All language subtitles for 05-24-The Tentacle-Background.mp4

Honestly, I don't think we could be

happier with the way those images
turned out.

That was getting a little precarious
there.

At the end, we were really stretching
the limits of that tank.

There was so much water, and it was
actually starting to bow.

So we were definitely concerned and
wanted to go kind of quickly.

I said that was going to be a one shot
deal where we were going to get one

turn with this, because that ink was
just going to go everywhere.

Completely contaminate the water.

Wasn't going to work in terms of doing
it again.

So we just pumped everything out,

used a beer pump, like we normally do,
just to get all the water out of here,

right into the sink with the garden
hose.

Now we've removed all of that.

So the last shout we're going to do

is just the background.

I want that slight gradation just
coming on.

That background that's all I need for
the retoucher to have a clean backplate

where everything can be built in front
of.

Because, remember, we've kind of played
with this a little bit.

We had the wine glass and the bottle
out front.

We have all the stuff going on inside
of the tank with the India ink.

We've had a couple different exposures
for that background.

I want to give him one solid one that's
right on the money, right where I want

him to build everything upon, and then
we're going to be in great shape.

The one thing I also want to tell you
about is safety precautions.

When you've got a tank like that, you
absolutely have to be careful one.

You want to make sure it's well made

too.

You want to make sure that all of your
electric is up and out of the way.

Actually, we can probably pull this out
right now, and I can show you

what we've done

back in the back.

We've pulled our power packs way far
away.

We actually were using a couple of
florid packs here with heads going to

them, rather than just amount of blocks.

Those packs are up on apple boxes.

If that tank were to break and it was
to go out,

it wouldn't hit those power packs.

And that's something that's really
important.

If you've got water, you want to do
everything you can to make sure that

your power packs, your electronics are
safe and away, in case there is some

kind of wreakish.

It's going to make a huge mess.

If you've got water going everywhere,
you do not want to add electrical

problems with that it's just too
dangerous, as it's not worth it.

So make sure you take your time to do
this properly, to ensure your safety.

That's just that comes before
everything.

So I think all we need to do is get
this last shot, and we're in good shape.

Except,

do you see that pucker

on the far left,

down there?

Will see if we can get that out a
little bit.

Just seeing a hair of that's

I come out completely.

Is it

just move?

I can still deal with it.

It's actually kind of nice in some ways.

All right.

Oh, that helped, right?

Ah,

I think I like the first one.

Yeah,

let's market

let's.

Go back through these

whoa.

God is so cool.

Yeah,

it's time to mark.

Look at the way that's exploding

market.

So honestly, there are a lot of
different options.

You can see with every single tick, as
we go through all these images, these

plumes are just moving and changing.

And there are landscapes in and of
themselves.

So

we absolutely have some decisions to
make on what we want to do.

And I think we might change this from
what I originally envisioned, because I

was initially thinking of these kinds
of plumes coming down.

When we get to that stormy part.

Towards the end, where it's all kind of
undulating at the bottom.

We've got some great light.

I think we want to mix that with maybe
some of those plumes coming down on the top.

Let's just kind of walk back through
this.

So

our very beginning image is just going
back to where we've got the full bottle

and the full glass of wine, and

really we're just kind of going for
composition,

looking at the background, seeing how
everything lazed out.

This, again, is going to be like our
base reference file.

This is what

our retoucher is going to work with to
go, ok, these are the parameters we're

going to build everything from here.

And keep in mind

I'm working within a fourteen by 22
inch crop.

This is a portfolio image.

This is something I'm absolutely going
to show off, because I love this.

My portfolio is fourteen inches tall.

When I do a double spread like this,
it's going to be 22.

So I've got all that information.

I've got more information beyond it,
but I know I'm working within that constraint.

That's going to be where we start off.

Let's go.

The next guy

we shot just for the very cap, the very
top of the wine bottle.

We rotated the polarizer on the spot

turned it up a little bit and got a
little bit of life coming into that.

Then we actually took the bottle,
swapped it out with a bottle that we

had pulled half of the liquid out and
put in half water in order to thin out

the red wine, because it's so dark, we
just couldn't get any light through it.

On top of that, we put in a bare bulb
low behind the sets it's kind of coming

up.

We diffused it a little bit, but it
really brought some interesting

highlights into both the glass and the
body of the bottle.

So having that bare bulb really

kicked light in where it was just so
dark before, we had no tone.

I want this to be monochromatic with
the exception of the red wine.

We're shooting black on black and
black, but I want that little bit of

dark red seeping in there, because it's
really going to make that wine just pop

off.

And honestly, I think the client's
going to love this.

I hope that they're going to love this,
because it's just, I think it's gorgeous.

Next,

we've got that hit of surface water,
right?

Because we had that tray,

just used a little bit of air kind of
pushing down on that, and we did a

couple of shots,

one for the right side, so the right
side of the ripples coming around the

wine glass, moving over to the wine
bottle.

And we had the other one extending from
the wine bottle out.

We do have surface Waves too.

I don't know where we're going to go
with that, to be honest.

We've got some cool ones.

I don't know if we need it,

we might.

It might be cool offs.

And it's an option.

Half, it's always good to give yourself
options.

And then the ink, oh god, i'll go that
way.

I love that

we have Martin taps.

That's it?

Irene,

I love that image.

That's

like that to me, could be the base
file.

There's so much going on in terms of
that blue and the black coming in there

against the red.

That's it.

We don't have to do anything else.

That's pretty perfect.

Let's get this into post production and
see how the final image turns out