All language subtitles for 18-TheaterShootPreProductionConsiderations

Before I can get everyone on the same
page.

I also need to create a moodboard.

And so again,

I use Pinterest.

That's pretty much my most common

point of reference.

It's a great way to sour stuff.

You can upload stuff.

And so this was more or less

what I was using as.

Hey, this is what the images need to
look and feel like.

The stylist can pull gowns or wardrobe
based on this kind of stuff.

I know what the lighting needs to look
like.

Very ethereal, very glowy,

very dramatic, very romantic.

And so this is generally just

the field that I needed everything to

end up looking like.

Ok?

So this is obviously a lot bigger than
what it is.

It's probably three times what you're
seeing on the screen.

But again, it's just so I can
constantly pull reference material

over and over again.

All right.

So some details on the location.

So, like I said, it's the 5th avenue
theater in Seattle.

And this

is what it looked like.

These were my scout photos.

And so when looking at it, like, if you
go Google it, they have the most

beautifully done interior photos.

When you search for it, and you can see
this really elegant ceiling.

Which's

really fascinating about it.

So it was built

after the earthquake, something it felt
like the 1920s,

and after the fires.

So it's built, there's very little,
almost no wood in the building.

So all of the embellishments are
plaster instead of wood.

Even the stuff that is meant to look
like wood and painted to look like wood

it's plaster.

And that huge ceiling to protect it
from earthquake,

to protect it from predictors, is
actually suspended from the floors

higher up.

So it actually just kind of,

it hovers in there and can be raised
and lowered to change out lights and

stuff.

So the whole ceiling goes up and down,
which is super cool,

but for the most part, looks pretty
close to the interior looks, pretty

close to how it was built in, like the
1920s.

And at a little bit of a renovation, I
believe, in the

70s 80s.

But for the most part, they try to keep
it stylistically,

pretty close, which I absolutely love.

And so we get into the space, and I'm

playing how I plan on using spotlights
and everything else, and all this other

kinds of stuff.

And so

we ultimately find out that that's not
really an option for us.

So we have to find another solution how
do we make a theater look like it's lit

by the stagelights and everything else,
without actually being able to use

them, or having to have access to where
those lights can be?

So we have to kind of fake that.

Along the way,

you'll also find that there is a
railing in the front of the stage.

And this is to kind of protect

the edge

before there's a pit area in the front.

And so I'm looking at, go, oh, that
clearly can't be there.

So we had to come and sweet talk them
into letting us take it down while we

were actually shooting.

And so that was a consideration that we
had to make.

Also, when all of the lights are on, it
looks like this.

Not particularly cinematic, not
particularly exciting.

But when the lights are pretty dark,

the ceiling is the only thing that
really glows in the space.

So what I have to do is I have to make
all of that kind of work together.

So

this is kind of what I know going into
it.

This is what the space looks like to
the naked eye.

Like, no fancy pictures done of it.

This is what the blank slate is.

Then we get to the wardrobe.

How does the wardrobe fit within the
space?

And so we've got a few different
options.

Both of these two on the left were
pulled.

I brought them in from New York, that
they were pulled from a couple of local

designers up there.

The one on the right, we have a version
of.

This that's a dress from Amazon.

Relatively inexpensive.

So know that you can pull beautiful,
gorgeous, amazing clothing and wardrobe

sometimes, and then sometimes you have
to work around getting something that's

a little bit more creative.

And I'm going to show you what both of
those look like.

And they both turned out really, really
well.

So we're going for that very polished
gown look.

I wanted something that looked epic

in this space.

So I didn't want to short change myself
on what the clothing they were wearing

was like.

It wouldn't make sense for someone to
be up there in Jeans and a t shirt,

or just maybe a normal,

a normal, nice stress.

It needed to look just amazing.

It needed to fit the space, needed to
fit the pomp and

the amazingness of the space.

And so I wanted the clothing to be
really reflective of that.

And so I got a couple of really sparkly
gowns to achieve that, or something

with a really long train.

Don't we get to hair and make up again?

How does this reflect

what you're working with?

And so I like that old Hollywood,
glamorous hair, the Waves and the hair,

the kind of cat eyes on the makeup, the
nice, the nice lip.

I'm not going for anything that's

crazy, ridiculously over the top.

I want it to fit the period.

I wanted to look beautiful and elegant.

Remember that that Gilda animated, that
that's what I was going for, that's the

time period that I really wanted to
nail down.

And so this is the hair and makeup
inspiration

that I sent to my hair makeup artist.

In addition to that,

the

face was not going to be super club.

So, you know, I could get away with

certain things there as well.

So that was kind of what I was going
for.

And that's what we got.

I used

22 models for this call.

Models call them actors, depends on

whatever you prefer.

But these were, the two, are two or two
subjects that we used for this.

I think it came out really interesting.

As you're about to see.

There are certain considerations we
have to make when it comes to picking

out your subjects.

Who's available on the day,

who fits the clothes that you have
pulled,

you know,

do they fit the general look and feel
of the images you were going for?

And

everyone's going to have different

people, different

things that they're looking for when it
comes to what those considerations are.

But that's kind of the whole thing about

who are you as an image creator, and
what do you look for in the details

that you bring to your image?

And so we got these two, and

we use them for

these two shots.

All right.

Then

we actually get

to the lighting.

And so we've talked about all of these
different ingredients.

These are all the things that are
decided

weeks and weeks ahead of time.

What does the wardrobe look like?

Who are the models?

And usually

you figure out who your models are, and
then you match the wardrobe to it.

Or sometimes you get the wardo first,
and you match the models to it, and it

goes all different directions.

But you want to make sure that works.

You can obviously make something a
little bigger, fit someone who's

smaller, and clamp it up, or you can
make something a little bit bigger,

someone who's different sizes.

You can make things work, but didn't
have any props to consider.

We had wardrobe to consider, we had
models to consider.

We have the location to consider.

But now we actually

get

to

the lighting.

And this is the last thing, but this is
probably one of those things that takes

the most time.

On the day, I actually shoot very
little.

I'm all preproduction, I'm all set up.

My shooting time is short because I
know, going into what I'm looking to

create, what I want it to look like.

And once it's there, it just everyone
steps in.

You're here.

Great.

We take the picture and we can move on.

And I look for certain varieties, I
look for variations

on what I'm doing.

But

for me, the image is made in the pre
production.

And the actual, just taking the picture
is

the really small part of this.

And so I love the whole idea of
crafting the image

in all of the work that goes into it,
so that when I'm actually making the

images, all of my preparation kind of
comes together and it's there.

And it's always really easy to

get excited about what you're
photographing when it looks really good.

I think

this is a Lindsey, a lindsiasm, but
it's, if you want to be more excited

about what you're photographing, put
more exciting things in front of your

camera.

And so

that's really good advice, put
something in front of your camera that

you're excited to photograph.

And you want to photograph.

And that was kind of the entire, the
entire

buildup to this