All language subtitles for 23-TheaterShootHeroShot.mp4

Let's move on to

shot two.

This

was our

source image,

and I wanted something that was really
a little bit more outward to the

theater.

It got to the edge of the stage, versus
the first one, which showed the

backstage area a little bit.

And so this was meant to step forward,
be a little bit more of the

performance.

And so I wanted the spotlights to
create more

of an obvious effect here.

And so we had to reconfigure the lights

quite a bit for this.

We're going to talk about this setup in
just a minute,

but let's take a look at what that
chute looked like.

Or the second shot here, we're doing a
little bit of a variation on the space.

So in the first shot, we had a little
bit more the backsage area here we're

moving almost to the complete edge of
the stage so that we can get

more of the environment featured

in the set of images.

For this we're lighting quite a bit
differently.

So in the first setup, it was a little
bit difficult challenging to get

the spotlights to have their spotlight
effect in the shot.

So for this one, instead of having them
far back away in the mesanine, we've

actually brought them

to the stage, and they are just
situated outside a frame of the camera,

and basically we're kind of cheating it
into the frame.

So instead of it actually being
somewhere, mounted high, it just gives

the illusion of being mounted high, and
it's just

slightly out of edge.

And we're running the haze machine
here, so you'll be able to see kind of

that hard edge to the beam in these
spotlights.

And then from here, I mean, not much
else has changed.

So we've brought the spotlights around.

We're still using the octabox as kind
of a rim slash key light.

We've rearranged a few of the lights

in the theater space, not so much in
any theoretically different fashion.

Since we're shooting the opposite side
of the stage, we kind of had to move it

to the opposite side so that the lights
themselves weren't in frame, but the

result of them across the seats is in
frame.

Other than that, not a whole lot has
changed between sets.

But visually they're going to look
pretty different.

And technically the motivation behind
them uses a different

philosophy when it comes to

creating the lighting effects.

So you've got our lights dialed in.

We did a few more tweaks to the
direction really getting the specifics

of what these spotlights are doing kind
of in place.

So we've created what looks like a beam
from the rafters, which is kind of up

there, and so it's coming directionally
from it.

We can get this.

The haze is kind of settled in really
nicely, so the beams are coming in and

they're really nicely defined.

We also have a nice little flare on the
left hand side of the camera, which

gives us a little bit of visual balance.

And then we have our

lovely subject in this satin dress.

And we've cried kind of this rimlight
across.

You'll notice, we set up the five foot
octa on the other side, which is kind of

faking doing what the spotlight would
do.

So if you could imagine that spotlight
we're actually coming from that

direction, it would be lighting her
face, very similar to that.

And so that's kind of what it's in the
place

of doing, and I think it fakes it
really beautifully.

We also have a little bit of a rimlight
over on the left hand side, which you

can see on the dress.

And, again, doing what the spotlight
from the left is supposed to do.

So all of this is motivated by what is
practical, or would appear to be

practical in the scene.

And so now that we have that in place,

we go ahead and we can start taking
some pictures.

Adimi favor, can you

see it's going to be a little, because
I'm shooting at such a low angle, if

you can, kind of lean back to me a
little bit, just to kind of fake it

exactly.

And then go ahead up a little bit more.

Very nice.

And it is a little bit darken here.

So just make sure that the posing in
between is

very slow,

beautiful.

Can you?

Let's bring that knee.

Yeah.

So I'm just kind of push it across that
way.

So it

bent.

Bend this one in.

And then, can we reclamp this, maybe

see how you're going to go

kind of in a little bit.

And then, up here, I'm going to do good.

And turn your shoulders to me just a
little bit good.

And then turn your face to light a
little bit good.

Right here?

Oh, good.

I'm inside that.

Right hand, up, leg a little bit.

Elbow back,

good.

Elbow back into the body.

Go the other way.

Hey, that's fine.

That's nice.

Lean just into me a little bit.

Thank you for the vocas.

A little later, we go

link to me a little bit more till the
head down a little bit and then turn it

back to the light.

Beautiful, that's great.

Beautiful.

That looks really, really nice.

Let me get you to move over just a
little bit.

Great.

But can you cross, maybe your feet at
the upkin?

Good, lean forward on me again.

Please.

Good, really nice.

We cannot do something like

nice.

Great.

Lean forward a little more.

Good,

closing eyes.

Head up.

Good.

I love that.

Really pretty,

because I'm shooting with a really wide
angle.

Lens.

Everything is exaggerated when it's
close to me.

And I usually like to create

a bit of balance.

So what I'm having to do is

have her lean

toward me, so that she's on a more even
plane with her body.

And that's generally what I'm trying to
adjust.

Here it's the same with the head.

When the head tilts away, it looks
really far away.

