All language subtitles for 02-06-Stumpys-White Line.mp4

This set can be really quickly changed
over.

All we have done is take the black
dubutine from the center,

pulled it to one side.

folded it over, kind of doubled it up
so that it's thick and really blocks

the light out.

And we've added a new one on the other
side, and that's it.

It's really quite simple.

Now we're going to have to make some
adjustments.

This bottle is really rounded and it's
moving in multiple directions in terms

of the shape of the shoulders and the
neck,

if you're using a different shape.

Bottle, like a rectangular bottle,
there's a tequila bottle that I've shot

on this many times before.

It's basically an instant change
because of the shape of that bottle.

You can go right from one to the next
with this bottle.

I'm pretty positive we're going to have
to finesse it, Kate.

Neer, going to take a look at it.

We'll just do our first capture.

I know we're going to have to do some
adjusting with this background to get

this bottle to glow.

Because it's so rounded out, it's
almost like a perfect,

just a perfect round.

take a capture to see where we are with
this thing

ok,

not bad, not great.

So I don't have my front light on,
which is why this is getting darker.

We just want to see the background.

We can obviously see the neck is going
to act a lot better in this, because

we've got so much white exposes coming
through.

We probably don't even have to hold a
card in there and post.

We can just kind of blend that neck.

We are going to have to work on that,
highlight, the shoulders,

because it look, it looks kind of flat,
but it actually is rounded around the shoulder,

going in all directions.

That's going to give us some highlight
issues.

We're probably going to have to card
that down.

We could spin the polarizer and see
what it does, but I don't think it's

going to kill it completely.

But we're not getting enough glow.

So

we've got to move that forward.

Yeah, you want to look.

Sure

I can do that.

So if you look on screen here, you can
see

that

this black outline is fairly thin.

On this side

it's double the distance.

On the left side

that's just too much black.

We're going to bring this closer, which
is going to take the black further out

to the edges.

So as this background comes closer,

those stripes will go further away.

It's a distance game.

If we went the opposite direction and
push the

background that we have further away
from the bottle, those black lines

would come in, closer and closer and
closer.

All right, that's good.

Can you go that way?

With that?

You could stop.

Ooh,

all right, let's pop, wanting to see
what I give this.

So I come up on the lights.

You can see it a little better.

Oh, sorry.

Would you like come up in the power of
the backlight?

Yeah, you're on the line.

Maybe even bring it a little closer.

I feel like it's a little high

too.

It just doesn't have enough beef.

But you know what?

We are already starting to lose the
edges.

This is close there.

Ok,

sorry, read you back there.

But that,

try one again.

Don't move it.

Well, try one again.

Ok,

that's better.

I like that.

I still like, you could feel like it
could come up in power.

But

a third.

I'm totally losing the edges.

Yeah, bring up a third.

That's better.

It needs gradation.

They are thick.

We need to thin amount.

This is a tough bottle,

and I still don't have enough on the
edges, which means we're going to have

to put a black.

I say I'm losing my edges completely.

We're going to have to put a black card
in there,

on both sides.

All right,

challenging bottle, for sure,

you wouldn't think it'd be that
challenging, but it is honestly round bottles.

They do present a whole series of
challenges.

So I've got a couple things going on.

One, I don't have enough gradation in
the background.

I want to get that a little bit more
sweeping

now that I've brought the background
really far forward, so it's much closer.

I'm getting wrap around, so that
background is actually wrapping around

the edges and it's bleeding into those
edges.

And they're losing their edge, their
sharpness.

So the polarizer isn't enough to
control that.

So we're actually going to have to
bring in a couple black cards on the

edge, just to grab a capture of that,
which is going to give us a good crisp edge.

We also have

these highlights going on top on the
shoulder, which, again, that's bleed

from the background angle of incidence
angle reflectance.

That light is coming right back into my
camera, and I'm really losing these

shoulders.

So we're going to have to take a card
back here.

Somewhere and knock it out.

So we're going to have to play with
that.

So first thing's, first,

we've got to get them thinner much.

So let's do this.

I think

this is feeling a little too far on the
edge.

