All language subtitles for 22-TheaterShootCapturingThe1stShot.mp4

I hope you're really excited to see
what the final product looks like.

I'm going to take you through what that
ended up looking like for three

different shoots.

I'm going to show you the diagrams for
each of them.

And let's take it, let's take a quick
look again.

One more time at the diagram.

So this is where we

ended up.

We've talked through it, we've seen
what that looks like.

We know what everything is doing.

And now we're going to turn it over to
the footage and see what that actually

looked like.

So we are just about to bring in the
talent to start shooting a couple of

things.

But I want to remind you of, before we
do one, remember, it's very dark in

here, so we're using really slow
shutter speed.

So I had to have the conversation

with our model, Amy that we need to
pose very slowly.

So that's definitely something that we
have to keep in mind.

We've also added in a couple of pelican
cases to elevate her a little bit, to

make sure the dress fills out a little
bit more.

I'm going to be switching between a
wide angle lens and

the more medium focal length lens that
I mentioned.

A little bit earlier.

And that's because,

even though I'm pretty comfortable
doing a stitch, I want to make sure

that I have it in a single frame, just
in case.

So I'm going to do some very wide
stuff, and then I'm going to do some

stuff that stitched together.

I'm probably going to end up using the
stitch stuff,

but it's just a point of safety to make
sure that I have everything.

Then I'm going to flip off a few of the
lights.

I'm going to move some of the lights
out of the way, and i'll make sure I

get my plates in both of those
situations as well.

So I have to think about two different
formats as I'm photographing this.

So Amy, come on in.

Why don't you stand on these two
pelican gases?

And we will begin to

get some photographs.

Going

to be favor.

Can you shift forward?

Just a hair

there?

Yeah,

let's see what that looks like.

This is one of the only times i'll ever
use the screen, just because

it's so low to the ground.

I mean, it's not really flaring that
that much.

Yeah, let's swing it around a little
bit.

I think what we've got to do

to get a little bit more on plane,

and I will angle it up a little bit.

Oh, we're going to say, let's see if
this works.

Because I kind of wanted to hit the
hair.

But if it doesn't work, it doesn't work.

I think we've also lost a little bit of
haze in here.

And let's turn the power of this down

a bit.

So I'm at ten.

We'll try seven, see if I like that any
better.

Men doing it, doing a move.

And you see,

let's do that.

Try moving it a little bit to the left.

My left.

Sorry.

Keep going

there

a little bit more.

Keep going,

keep going.

Keep going.

Keep going.

Keep going.

No, no, no, you've got to move it.

Yeah, move it.

Move it this way, and then angle it
back to me.

There that's a little too much.

I mean, lean for it, just a little bit
for me.

Please.

Beautiful.

Really, really good, really good.

I'm going to try this with a little bit
less power here,

just to see if I like that any better.

I had a nicer glow earlier on, and I
wanted to bring it back,

but there's a little bit more haze in
the front.

So it was making her glow a little bit
more.

And so the tricky thing with a haze
machine is you're always trying to kind of

get somewhere in between

making it look like the room is hazy,

and making it just look like it's
atmosphere.

And that's the tricky

thing to bridge.

And you're going to find that when I
switch over to the 55, I can use the

black pro mist, which I can't, because
I don't have a step up ring or step

down ring in this particular case.

For this white angle lens,

it's just something to kind of work
around and solve.

But that's generally what I'm trying to
finesse here, and fortunately, she's

great.

So the shots also still look really
good,

even though we're not, we're
technically shooting, even though we're

finessing, we're finessing the light as
we do it.

And she's she's doing it really well.

So just kind of balancing out what
these shadows are looking like,

and saying, do I want this to be bright?

Do I want it to be dark?

Stylistically, what am I after?

That looks nice.

Very glamorous.

So I'm also a very methodical

shooter.

I'm very, very, very slow.

So I tend to kind of work through the
frame very specifically, versus doing

lots and lots of adjustments.

A lot of, you know, there's a lot of
people there that like to shoot very

fast and move around a lot.

And

she does,

Lindsay, shoots a zillion frames and
moves around and gets a ton of variety.

I'm much more

about, like, creating this, the single
shot.

And so just two different approaches,
and neither one of them's right or

wrong.

This just allows me to kind of play
with light really specifically and get

it to where I want it in camera.

Good.

Very nice.

Lean forward just a little bit more for
me,

I'm beautiful.

Lean forward a little more.

