All language subtitles for 04-19-Gunpowder Gin-Lighting Setup.mp4

This next image is purely for the
portfolio.

I went down to the liquor store, which
I do on a fairly regular basis, just to

look at packaging.

I love the packaging that liquor
company is, that brands employed, the

bottles are cool, the labels are cool.

So I'm always looking for something new
that's inspiring to me.

And I ran across gunpowder gin.

I love the bottle.

It has all these facets on it.

It's a great shape.

The label's really interesting, because
it's a mix of something you would find

in the UK.

With some Asian influences.

I just think it's really cool.

So

after seeing that, I needed to build a
storyline, I needed to give myself some

sort of a thread of character to talk
about that's going to be the basis for

this.

So when I think of gin obviously I
think of the UK.

I think of

Winston Churchill.

I think of the union jack.

I just think of everything

UK driven.

When I think of the UK.

It's also hard not to think of bond.

I mean, he's the ultimate spy.

So I was thinking bunt,

that, to me, was a great

launching point.

I want to build a character around him.

So let's think, let's think about Bon.

Let's think about where he's going to
be and what he's going to be drinking.

Well, I'm a fan of the films, and I
know in the very first film, he wasn't

drinking of vodka martini, as he is in
almost every other film, he was

drinking a vesper, which is a gin based
drink.

Perfect.

Those two marry together perfectly.

So to give him place, I thought about a
Parisian hotel.

I imagine him

cursing through Europe, making his way
through Paris, and escaping some other

deadly trap,

and ending up in this Parisian hotel,
upscale, elegant, dark tones, wood

paneling.

So that's what we're playing off with
our set.

Now, combined with that,

I needed have another color, something
had to work with it.

So I went back to goldfinger, and I
thought, let's go with brass tones.

Let's go with gold tone.

Something that kind of ties back into
this.

Now, keep in mind

you might not see this threat at all,
and that's fine if you don't.

This is the way I built my storyline.

I saw this bottle.

I wanted some sort of inspiration,

something to give me a launchpad,

a character thread.

And that's what I've gone with.

So we're going to imagine, this is a
cocktail that bond would have when he

comes into his hotel room.

Of course, there's going to be gin
there because it's magical, and it's

going to be exactly what he wants.

He's going to have his vesper, night's
going to,

the tone is going to be really dark and
really moody.

And the other thing I want to do is, I
want to use one light.

I absolutely believe in the power of
one light.

I'm going to be feathering it.

I'm going to be playing with that
light, because there is

so much that you can learn in shaping a
single light, and that's what I want to

play with here.

So let's get started on this image and
see what we can come up with.

So the first thing I've done is
actually put my cart out there.

I raised it up a little bit because I
don't want too many lines.

There's so much going on in this
background.

I needed to start by positioning this
and what I think is the right place,

and we can build from there.

So it's time to actually bring out the
hero bottle, bring out a couple of

cocktail glasses, pull out the camera
and just see where this is going to go.

Yeah.

So first thing I want to do is
establish my camera angle,

need to get a light.

We'll just start with wan simple light.

I want to play with one light.

To begin with, I just want to kind of
skim it.

Remember, you don't have to use the
entirety of the light.

I want to just kind of feather this
thing and see what it gives me.

Because I imagine this kind of raking
light coming in from a window, like

there's an open window in this hotel,
and we're getting some raking light

coming in from the street.

Scene that's where I want to begin and
see what that gives me.

All right,

we opened.

One.

Third thing I want to do is I want to
start horizontal.

I want to see what this gives me

on a wid shot.

Most of my images in my portfolio

are vertical, delab by fourteen.

Sometimes I will go fourteen by 22 and
do a double spread.

I might want to try that here, but I'm
sure if it's going to work.

Ok, not it yet.

So there are a couple of things I do
like,

I like

kind of what's going on with the set.

I've got no light on the back.

That's terrible.

But I love this mirror.

I think this cart with its mirror
surface is really cool.

I like having a foreground element out
of focus.

I'm not sure about this, though,

it's not there yet.

I'm going to do,

I want to figure this out.

I don't think low is the answer.

Now you're looking right into that

seeding

Bob.

That's going to be better.

This is a vertical shot,

which is not horizontal.

Yeah, the cart's too long

and too many, too many horizontal lines.

It's a vertical shot?

No, I don't.

I don't know.

I want to go closer, because then I'm
not going to be able to crop in.

Yeah, no, like, that's

skimmate.

Let me let me lock my camera in,
because I think I'm in a place

that's better.

So I often do this.

I go handheld a lot.

