that's not the scene that I want.

I actually want that right side to look
more like this, where you're looking

back into room.

That's more dimly lit by ambient light
versus a bunch of natural window light.

I still think that that highlight needs
to come

brighter and a little lower, because it
feels like it's hitting

right there.

I wanted to hit a little lower on that
bottle.

So

just more, I don't know, I'm talking
about the light on the side.

I want to bring that

highlight.

Yeah, that highlights just a little
round and a little high.

I want to bring it a little

lower.

I think,

ok, that might be the wrong move.

Something did not fire.

Let's try that again.

Yeah.

I think that helps.

It's actually doing a lot to tell the
truth.

That

that little bit of a movement really
made some changes in the glass as well

in both glasses, but particularly the
one in back

and starting to feel better.

I definitely definitely like the
direction that this is going in.

So

a couple of things I want to mention.

I talked about the wall in the
background.

I hate that color.

I don't hate the color.

I just don't love the way that wall is.

That there's too many lines of stuff.

And I do want to shift that collar.

I'm probably going to want to make it
something warmer.

If you noticed, inside the bottle that
blue is picking up, we're seeing the

blue coming through that liquid.

So when we change that wall color, we
need to make sure that we're going to

match it to what's going on inside the
bottle.

But they're going to change in unison.

And because that stuff is inside the
bottle, it's going to feel connected,

it's going to feel like it's really
living in that space, versus just doing

a retouch.

And again, we're going to bring that
right side down a lot more.

I do like kind of the direction where
those curtains are going, they're

feeling better brighter,

they're giving me more life.

We'll probably play with that again in
post production.

But let's get some liquid in