All language subtitles for 06-34-Glenlivet-Full Shoot Part Three.mp4

Now the nice thing about this, I can
take the cap off, and I don't really

need to worry about

the bottle so much.

We've already completely got the bottle
shot.

All I'm going to do is take the cap
off, take the cork off.

I need to extract some fluid out.

So i'll use my turkey baser, and we'll
be in good shape.

So the way this is designed

by the glen Levitt,

this cap comes right off, but it leaves
that neck foil.

So I want to be careful the way I
remove this.

I don't want to tear into that by
accident.

I want to leave that neckfoil intact.

So what I'm doing with my right hand,
I'm really using the shoulder of the bottle

to push it down into the surface.

I don't want to twist it.

I really don't want to move that if I
can.

I'm just going to try to hold it all
steady.

So I'm just pushing down.

I'm using my white glove to not
fingerprint it,

just pushing down on it to give me that

pressure where it stays, put.

You want to tell me how much I need to
pull out of here?

Where on the bottom?

Do you want to end up?

Probably right below the emboss.

Don't you think?

Which means I want?

You have to take out a good amount

actually.

What do you think of

two deaths?

Two?

Wow.

Yeah, right.

Belonging boss, who are going to get
right in line at the back of the couch?

Ok.

And so maybe we come through, halfway
through the mosque,

couldn't get anymore with us.

No.

Hunt.

How much lower do I need to go?

A little bit

there's pop on.

So what it looks like

it's actually now a bad liquid level.

To tell you truth.

I think it needs to come a little lower,

like, right into there.

Definitely not below that black.

But worried about there.

You think

it's like that?

Yeah,

that's good.

Oh, yeah.

Better.

The nice thing is I have all of those
liquid levels as well.

You can tell I moved the bottle a
little bit as much as I tried to keep

it clean.

And in the same spot I did wind up
moving it.

That's ok.

All we're really going for

is that section.

And we can absolutely work with it.

I think.

At that gold card again.

I'm just going to get a little that up
above.

Go ahead.

Done.

All right.

I like it.

Now let's work on that front glass.

So go and shift your focus.

I'm going to grab that other light,

this is something I am rather well
known for, and that is just hand

holding lights in.

I do this a lot, just like, I will pull
a camera off of the camera stand and go

to find a good angled, good cameras,
perspective, move around my set until I

find something alike, and then lock in.

I will do this with lights.

I have found now in the world of
digital, where you can just grab

captures really quickly, you can move
around

a set much more freely than you could
back in the days of film.

So I will literally just hold a light
in place

and see what I get.

It's kind of an effective way to do it

Really?

Yeah, yeah, yeah.

I think I need to come even further
over from that direction,

are that

I'm in there.

But I like where that's going.

Hang on.

Let me do that from the front.

So what I'm going for is,

ooh,

lighting up the facet.

When I look at that, two things are
happening for me.

One coming from this left side with this

reflector.

I'm getting that feeling of window
light.

That's starting to match more closely
on the glass.

What's happening on the left side of
the shoulder of the bottle.

That's starting to make it more
believable.

The other thing that's happening is
some of the facets on the right side,

or light lighting up.

And I want those vertical lines.

I'm going to give it some interest.

So I'm going to play around in this
area.

This light, I've got a really tight ten
degree grin on.

It's a good size reflector for how
close I am, but that's ok, because I've

got to taper down.

And my power's pretty low.

I meant, like 46 on the power.

Ratio that's down, pretty low on the
power setting.

Let's try a few more.

I'm going to try to feather this in a
little bit.

Ok,

I'm just going to play around with the
positioning of this.

it was positioning on this light.

Ok.

I was better down here, it wasn't?

I

just try that.

Yeah,

try that one.

Now that I've found a spot, I like, I'm
just going to gently move my light,

kind of play around in that area.

So if it gets a little better,

ooh,

that's kind of cool.

Yeah.

Mark that for sure.

So what I'm seeing in that that I like,

I see a couple things.

I see better contrast, and I see more
clarity by giving those facets a little

bit of highlight, a little bit of hot
and contrasting with the back.

The whole thing gets a little bit
sharper.

It just feels like it's more

volumeous.

It feels like it's more

grounded in the scene.

It just feels bigger to me.

It feels more realistic, like it came
to life.

Didn't it?

Definitely

that's good.

I think I've got that,

don't you?

Yeah.

Let's do the same to the back,

right?

Life in that backglass.

Would you also like to, at this point,
shift your top light?

Oh yeah, yeah.

Thank you.

Let's do that.

So Kate reminded me I need to bring my
top light back

to mimic what's going on up here to
give this background the same feel.

I'm just going to shoot this backwards
a little bit.

Go ahead and pop that focus back to the
bottom.

thank you for reminding me that.

So in trying to keep this real,

giving it the best possible look,

we've shifted our focus to that front
glass.

Now that we're going to work on the
back glass,

we want to go back with our focus to
where the bottle was.

It doesn't have to be critically
perfect.

Want to get it pretty close.

Because I want that glass to have the
right feel from the original frame my

hero basin, everything is being built
on that hero base frame.

Even though I'm moving focus, and I'm
going to play with it in post

production by effectively stacking this
focus,

I still want everything to be

in the same ball park where I start my
base file.

Yeah, that's good, absolutely.

So let's look at this background,

this backlash right now.

There's life coming off of this couch.

It's really dying on that edge.

If we go forward a little bit, where
we've added

that little bit of light, that's giving
us some nice separation on that corner.

It's giving us a little bit more glow
inside of that glass.

That's a good place for us to start.

Now let's go ahead and working work on
that light.

Ok, ready.

Hang on one second.

Man,

yeah, that one was,

try that.

I want to bring this one a little bit
more from behind.

Let's see what happens with it.

Well, way too much.

I'm a feather that.

I mean to come more from the side.

Ok,

no,

more directly at it, right?

Let's just move it around here.

Then

we have

one more.

So think about that hand.

Holding a light actually can really
give you some freedom.

You're not locked down to the c stand
or the light stand.

If I had to move a stand every point
that I put that light.

That would have taken half an hour.

I did

fifteen shots in the course of a few
minutes.

Just moving it around.

We have the shot we want.

Looking back.

That's got just the life we need in it.

There's more volume, there's more
shape, and there's more that pulls the

eye into that particular part of

the composition.

But it's not

getting stuck there.

It's still moving around,

paying attention to those little
details.

It's really important you to do that.

But give yourself some freedom.

I'm like, handhold light, move around.

Just let yourself kind of

go through the process naturally, and
see what you get.

All right.

I'm happy with it.

Is there anything else we need to cover
off?

We've got

front glass, we've got facets, we've
got the main bottle, we've got the

signature, we've got the gold foils,
we've got the emblem.

We've got top on, top off,

liquid, level down,

backlash, surface

exposures for the background.

We've gotten it all.

That's a really solid look at how we do
durra trans.

Remember, this method will really allow
you to be on location while having the

control of the studio.

In order to have that.

There are a couple things you need to
keep in mind when you're shooting your

backplates on location,

take a bottle and take a glass.

You need something as a stand in.

They're going to become your scale,
your reference file, so that you'll

know how to truly recreate this once
you're in studio.

You need to have that kind of setup,
get an understanding of how it works in

a space, pull it and then shoot that
backplate.

That backplate then gets turned into
the dirtrands and studio.

And you can look at that reference file
to make sure your camera position is

right and your scaling is right.

Those are two really critical
components to making the dura trans effective.

Then just go systematically through the
list of component shots you need and

you're ready for post production, which
is where we're going next