I just want to find what's the best
angle, where it kind of speaks to me

the most.

I started horizontally

wasn't quite working, move vertically,
and I'm starting to find some places

that are right.

And I can do this pretty quickly.

When I go handheld.

Once I lock into my camera, stand on my
tripod, that's going to slow the entire

process down.

So I want to stay loose.

I want to stay nimble until I feel like
I've gotten to the right spot, and

that's when I can really start to craft
it.

So I think let's kind of get

composition,

right?

And then we can actually start to
really finesse this

one, do we like?

And where was I close?

As that's nice,

at least in terms of the way this is
moving.

Maybe giving yourself a little bit more.

Yeah, because, you know, what I also
want to do

what's going to my portfolio ratio.

Yeah,

I'm going to lose way too much.

So that's the crop from my portfolio.

I put that on when I'm doing a
portfolio image because my portfolio

does not follow the size of a dslr.

There's too much top and bottom room.

So I always want to put my final crop
on, because I know that's what I want

to wind up with if I compose something
really beautifully, but I've used the

entire sensor.

It's not going to fit my book, it's not
the way I want.

I'm going to have to sacrifice
something.

So I try to avoid that altogether,

which means I got to pull back a little
bit, right?

All right.

This means more interest too.

There are a few things.

We've more of those glasses, right?

I have a rain.

So, very cool.

Each man, that wall is rough

it's the light, maybe too

bright.

Yeah, it's way too harsh.

Will you take it closer to the wall?

Let's skim it more, so,

point it,

point out more here.

So they said, yeah, cinema what's there.

Oh, man's bright.

This is too tight and that's facing me
too much.

Maybe getting

around that a minute.

Remembering everything closer.

And I'm going to get in tighter.

And we need to get something on that
background,

because that is looking

boring and flat.

It's just something shadowy.

Grab a plant,

something leafy, long, leafy,

and let's get some shadow.

This is better turned.

Coming in helps.

I like the bottle coming this way for
success and filter.

Yeah, it's definitely hot.

I'm not sure it's in the right place
either.

Not on the right.

I think it is.

A feather.

That's good and cool.

No, I brought it in too much.

I got a finger Frederick.

More of that.

And, I mean, adjusting light on it's
really good.

It's a cool shame.

I think I can take it down a little.

Yeah,

better.

Right?

Yeah, better.

What's a back in total heat.

Some of these shapes

and the shadows added too.

Now it's nothing,

ok?

But to come back, this light,

feather more.

the highlights in the wrong spot, it's
right here.

And that line is bad.

But this holds all things to be filled
in a little bit.

I want to get a card or something in
there.

All right.

So

I shifted to the right.

Do we like the composition?

No more?

In terms of, yeah, I think it's getting
better.

I could go.

So that means a little.

That means the plant is also going to
have to go to

the left,

coming a little bit.

If I went this way, I'm looking into it
more right.

On the come,

that is going to really bring that
plant in

big time.

So there's this point that come towards
me?

And,

yeah, that's a good idea

try.

It's

like lurch's hand reaching down.

So I would say that this is about a
game of inches, and it really is

the smallest world of movements.

The small details can make a huge
difference.

I really believe it's important to kind
of start to craft

your composition, look at where you are,

get a good sense of where you want to
be, and then you can start working the

details, which is what we're working
now.

I think we're really onto something
cool.

We just have to finesse it.

You know what?

The bottle is, nicer forward.

It got bigger, like saying, I'm worried
a little.

Bring it to me just a bit.

Ok.

Now rotate it.

Counter.

I'm sorry.

Rotate a clock.

Take a step.

It needs to go straight.

That way.

Stop.

Two months.

Come back.

Right.

There.

Good.

Do we move that frontwise

back?

So I'm at a point where I really like
this.

When I look around, the things that are
really attracting my eye there's multiples.

If I just start on the left side, I've
got really good movement in the frame.

If you look at the way the tray is
positioned, you can tell it's

rectangular, but it's also going to
lead the eye around, and the eye is

going to pick stuff up.

So I'm going to move back around.

There's good shape in here.

The reflection, I'm going to pick that
up, and I'm going to move right back

into the bottle, which is really good.

That reflection is pretty coming off
the mirror.

I'm getting a lot of nice highlights.

I'm getting a nice bokeh.

I'm liking some of what's going on in
the actual label.

Left side is too hot, but we've got
this beautiful

hid of light coming off of that glass.

The glass has a gold paint on it.

So I like that.

That's naturally happening.

I like that.

We're getting a cool little glow coming
on these Japanese letters and symbols.

That's kind of awesome.

What isn't working.

