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so we're scouting
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the brewery is in full action here
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so it's like a normal scout
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we're not coming in here and asking people to stop
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what they're doing
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we're just trying to find
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the places where things are going to happen
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on the actual shoot
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so we're not as concerned about sound right now
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we're not as concerned about
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how the lighting is in the space
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what we wanna do is find out where our interviews
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are going to take place
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and we've landed here for Kyle
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who's one of the co founders
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because from the description on the website
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and conversations we've had
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he's a little bit more of the chemistry kind of guy
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I mean there is Casey
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who's a head Brewer
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who are also gonna interview
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and he's obviously
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going to be doing a lot of stuff with all of this
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but we felt that here in the back of the house
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where stuff is made
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would be a great place for Kyle to be interviewed
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so again we've landed here
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and what I wanna figure out is
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what direction
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camera right or camera left is Kyle gonna be facing
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I wanna see what our widest and our tightest shots are
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and once we do all of these things
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you'll see what happens
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all of the other stuff starts to fall into place
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now I'm little
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I'm Hobbit size
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Kyle he's tall
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like a giant
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so I need to get up on something
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I always bring
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just because I am short 1/2 apple box
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and I mean actually use this for two purposes
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one to be at about the same height as Kyle is gonna be
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for the interview
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so we can get the right composition and No. 2
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this is what I'm gonna stand on when I conduct
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the interview
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so my eye line is about the same as Kyle's
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which is important stuff um
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I've got Greg over there
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he's got our a and our B cameras set up
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because when we shoot interviews now
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clients expect to have two cameras
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and what I wanna do is
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I want to look
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camera right and camera left
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and I'm gonna have Greg
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look at our widest and our tightest shots
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I'm gonna figure out
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if this is the place that we wanna shoot this interview
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and if it is
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then again everything will fall into place
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so uh great
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if you don't mind
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let's go to uh
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a camera right
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and we're gonna go to our widest shot
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I'm talking good
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maybe not quite a cowboy
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you know where you're just below
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if you had a guns
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you'd be just below the waist
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but this is
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feeling pretty comfortable
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as sort of the hands
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and I'm looking right now
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I have a reference for the monitor
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and it looks nice to frame
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and let's go ahead and take a look at our Titus shot
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we're on a actually
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on the a cam for now so
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let's just go in the tightest that we can on our a cam
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and we're on a
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I think we're on a 20
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four to 1:05 right now
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so is that our Titus Greg
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it is okay great
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so I think that's okay
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what we might wind up doing is
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bringing that camera in a little bit closer
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or going on a longer lens on a
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because I think I want a slightly tighter shot
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at a certain point in the interview okay
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but it does give me an idea
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and we're shooting at a
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what's our f stop right now for
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before lighting okay
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so we've got a super 35 millimeter sensor on there
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so we're gonna get a relatively shallow depth of field
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especially when we're on
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the longer end of a zoom lens
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1:05 or if we put a 70 to 200 on there
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we're gonna get a very shallow depth of field
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so to push this to a 2
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8 might be a little bit much
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because if Kyle likes to move around
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then he's gonna
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go in and out of focus a lot
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so I'd say an F4
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between F4 and f
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5.6 would make a lot of sense
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once you decide what your f stop is though
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you lock it in
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it doesn't change throughout the interview
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so that's our camera right
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wide and tight
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and let's go ahead and take a look
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at a camera left okay
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and I'm not even gonna worry
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about our B camera yet
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because I wanna see
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kind of what we have
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so there's our white okay
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and we can actually see a little bit of Ben right there
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which is okay
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because we're doing instructional video
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so he's a little bit in frame
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but I get an idea of what we've got
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and I can see that
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and that looks pretty nice
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I like what's happening here with this
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and it's giving a little bit of color um
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maybe I'll adjust
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let's go in just a little bit tighter
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for a while
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and we might adjust a little bit
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to get a little bit of this machine
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out of the frame
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but there is something about this that I'm liking
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a little bit more
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than the other frame that we had before
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so I think I'm actually gonna look
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camera left
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and look over there
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and I think that's the way we're gonna go
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now this brings up
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a couple of things
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in this space
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we have a skylight
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so we already have
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sort of a motivated keylight
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if I'm looking camera right over here
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so if I wanna shoot
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in this direction
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and have talent look camera left
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what does that mean
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well it means
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that I'm almost always gonna put my key
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on the same side that
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the talent is
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facing camera
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interviewer
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key light if I
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was looking camera right
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then it would be camera
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interviewer
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key light so
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I've got a motivated sort
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of already in place
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key light over here
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but I like the frame over here more
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so we're gonna
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now have to
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address that
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with lighting control
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but if I like the frame
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and I have the time to set it up
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then we go with what we want
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and that means
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I'm gonna have to block some of the light
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that's coming in over here
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I'm gonna have to set a
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key light over here
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so Greg and I will work on that
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and I think that's the
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way we're gonna set this up
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so we're actually gonna do it
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and then I'm gonna take
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you through
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where all of
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the lights were placed
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for this interview
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and then we'll interview Kyle
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