So I'm, again, trying to create a
little bit more balance with us.

But I'm also trying to figure out a few
different narrative elements

and pose the dress in a way that's

the most flattering

to her.

And that's always the consideration
when you're working with dresses and

gowns is,

how can you best make it look for the
person?

So one of my favorite ways to do that
it's a very quick and easy ways to do a

clamp on the back of the knee, because
it tapers the dress too much more

flattering shape.

And that's usually like one of the
quick, easy go to ways to make it rest

look quite a bit better.

Can I see the back of the dress again?

Please?

So let me get you,

that's good.

And then you can kind of give me a
slink.

Yeah.

That's great.

Elbows are great.

That looks great.

Turn the face a little bit more this
way.

Very nice.

Yeah, I think you can go cutter.

Can you slink

a little bit more to me with the top,

so you're not your shoulders, aren't
tilting away from me.

Sorry.

Can you kind of like

there?

I know it's super awkward to do in
that?

Both.

Good.

Can you bring that elbow across?

Ah, great.

So, I got the wide shots.

I'm going to go to the 55 again.

That, again, was my preferred lens for
the last set.

Just, I want to make sure for safety
that I've got my wide angles.

So I'm going to pop that on, go back to
the vertical

and

back up just a touch.

So I got to go back to 28,

which allowed me to pop to a lower

I, so, which looks nice

but I also like this, because I get to
shoot

at that.

I get not just more narrative field, I
also get to get her a little bit

higher, so I don't feel like her face
is hiding behind her shoulder as much,

because I had to shoot from almost the
ground.

I'm going to see if I can back, just to
touch more,

because I'm losing some of those lights
a little bit.

That's better.

Ok,

I'm going to see if I can do, because
I'm getting this spotlight on the

ground, but because I've changed my
focal length,

I should be able to get away

with moving it a little bit further

on both.

So this

should give me a little bit more
leniency

to shoot

a little bit more of the ground.

Yeah, my legs.

Church.

Turn this back up.

I dropped it down a stop, but I want it
to

be a little bit more poppy.

Puppy.

Yeah.

It's cool.

It's nice.

Nice.

All right.

Shining the ice closed, were quick.

Chin down a little bit.

Nice.

Turn to the side a little bit more.

Just a hair a little bit less

than you go,

and turn me the back again.

Good.

Give me that Es cur with the body,
really kind of curve it up.

Nice, really nice.

Can you bring that?

Right?

Elbow bath how you had it?

Yep, good.

Beautiful, really nice.

Slide, the hand down, just a little bit
on both.

They go.

Yes.

Perfect.

Nice.

I'm just kind of working the body pose
and the hand pose a little bit looking

for some, you know, we try to

be aware of the elegant lines and the
elegant shape

of the hands and the arms, everything.

So I'm just kind of looking for that

traditional s curve right now, which I
think were right on.

So now, once I have it, I'm just kind
of working through different variations

on expressions.

Head

tilt pose, just kind of giving myself
options.

Ok,

can you give it?

Can you readjust the seat on it, just a
little bit?

Thank you.

Perfect.

That's great.

Right there.

Can you lean back just a little bit?

Lean back a little more.

Head up.

Beautiful.

Head up a little bit more.

Nice.

Good.

Can you go a right hand on the hip for
me?

Good.

Beautiful swing.

That elbow out just a little bit up.

Perfect.

Head up.

Great.

Lean back a little bit

back,

and then head up.

Give me hands, like

on both sides.

The left hand is right.

Give me, did the do that on the right
hand?

Yep, good.

Elbow up a little bit more.

Ah,

good, head back.

Good,

head up even higher.

Good,

even higher good.

Beautiful.

Stay right there.

That's great.

I'm going to get some plates.

And can you pull out

Octople?

Great.

You can turn it off as well.

Try it off.

Sorry.

That's great.

All right.

So

this

is the visual breakdown of what we were
looking at.

And so I kind of want to walk you
through those lights one more time from

this diagram.

So we still got the d one with the five
foot octobox.

That's creating my key light on our
subject it's also kind of faking what

that spotlight is supposed to be doing.

It's just a slightly prettier, softer
version of that.

At the top of my frame, we could see
that spotlight dropping in to create

those flare effects.

And they are boomed in and relatively
close to frame.

Obviously, she's at the relative edge.

I've compressed this a little bit just
to kind of fit it.

But we move the light that was over
here on the stage to the opposite side,

which was also flaring at camera a
little bit.

Another one is hitting the seats.

And then technically, this one was
still on in the top corner, although I

don't necessarily think you see it all
that much, but

it is on

that frame technically.

So this

is the setup it uses significantly
fewer lights than the first one.

We've turned a lot of things off.