This neck is too hot on the left side.

That label's too hot on the left side,
and there's too sharp of a line.

That raking light that I'm creating is
making a really harsh line in the

middle.

We're getting bounced

coming back from the glass.

It's lighting up the right side of the
label.

But we're getting that dead spot in the
middle, and that I'm not digging.

So I want to round that out a little
bit, give it a little bit more shape.

So I'm going to use a couple of
different things.

I'm going to use fingers.

This is a great kit to be able to have
these little fingers.

And dots they're called out, and finger
kits.

They allow you to knock light down, to
cut light down, to diffuse light in

just tiny, tiny spots.

So I'm going to first start holding
these things in to take a look at them.

But I also want to put in a couple gold
cards.

I think we're going to need to

get a card to kick in there.

And we need to start getting ice in
that glass

and noseglasses.

There's a lot to do.

What's good through it art.

First things first,

I want to handhold these, just to see

what they get.

Me.

Don't have any others over there.

These might be harsh

where I need them.

We will.

But first let's hold this in.

Those kid ice out there.

I want to

hit this with a card.

And when I had just wanted, died
highlight.

Yeah,

let me know from in.

You're not

even knowing.

You're ready.

Try.

That's

really nice.

Ok, that's perfect.

So I need to come.

I don't want to come from this side.

I want to come from the back side,

to cut that half of it.

Ok?

And I honestly would love to get a
little light coming in there.

Ooh, look at that.

Chop your shoulder.

Let's get some sea arms in there and
make this work.

Because we're getting close

up for the rhino.

What we're doing now is we're going to
use crms to position our cards.

We're using one light.

We've got a nice raking light.

It's doing some great stuff and it's
doing some bad stuff.

So we're going to put in a little dot
to cut down that.

Highlight that's on the left side
label.

We're going to add in a gold card to
kick a little bit of light back on the

label.

Once we get those position pretty well,
and we can start working on the ice in

the glass and get the cocktail

ready to roll,

you're going to have the physician
that's how you assure it.

I'm going to have slides.

Ok, if you look at what I'm doing here,
I've got this

dot on a sea arm.

And right now I've got this loose.

But I'm using my hand here gently

to hold it,

because it gives me the ability to
rotate.

I get that light where I want it,

and I can just lock it in.

So a good firm grip right here prevents
it from sliding, but allows me to

rotate that.

And I can also make fine adjustments
from here.

I'm going to knock that down.

Is this going's going to be in my shot

where you think,

yes, no,

maybe

so.

Indecisive,

slablon airlishi, right now

it's good.

No one cutting too much off that top.

Way, too much off that top.

It's getting better.

I feel like, though, that light needs
to come

move forward and push in that way,
doesn't it?

But then that's still feel too divided.

That's helping though.

This is something I do a lot

literally going back and forth with the
images.

I want to see the improvements.

I want to see the changes.

If there are improvements,

they might not be.

But I go back and forth because I'm
looking again at small details, looking

at very tiny details in the image.

Because when I add them all together,
they make a huge difference.

When you've been doing this a long
time, and hopefully not even after

you've been doing a long time, your
eyes going to develop to the point

where you were going to see the
difference of 110th of a stop.

That's a magic place to be.

And when you get there, you can think,
you know, I just see another 10th of a

stop of light here.

You know, you're really paying
attention to the details.

Your eye has really honed in.

We also have imperfections

right there.

We need let's rotate it.

We've got one there too.

Yeah, but

I don't know, I hate it.

Ooh,

oh, yeah,

yeah, it does.

And then look at that.

I brought this back,

the glasses and back weren't standing
straight, and they came in.

Now they got that highlight.

So that's what's really,

this is really going to be nice back
there, too.

We can push that in post.

Getting very excited about this shot,

pop, that might be in the wrong place,
but

probably because I'm not looking
through the camera,

because it's just standard lay.

I think it is more casual, laying down.

Everything else is standing up very
straight.

Hang.

I want to look.

So the reason I'm paying it so much
attention to these little details,

I don't want to create bad tangence.

I want to add things to my image that
are going to help move

the eye through while telling the story.

And I want to add to the character.

I want to add to the theme.

But I don't want to take away from the
way the eye moves.

So I'd look at these things kind of
time and time again.

It's splitting hairs, but honestly, it
makes a huge difference.

Let's hit it.

Do we try it standing up back there?

I want to try it, because it might get
some nice light and be just kind of interesting.

Bring in a lot of that

toward the glass, towards the bottle.

Yeah, right there.

I like that.

This looks awful.

Like that.

Right?

All right.

Skid cocktails,