All language subtitles for 06-33-Glenlivet-Full Shoot Part Two.mp4

So you want to look through there?

For me,

let me give this a couple of good
answers.

So every glass is different.

Its size is different, which means the
amount of volume we're going to want to

put in there is different.

The typical poor for neat is a couple
of ounces.

That's going to shift depending on

how this glass looks.

It just might not be enough.

That's too low,

or is it enough?

And maybe I'm staying on this way,
quick Pup

a little bit low,

and he's more for sure.

So again, I use something really small

in order to pour this in.

I don't want splashing.

If I get splashing, I'm going to have
to clean it inside the glass.

And

liquor just holds to the glass.

It just kind of

clings,

well, that's better.

All right.

So, three months poor on these guys.

Now, one of the things that I actually
think is important to keep in mind,

with every cocktail being different,
sometimes you have to make a cocktail

of just a liquid, a neat look good.

You don't have the trickery of the ice
and light coming through that ice or

any garnishes.

This is just the liquid.

So this is a place where you can really
pay attention to learning about liquids

and how they hold light, how they throw
light back at the camera.

You know, I just notice, I have a
terrible change right here, where the

cocktail and the label are just lining
up.

That feels pretty good.

The light in the

cocktail, in the front, in the neat,
glass in the front,

looks pretty good.

Look at it, compared to the one in the
back.

Our one's really dying.

So

this light that's coming through here
and washing and giving us some omph.

We're going to have to move it back
there and do the same, because we're

going to need that repeated.

We're going to need them to match

and feel that they really belong in the
same environment.

Let's move this in.

Good.

All right, that,

I think I'm going to overlap the bottle
though,

right?

Can I get in there?

I want to leave my polarizer,

but sure.

How I need it to be,

is, it may be looking a little tight
with the base of a bottle on the coaster.

No, you're getting a change in there.

No other.

We could bring

the coaster forward,

keep the glass in the same place,

ok?

Or move the bottle back a little bit

smooth, the bottle back.

Hey, first I'm going to,

well, that's a little better isn't it

maybe a little.

Oh, you're totally poor.

Man.

So when I say that wrong, now, segan
just drawn out.

Well, I'm liking what's going on the
surface, and that's what I was really

looking at.

But holy cow isn't wiping out that edge.

So

look at the polarization that just
happened.

So I rotated the polarizer because I
felt like I wasn't quite set, right.

I wanted to bring a little bit more
reflection onto the surface.

I did a little bit, but I also blew out
that window light.

If you look at the light that's coming
on the left side of the bottle it's

exploding.

So we're going to have to go back, find
a happy medium.

And what we might do is just work more
with the light above.

Probably let's kick in

two thirds of a stop into that top
light and see what it gives us.

Right?

So

that may have not been thought of the
eye,

which is okay.

I actually, I just want to show a
little bit about the polarizer.

So

again, I live and die by polarizers.

They're so important.

So

I'm just going to do like, four
captures here.

I'm going to rotate this

so I know it's right at nine o'clock,
and I'm going to go up to noon.

So I'm just going to go a quarter turn.

I want you to watch the highlight
that's on the left side of the bottle

coming from this.

Because it's going to change
dramatically.

Superblown out,

still superblown out,

even more.

Blown out.

Now it's going to start to come back
around

even more and see what happens when
we're going further.

So, you see, you really have the
ability to control where you want that

highlight to be, how you want it to be
shaped

right now.

I know I've pull our eyes too much of
it off of the shoulder.

I want to go back a little bit.

I want to go closer to,

I think the noon spot on it,

the polarizer, has changed, so that

I'm getting some of that highlight up
on that shoulder to me, that's helping

with around this.

I think it's taking a little too much
off of the edge, though, don't you Kate?

So I'm going to bring a little of that
back

when you jump that done one for me,

and go back one more and just want to
compare them.

Yeah, I think that's better.

