All language subtitles for 17-TheaterShootConcept.mp4

We're going to dive in now that we've
talked a little bit about the different

kinds of tools and kind of the general
stuff that we need to keep in mind

we're actually going to see it
implemented.

I'm going to take you through the pre
production process, what that looks

like, how involved it was to a degree.

And you can kind of see what this whole
concept

was born from.

Now.

The original idea that I had pitched
for this particular production was I

really wanted to shoot at one of those
old grand theaters.

I really love

what you get when you can find some of
those that have been built around 708090

or so years ago, and they have the
really elaborate finishings on the

inside.

And I've always thought that was
really, really beautiful.

And so I wanted to do a fashion e, sort
of a shoot, kind of in that vanity

fair, sort of a theme

ish

fashion fashion story, fashion shot in
this theater.

And so we did a lot of scouting for
this.

We looked at several several theaters.

We're fortunate that here in Seattle
there's a handful of old theaters like this.

We looked at old movie theaters, old
regular theaters, and it was a matter of

a lot of these have productions right
now.

And so it was very difficult and
challenging for us to get them to say, ok,

fortunately,

we were really lucky with the 5th
avenue theater,

and they were very gracious and very
hospitable with getting us to come in.

But you'll see that there were certain
considerations we had to work with to

make this whole thing work.

Now, with this particular shoot, and
I'm going to get into this a little bit

later, you will find that this is of
the two shoots

way more complicated than the other
one.

And I don't want this to scare you.

This is the availability we had, we had
this day.

And so we shot the airfield the second
day.

And so that's the reason why the order
is appearing what it is.

But

this is two very different spectrums of
how to approach this kind of a shoot.

This is going to be lots of moving
parts and lots of lights,

but all of the concepts that we're
going to be covering and discussing and

building from

are all rooted in very much the same
ideas.

Generally.

The difference between using one light
and using three lights is a whole lot

more of a spectrum to learn than using
three and using ten, like, once you

understand three really well, you can
do ted.

It takes that leap to get from one to
three, which is the challenging one.

And so in the other shoot, we're going
to use one light.

In this one, we're going to use a lot
more.

You're going to see what that looks
like in a little bit.

So again, it's us.

We called it the starlit she's onstage,
and we wanted to look for some really

beautiful gallons to go along with it.

And so

this is kind of where the shot began.

Once we figured out what the concept
was going to be, we had a couple of

people go over and do a scout day.

And so make sure the location looks
good, make sure everything

fits the overall concept,

as you can, kind of make it the best of
your ability.

And this is important, because one of
the early locations we went to that I

thought was going to be a really good
option.

Once we actually got into the space and
saw it, it had a lot of really

challenging elements to it that we're
actually going to prove to be more

difficult than it was probably worth.

And so we ended up not going with the
first location we had originally

anticipated, using and so that's why
scout days are so important for these

kinds of productions.

And when you are

doing this kind of a thing on a really
huge scale, for a big commercial

client, you get to charge for these
kinds of days.

You get to charge for scouting days,
pre production days and stuff like

that.

You're not just hired to shoot on the
day.

There are multiple days you get to
build for.

And so this was one of the early scout
images.

And I use the quick little

snap pictures that were taken

by the people that went as kind of the
base

for

what I wanted these shots to look like,
give me a little bit of an idea going

into it.

And I find that on this kind of stuff
it's especially helpful if I can create

sketches that help me illustrate what
my shots need to look like going forward.

And so this one, in particular, I don't
know if anyone happened to see, I

posted the end result of this this
morning.

It's very similar in terms of frame,
very, very similar.

There are a few things in this shot
that I was expecting to be able to get

away with

that I couldn't.

In particular, I thought I could
actually use a strobe on this left in

the top left hand corner, nope,
couldn't access.

It was way too out of it, because I
wanted to turn that into one of my

spotlights.

I didn't get to do that, so we had to
come with a different solution.

But the frame

shooting, kind of backstage out at the
theater a little bit, was very much

what I intended to do with this shot.

And so this is kind of the first one
where it began.

And again, it just sketched out.

Another like way that I like to do it
sometimes is i'll find my base shot,

and then maybe I will cut,

cut out something from another shot as
you.

So I don't have to freehand someone
drawing, like free hand, someone

standing there.

Like, if you're not a good artist, you
just kind of

bring in a picture from somewhere else,
and you trace over it, and you can at

least just get a pose body in there,
and it doesn't feel like it's copy and

pasted from another image.

So that's something that i'll do.

This was another one.

This was kind of the directly outshot.

I ended up doing a slight variation on
this

to the front stage by the time I
actually got into the space.

So basically what happened was when the
scouts went to the location.

They said, how do you want us to
photograph?

I said, basically, give me a 360 of the
stage.

I want to see you photographing from
the sides, the back corner, back

straight on from the audience, facing
in, like, I want to see what the space

looks like, best as you can make it.

And so that's what they did.

Gave me

a lot of different options for how I
was going to base what these lights

ultimately looked like.

And so even though the shots themselves
didn't come out exactly like these,

you'll definitely see a lot of
similarities

in the final shots compared to how
these look.

This was the third shot, and it was just

reclining in the chair.

This one's probably the most simple of
the three, because there's no

environment to light.

And this is the last one that we did
over the day.

And so these were the three shots that
I was aiming to get.

We got to location,

I believe

around

nine is my guess.

We had a wrap of four.

So that's a normal day for the space,
but it requires you coming in, setting

up, building the lights, getting the
shots, three different shots

between shot one and two, we didn't
have to move the environment all that much.

This one was totally different.

But it required very minimal lighting,
compared to the first one, which

required tons.

But I knew going into this, that my
first shot is always the most

challenging to set up, to get going.

It's always the longest shot of the
day.

I think by the time it was all said and
done, by the time we got into the

theater, it was about three hours
before the first shot came off.

And that's a lot of times I anticipate
two hours haird makeup going into it.

So I know if

the call time for the models is eight a
m, I'm not getting my first shot off

until about 101030, realistically

that's super common.

So in this particular case, I think it
was 111130

by the time we got the first shot off.

Just something to keep in mind, it is
time consuming, and this is with

multiple people helping out, setting
stuff up.

So those are my three sketches that I
went into the project with.

This helps me illustrate what the
lighting is going to look and feel

like, what the frames are going to look
and feel like.

The general idea

about what the images

kind of are

going to end up