All language subtitles for 06-31-Glenlivet-Duratrans Method.mp4

The dirtrans method is actually
something I'm really happy to show you guys.

Shooting on location, I think, poses a
lot of problems, because there's

sacrifices you have to make.

If you're going to be out on location.

You're going to be restricted by time,

by the actual physical space and by
what you can bring into that space,

which means the quality of what you can
do can be limited.

So this is a method that we've been
working with for a long time that

really is kind of a game changer in
terms of shooting on location, but

having to control the studio.

So here's the big question.

Why do I use a durre trends?

Well, it's simple.

I want authenticity.

I want the clear, the transparent, the
translucent portions of my bottle, my

glasses, the set reflection.

I want that to all look like it was
actually shot on location by using the

durater and pushing light through the
back of it, pushing light onto the set.

Anything that's clear, anything that
has transparency, so it can be a

liquid, whether it's brown or clear or
pink, it's going to pick up the feel of

the background.

The bottle is also going to feel like
it's in the room.

And to me, that's one of the most
important things.

I want

the shapes of that room, environment,
of that location, to actually come

through the bottle

that's not something you can really
replicate,

at least to me in a believable fashion.

In post production, you can make a cool
looking image, but this just kind of

grounds everything and it pulls it
together.

So we use this dur trends

while we're shooting in the studio.

But then in post production, we
actually use the high res file that we

shot that made the door trans and slide
it back into the final image.

So what we're doing here is we're
taking that image and we're blowing it

up to 48 inches wide, 48 by 36.

So I've got enough room where we can
really kind of move that around, match

our angle and get the set right.

Then in post production, we put that
high resin, and boom, we have a

beautiful looking, very convincing
image that feels like you shot it on

location.

But you have all the control of being
in the studio.

When you have a door transmit, you're
going to want to talk to your local

lab.

First of all, you're going to have to
find a lab that will create a dirter

trend.

Not every lab has the capability to do
it.

You're not going to find it.

Edges some camera store that can crank
out smallprints.

This has to be done by a lab.

Ask them about the material they use,
get a sample and take a task.

You want to actually do a test shop
before you really get into the chute.

One thing I would recommend,

I personally found that I have to open
up my image, whatever it is, about a

stop and a half, maybe two stops from
what I like.

Dirtrands tend to gain contrast, and
they get a little bit dark.

They're just kind of pushed down.

I'm not sure of many other
photographers that even do this.

So I think it's a pretty unique trick,
and something that, if you use it

properly, can really enlighten your
images in a completely new way that you

haven't had in your work.