Let's kid, another c stand.

And let's take these out a little bit

on that side.

Cool.

I've got one right here.

I'm just worried about that weight on
that edge.

Right?

Better,

you can come up a little bit.

So the first thing we're doing

is actually extending

our c stand a little bit, just because
there's so much weight it's kind of

bouncing that down.

And I need to get that black further
out, because it's just

not there yet.

That's a lot better on that side, for
sure.

Yeah,

did that help enough?

Not enough.

Tell me it helped

not much at all.

Go more.

Wow,

better from here.

You know what worries me about that?

I think we may have to

slide the others you stand out too.

I think

keep going out.

I'll, yeah, keep going out that way

on, right there.

I just want papa and we'll see if it's
looking better.

So what's happening, is

this bottle being so rounded out?

We're seeing all the way across the
studio we're catching the breadth of

everything.

So we're going to let our

diffusion in the middle really be full.

Breadth widthwise, we're going to give
it all of its width, and we're going to

drop the black further out on the edges.

So we're sliding our c stands out

so that we can go further to the side
and get that

little black line to go further out.

You can see the difference between the
left side.

And remember, it's the

background on the right that we're
seeing on left.

It always transfers.

That looks really good.

This one is still too thick.

So we've got to move that out a little
bit,

but it's getting there.

I don't think we have it.

No,

but

so the whole thing needs to come
forward, and slightly

that way.

Because if I look at this,

well, you just have a little bit more
room on that side.

So

let's first go that way a couple
inches, and then we'll come towards me.

All right.

Now, come towards me.

Good.

I'll see what that gives us.

Better.

Bad.

So you can see that little movement in
the background.

I mean, we moved it two inches forward,
two inches to the left.

That's all made a huge change, which is
inside the bottle.

I mean, that's much, much better.

Don't you think?

Much better.

We need to catch these edges.

Are you going to do one capture in
time?

I don't know.

I want to see if I can get how much I
can get with this.

Might cause some problems.

We go,

I go in and hop it for me.

Perfect.

That's pretty clean, isn't it?

Should we go for one capture a time, or
get another one out there and doom both

at the same time?

Well, you have that say, you might as
well.

I do have that.

I may as well switch it.

You know, we should do

don't chip.

We should check our label.

Light.

Maybe you get that going.

How will we get the other side first?

Ok,

we can do that.

Bad idea.

Try that

good.

Do another one without my shoulder in
there, just because,

cool.

All right, let's mark those two.

Give them a one star.

So we

have them marked, right?

So, again, very simple.

Just a black card

with an a clamp, making a little tripod
out of it.

Put it on either side.

Quickly grab those edges.

We'll be able to put them together in
post.

And again, I'm getting down.

I'm looking for my camera level.

That is always superimportant to look
from your camera perspective,

because if I'm standing here and
looking,

this is a totally different perspective
than that.

All right, can imagine, yeah, would you
like to

do the top?

Yes, sure.

Black, hard and back.

You want to pick one, and I will

look sir.

See what we get.

That's too huge.

Gait.

I don't think that.

All right's

not bad.

Come down a little lower, little,
right?

There?

Damn, it.

That's pretty good.

See,

it's almost like, you know what you're
doing, exactly,

why, a couple things.

So, a big card like that in the
background actually thought that was

going to be a little too large.

We could have brought it closer.

But truthfully, that worked really
well.

Going back almost to the actual
background itself, using that big card

and killing that entire highlight that
was coming towards us.

That's better.

Now we're going to have to work on that
one uptop, because that is just killing me,

all right?

And it looks like I'm kind of killing
the middle of it.

Don't more?

I wonder, if I need to take

half of it out, like, if I should shift
it to take the left half out,

you know, I'm saying,

yeah,

if that'll work better.

Is that better?

Now it's better.

So, using two polarizers it's pretty
cool.

You can, really, you can watch the
highlight disappear in spots.

It's actually a great way to learn
about light.

Playing with this technique it's really
kind of cool,

but we can't completely get it.

So I'm going to use a card.

I might be able to do it.

Yeah, got to use that guy.