We've moved some things around.

And so this gets away with 26.

It's half half as many as the first
one.

Like I said, we started with the most
complicated, and then continually

broke it down a little bit.

Now I'm going to move over to the
computer, show you what that looked like.

There we go.

This was the wide angle shot.

And you can see there's a little bit of
a light stand in the corner of the

frame.

Not too terrible.

That's an easy enough fix.

But this was what that looked like,
pretty wide.

I like this a little bit more than when
her back was turned at that low angle,

because I think it tends to, we lose
your face

a little bit between the two images.

I think she looks much, much better
here.

I love that this spotlight

looks like that, is casting that light
on the face, even though the spotlights

in the front.

I think that's a really cool effect.

I think that's kind of fun.

This was the shot

I think that I ended up using for the
composite.

You can see, it's a little bit wide.

I've got

the spotlight

showing on the ground in front, which

will take it away later when we do the
post production.

And I said, you guys had to do it.

But this was the one that I liked.

And so this was the one that I chose
for the plates.

I ended up stitching it to plates that
looked like this.

You know, I picked the wrong ones.

Let's try that again.

So it looks like that.

Let me take these out one more time.

Was this one and

this one.

So

take a look at those again.

So it's basically like

a combination of a few of these
different images.

It may not have been exactly those, but
you more or less

get the idea.

And so when they were stitched
together, this is actually what they

looked like.

This is what the stitch looks like when
it's put together.

And obviously we throw away a lot of
this information,

and so it gets cropped down

to looking something like that.

And so this gives me something that's
relatively close to perspective,

so that I know, coming in, I've got to
erase that lightstand.

And when that goes away,

that's basically it's just clone
stamped out.

Obviously, it needs a little bit more
work.

I was just kind of doing it really
quickly to kind of show you what that

would look like and I didn't even take
the clamp out of the back, but you can

kind of see

it's just a quick,

quick little cleanup,

and you know

from there.

Now that's not to say that I'm not

totally fine with an image like this.

I actually, this looks really nice.

It just

a different way to go about it.

And I think the other one matches

the first image.

If I were presenting them as a series,
they would feel a little bit more

cohesive.

But I think, on its own,

totally fine.

And I would be completely happy with
that.

So I'm going to put the lighting
diagram back up one more time.

Maybe we go and take some questions on
this

image.

If you guys have em, we'll start.

What shutterspeed did you?

Were you shooting that at?

Somebody asked this one in particular.

I was at 113th

of a second

when I was shooting it wide.

Was it 113th?

And I was at 45 f, 45

with the other one,

I was at 2.8.

I was still at 13th.

I was just going from 1000 iso to 2000.

Ok?

So

that was about the difference.

Yes.

asked

in theory, considering, you're shooting
with such a high iso and low aperture

for these,

or for lots of these.

Could you have done these shots with
relatively powerful speed lights?

Could have accomplished the same thing?

Well, the thing about speed lights is
there's not really such a thing as a

really powerful speed light.

They're portable, they're really

small, but they're not really powerful.

So

you couldn't really do it with the
spotlights.

Those spotlights are using every bit of
the 1200 Watts.

And there is not a speed light that is
remotely close to that

as far as the other stuff, sure, yeah,
the other stuff, you can get away with it,

but not for

the spotlights.

That's a specialty thing.

You could also,

if you happen to have the theater's
permission, use their spotlights, and

then you don't have to worry about it.

And then you can use speed lights for
everything else, and then you'd be

safe.

But

the way that we did it, you couldn't
have gotten the spotlights

specifically with speed lights.

Yeah.

Somebody asked a little bit about how
you created.

That orange

glow is at the gels you're using.

That is gels is absolutely the gel of
cool.

And on top of some of those were mix
and matched.

Yeah, some of them mixing match.

That's why we were on the left hand
side and in some of these frames, it's

a bit more orange.

That was like a super orange gel.

It needs to be toned down.

It's a little bit much.

But I am shooting at a 5400 white
balance, which, when you are shooting

tongston at 5400, it makes everything
look warm.

And that's why it looks warm.

If I were to change this to a

tongue stin,

yeah, I know it doesn't look as nice.

Son, as I may put around something
close, 34 is probably 35 is a lot closer

to what it would probably be like.

I think this is somewhat close,

I mean, other than that left hand side,
but the light itself

on the main, is pretty neutral, I think,

but man's

way prettier.

The other way,

like, it's way nicer, like this.

I just think the colors are a lot
nicer.

This just feels

a bit neutral, like, I mean, I can add
a little bit of

magenta to it, but,

I don't know, it just feels very
neutral.

I think it's

prettier.

It's more interesting when we're
intentionally pushing the warmth

into it quite a bit