And that's just

a couple degrees rotating the
polarizer.

So you can see how just a small move of
the polarizer really makes a big

difference.

I really want to drill this into your
head.

Use the polarizer to your advantage, to
control your highlights.

If you control your highlights, you are
going to be setting yourself apart from

the other photographers who are
competing against you.

Because I guarantee you they're not
thinking about it.

It's just not part of people's lexicon.

Make it part of yours.

All right,

did you put more into that light?

Or was it the backlight,

the top point?

Yeah, ok,

let's do me a favor.

Lower that light and rotate it towards
me.

More

might be stiff.

Maybe

go ahead and turn the model light on it.

Now at the handle, it used to,

and used to go that way.

Yeah, this gave me back in

too much.

Go back.

Rotate that

entire

reflector.

For me.

I want to see what happens with the
polarizer.

Get stout.

It needs to tip down and hit further
behind the bottle.

There.

You?

No, I made it worse.

Definitely.

May it worse?

Yeah, that's blowing out.

So I wanted to bring more of a raking
light from that top light into the base

of it and across the glass.

What it's doing it's blowing out the
base.

So we don't want to do that at all.

If you look at the base of this bottle,
that looks terrible, and I've taken out

all the contrast in.

The actual cocktail itself

was better where it was

don't.

Let me do that again.

Do you remember which direction you
went with this

when you rotated?

Oh, I had thought.

So

it's better.

That's a lot better.

H, that was so ugly.

When I do that,

I think you're a little.

I'm almost glad to add a little mind.

No more.

I don't know if the position is,

no, I've got to go lower donor

just split the difference.

I like what it's doing in that glass
though.

Like that, highlights really nice.

You like that.

Everything is too much.

Mind

that's where I'm now.

I don't like that.

I think I can handle that.

Who.

Thank you.

Do we have that before

you are poller?

I think it's

the outstreaming double.

Yeah.

So you might be able.

Wow,

25

exercise in how you can mess something
up.

Sometimes you push the polarizers too
far.

I've wound up really kind of blowing
out the base of the front cocktail.

There's just no detail there whatsoever.

I rotate that counterclockwise for me,

Keith stopped.

I do the other way.

Ok,

keep going.

It's so hard to tell.

I've got so much, so much lighting out
there.

It's hard to see.

What's going on.

Like, I'm getting a lot better.

Keep going.

We're just going to do it the old
fashioned way.

To me, a favor.

Go ahead.

Turn out that monolight, because we're
going to burn that thing up.

Nope.

Too much.

It's getting better.

It's hard to tell from here.

That is better.

I'm not going to worry about the bottom
of the glass so much.

There's always something you can do
about that.

I'll feel like a blow.

Once to let's, bring this forward, and
then we'll push the cocktail back.

Ok,

and that's good.

Will you take the cocktail towards you
a little bit and moved out to left

stop?

right.

That's where it has now, on the edge of
the Kosi.

Like that.

Can we afford to cheat the bottle back,
just to touch.

Sure.

So what Kate and I are wrestling with
right now is that tangent that's

happening, redwood bottles coming down,
it's meeting the coast during, and it's

meeting the cocktail west.

I was getting stuck there it's just
kind of going into that corner and it's

stopping.

I don't want the eye to stop, right
there.

What happens if we take the coaster out
on the front?

Just have one on the

isn't?

Totally wrong.

Yeah,

climb with one.

Rude guest.

One guest.

Who's going to leave the water ring.

All right.

I say we live a little.

It looks a little bit better, though,
doesn't it?

What if you're going to just give a
little?

How can we give it just a little bit of
a room?

Because everything's right.

Let's pull the glass forward.

We just pull the glass forward a bit.

So break the front.

Imagine the frame of the glass,

because everything's getting really
tight to this area.

Right on the end, either it's got to
come forward or it's got to go back.

If we go back, we're going to lose some
of the dynamic,

which I don't want to do.