You're ready

try that

almost

ding

it's pretty good for the next that's

tiny.

Yeah.

I'm going to get it better.

Ok, right there.

Boom, perfect.

All right.

Mark that.

So just a little adjustment again, I'm
kind of from the camera perspective,

and I'm just bringing that

card in.

I'm watching

right where that highlight is giving me
trouble until it goes away, and then I

can work with that label.

Yeah,

give it a popular

whoa.

why is that so hot?

Because, yeah,

oh, yeah, yeah, yeah.

All right, I totally rotated my
polarizing.

So,

a good lesson here.

We completely rotated the polarizer on
the front of the camera in order to

make a change for the high light up here

on that shoulder.

That completely and utterly changed the
highlight that was going on here

from our little impaspot.

And it's really come back.

You can see right here, directly above
the o it's big and it's not what we

want.

So, would you mind spinning that for
me?

So I can.

Oh, yeah.

I got it.

Go ahead.

Keep going.

You going.

You go.

And you go and stop.

That's got it.

Keep going that same direction a little
more.

I can't see it.

Boom.

All right.

So by rotating that entire light with
the polar layers are taped on the front

of it, we're moving that polarizer to
the point where it's now in sync with

the polarizer on the camera.

Highlight goes away.

It's a beautiful thing.

All right.

I like it a little bit more light,

a little bit more power.

But you can see how much changing that
polarizer really brought down the

quantity of light that is hit in the
label before it was blasting.

Now it's dimming down a little more

stuff.

Yeah, just actually, hair more.

I like.

But

didn't seem to pick up a whole lot on
those glass too.

Go.

There that's.

Fuck.

That's full.

That's good.

All right.

You just want to raise it up and get a
little bit more on the neck.

Let me mark that though.

We'll get

it so heavy.

I liked it on the black.

It is a little heavy.

Let's crab, a white card.

And just we'll punch a little in.

I just know that

you're just feathering.

It

came off too much.

I honestly think we're going to need a
little bit of a white card just to kick in.

It's still all dark.

Is it?

Like,

try that,

just for the label.

I might not be hitting it.

Whoa,

it's too much.

Yeah, a little sound.

If you got me,

I can go here.

Whoa.

What did you do?

It's blasting

a little bit more power.

Just like, a third of most.

It's a tough one.

It's just going to get

really fun.

That was, like, hardly, you barely move,

and you barely barely know that light

and breathed that way.

Is it too low?

Yeah,

free it up.

So, if you look at those last few moves
that we made on the computer,

Kate was barely barely moving this
light at all, just a slight rotation.

It can make a huge difference,
particularly when you're dealing with

something like a white label like this,
it can make a really big difference.

I always say it's a game of inches, and
it really is is.

This

business is all about just the details.

And moving the light, just a small
fraction can make a big difference.

It's too bright.

But I agree, I like the shape.

Take out a little bit.

I think it's still a little edgy, right?

Just to just do that.

We'll see it.

I guess.

Not enough.

Ah, actually,

I see a difference.

You see it?

Yeah,

I like it.

That's going to be my main label.

Let's get a little light on the neck.

Label let's just tip it up

and will be good.

Oh, you can raise it.

Sorry.

Wrong?

Verb

ready?

Right?

Too bright.

Let's take a little out, take a third
out, at least.

Yeah.

That's it.

All right?

So, again,

as we always seem to do, we're shooting
four parts.

We're looking at this bottle,

we're pulling it apart.

We're not just saying, ok, it's a hole,
and we're going to shoot it.

We're looking at all the little pieces,
the components that we can break down,

shoot them to their perfection, really
give them detail, and then build it

back together.

And post it's just kind of a matter of

going through systematically and
looking in every part to make sure

you're giving it its best light and
really representing the brand the best

it can be.

Now, I guarantee you, when we put this
in post production and just put these

few little images together to give them
hero images on white and hero images on black

they're going to look completely and
utterly different than what they had before.

I think stumpuse is really going to be
happy with this again.

This is a way for you to really go out
and contact local distillaries, people

that are in your neighborhood, in your
region.

And this is a great way for you to
reach out and get new clients.