That's the point of having that 35 is
to make this and really feel.

So maybe this bottom breakth, and we
just start to think, all right,

these are the types of things honestly,
I like having somebody else to banter

ideas about with.

I think it's always good to have other
opinions

and opinions.

You value because there are a lot of
things to think about,

and there's so many different ways to
justify what you do in a photograph.

So I think it's a good idea, if you
have the opportunity to really be able

to talk these things through.

It also makes you think about your
composition.

When you've got somebody else to banter
ideas with.

You really get into your composition a
little bit deeper.

And I think you learn a lot more that
way.

I think they might need to come forward
even more.

Yeah.

How about if I watch and you bring it
forward?

Ok?

You gotta go in significantly?

Stop?

It's really far.

Back on the coast.

Or just bring the glass on the coast.

Or forward.

Good.

Pull your hand out for a second.

See,

not good, that way,

with the entire thing,

stop, right there.

I'm going to let that liquid settle a
bit.

Well, that's better.

Helping, that's better.

We're still

go back one.

You know,

I'm seeing full Frank that's cropped.

So

we're missing a little.

Like, when I look in the viewfinder,
I'm actually saying more than you're

saying, we know you have.

Yeah, if you hit the crop button,
you'll see it.

What you can do.

Yes, you have got more room and so then
you could even tighten your little mom Martin

let's.

Bring it forward, definitely.

And

just a hair more.

Go in towards you.

There you go.

Shop.

All right,

pull a cop

berke

on another tool.

So we see the,

just a crop version.

Yeah, that's feeling better.

Go by this the coast.

Go back one, too.

Losing a lot of light too.

Yeah.

All right, that's ok.

We're just going to, we could sheet the
coaster back.

So you just start to see a little artist

there.

I see it.

But again, seemful frame,

not quite

a washing, just to balance that.

So you can push that.

If we just start to see a little bit
there.

Yeah,

I think I've broadened in too much.

Oh, no, I didn't.

It's actually pretty good.

I see how it makes such a difference on
that 35 millimeter.

Coming forward, it gets so much bigger,
it's more dramatic.

We're definitely losing focus on it,

which I think that one should be sharp

to go with the bottle, you know.

So I want to shoot it separately,

but I think we also need to introduce
another light for that.

I do like

it can come forward.

You're right?

It's starting to

it, starting to be a little tower back
there.

Just dad, bring it forward.

Did you grab washers for that thing?

yeah.

Ooh,

I think we need more.

On the other side, too, that's looking
a little

precarious.

That just feels precarious to me.

You'll

see the other side.

Washers.

Things like these really can make a
huge difference.

You can see,

we are completely changing

the way this is sitting.

That coaster that's starting to appear
in there.

That looks like it's sitting nicely on,
with the cocktail on top of it.

It's actually half underneath.

So the washers are giving us the
ability to keep that glass level and

just visually cheat this.

Things aren't always what they appear
to be.

All right.

I'm liking the bottle,

and I'm liking the glass.

You bring the glass and back forward,
and I did a little bit.

Bring it more,

just a little bit more

actually.

You don't know, what looks really nice
is the emboss on the bottle really

it's awesome.

Oh, yeah.

You're right.

That was definitely feeling lost out
there.

Should go right at all.

And I don't want it to break that one
too much.

But it's a little too close.

And let's pull it.

This one.

Yeah, too far.

All right, I dig it.

Here's what I want you

I want to shoot for the bottle, because
the bottle's right on.

We need to get a gold card in here to
let light that up.

I want to get something on the neck.

We're going to have to double check our
focus on this, and then we'll shoot the glasses.

I'm not, yeah, I'm not sharp.

All right.

All right,

that is sharp as hell.

And

can it air in my brush?

Here's my brush can air.

Thank you.

That is my base file for the bottle.

Yeah, it looks great.

Grandpapa,

that is pretty nice.

But I feel like

it needs to be more centered.

The highlights a little too far to the
right.

Actually,

it is helping with the goals there,
too, but it's a little hot.

Let me try this small cart first.

And then I might want to go even
smaller.

I might try that.

Ooh, that's beautiful.

All right,

that is nice.

Look at the difference in

that signature.

And that emblem down in the base label
it's almost nonexisting here.

You can see it, but it doesn't have any
life to it.

Now we add a gold card.

It really pops off when we merge those
together.

That's one of those brand highlights
that they're really going to

appreciate.

You're paying attention to

don't overlook those steps.

It's so important

when you get a little up here, though,
too.

I think that's nice,

actually.

That might be good.

I think that's going to be for the gold
in the main body label too.

Name more.

Did you want me here?

Would you like to let that go?

And no, let's do it as an option.

So I'm just catching this light that's
coming through the diffusion panel, and

I'm just going to

push that back into the gulp.

Go ahead.

And I can adjust my exposure by
adjusting my distance.

That's perfect.

So a simple adjustment in my distance
of the card to the subject is going to

be the same as adjusting the exposure.

All right, that's awesome.

And I think I like that.

Do we mark that?

All right.

I think I like the emblem just the way
it is.

In that previous

capture,

the base capture.

I don't think we need to mess with that.

Only that we need to do is bring some
life in here.

So let's read just this guy.

You want to do it for me, and I don't
want to work that

sigan.

Do you want to bring it around?

No, I just want to bring it up and want
to hit the neck, because we're really

not hitting it.

And then we're going to get some gold
going into it.

So you can just tip it really,

turn on it on for me.

Yeah, that's better.

Screaming hot.

Almost gone.

Almost almost.

We need a little bit more life in that.

Polarized.

All the light out, for the most part.

I want you to turn it up.

I got to hear that.

Is that new?

This one is

knocked out.

Ah,

no.

I think it's picking up enough.

Ok,

still getting a high line in there.

Can you see it if I look through it?

Can you see that highlight?

You see it?

Not only

as too much immediate?

It might be going the wrong way.

No, that's better.

Ok,

that's beautiful.

I'm going to come a little more forward,

just a little more.

That was better there, wasn't I?

Yeah,

all right.

That's nice.

I'm going to mark that, too, for the
neck.

So, just a simple thing like taking the
gold card,

bringing it in there, and curving it

again.

Am I able to adjust my exposure by
adjusting the distance of that card?

And I can give this card shape.

I can have it go along with the shape
of the bottle.

I can even adjust it if I wanted it, to
do a bit of a gradient if I get it to a

nice spot.

But there's a little too much exposure
on this side,

I can flatten it out and give it a
gradient.

So think of a card as a light shaping
tool as well.

It's not just something to reflect a
little light into.

Yeah, it does that, but you've got the
ability to work with it as a light

shaper.

And that's a really valuable little
tool.

Cost nothing, but makes a huge
difference.

All right,

I'm digging that

before we should focus, let's do two
things.

One, I should cover my rear end and
make sure that we have an exposure

where the background's a lot brighter
coming through the bottle.

And I want to take the cap off.

I'm talked about doing that.

And before

we shift focus, we should just do it.

Now

let's first do the background.

I'm going to put a stop and a half into
it.

All right,

you're planning, oh yeah, yeah,

that's actually kind of cool.

So just to cover myself,

I'm liking kind of where that's going.

That feels like a pretty decent
exposure.

But

if I want more light coming through
that bottle, I'm going to want

something like this.

Clearly, the background's completely
blowing out.

But keep in mind, I've got so much
liquid in that bottle, and it's toned.

It's a deep kind of Amber color, if I
push more light into it, that gives my

retouch or something to work with.

He doesn't have to grab an exposure and
brighten it up.

He's got one that's already bright.

He can kind of work with blending him.

So we're going to mark that as

when we want.

I'm going to go back on this,

and then we'll take the

cap off