We'll alternate between the two,
because we got to use the fan to spread

it out a little bit.

Very nice,

very nice.

Churn, that's nice.

Yeah.

Like, I like the introspective, kind of
like, head down a little bit.

Can you hunch over just a little bit?

Good,

do the same thing, but turn the body,

turn this way.

There you go.

Yep.

Nice.

Nice.

Could turn the head that way a little
more.

Beautiful.

Can give me something a little bit more
like, ah, good.

You opened up a little bit.

Yeah, it's great.

Look down and out that way.

Turn your head a little good,

chin down a little more.

And that's nice.

Good,

yeah, turn that all the way down and
then run that

fan,

so it doesn't it doesn't hit her
directly

other way.

Can you point it that way?

No, I know, I just, I need it a little
bit.

Yeah,

yeah.

Fan on, please,

yeah, look at those light streaks.

Yeah, you want to get, I want to get
all that, because I can see the particles

don't want to.

You can run that.

Fan,

you or I might have you do for a couple
frames.

Just have it halt.

Now have you hold this, and then i'll
take you out.

But, yes, they, right, we are.

A second.

I want to get that side shot again.

That was really nice.

And I also need to switch to the 55 and
cheat some of the fifty.

All right.

Let me get you to the side.

Turn back to me just a little bit.

That's good.

Right?

There

that's,

try the other side for me.

Good.

Yeah.

That's great.

Give me a little bit more.

Bend to the fabric,

a little bit more of a drape.

Good.

Look off that way.

That's that's nice.

Yeah.

It's pretty.

Very nice.

All right.

Lens.

I'm going to have you drop it on the
count of 3123,

slow,

123.

You have to hold it.

I think,

bring it out a little bit more.

You go.

Aha,

now, bring it down, lower down, down.

Keep going

a little bit more, a little bit more.

There

that's it.

Right there?

Is to me, a little bit Amy.

Good,

beautiful, nice.

All right.

So we have swapped out the wide angle
lens for 55.

It's going to be a little bit more of a
medium length.

I installed the black promissed filter
on top.

So it's going to give me a little bit
more of a hazy effect.

I've also gone from, I was shooting at
f 45, because that was the lowest my

other lens could get to.

I'm now at neph 32.

This one can open up to a 28, which is
the other benefit of.

It gives me a little bit of different
compression.

I can throw the background out of focus
a little bit more.

And because I'm at 32 now, instead of
45, I've been able to move my iso down

to 1000, which I'm much happier about.

So the downside of this is going to
have to back up just a tiny bit.

So I'm going to do that

just to get a little bit more of the
frame in the shot.

We're going to run the haze machine for
just another second.

And this is going to give me

a really, pretty pretty look.

I think.

All right, let's go ahead and

turn that off

for a minute, and then just run, run
the fan.

Yeah, no, this it's a more contrasty
lens.

I think.

Great.

A little more.

To me.

I'm losing you with the perspective.

Turn your shoulders to me a little bit,

yep,

and then lean forward on me.

That's nice, really nice.

My far, right?

Can I get the proscenium here?

Maybe

I'm back up a little more.

That's great.

The bee one is a little bit too forward.

That's better,

straight out that way.

With the head.

Lean forward to me a little bit more.

Now I'm going to get some plates of the
other side.

So don't move.

Can you back that?

Fill light up, please.

That's good, right there.

Great.

All right.

Now I'm going to get one

back with the

without, these two lights.

All right.

Amy, I am.

You are all set.

I'm going to now get just a few plates.

Yes, no.

You are good to go.

Thank you so much.

Well done.

Those two gone,

and these

gone.

So I need plates to the stage.

All right.

We're back?

Yeah.

No.

It's good.

All right.

Hooray.

Okay.

So this is, again, the diagram of the
setup that we were working with for

that particular,

that particular round.

Hopefully

you have some questions where to go.

But before we do that, I'm going to
take you through a few of the images

from the chute.

So we're going to cut over to the air.

We go to the laptop.

So this is kind of the last one you
saw.

This was that her in place.

Pretty wide angle shot,

a pretty good example of the lighting
and the perspective.

So now

I want to show you a little bit of what
was happening there.

What you might have seen

was the

way

the image getting a little bit of a
process as it went.

And I'm a

big fan of tethering for that reason,
because I think

a little quick adjustment sometimes is
just enough to give it that extra layer

of punch.

And so this was kind of how I was
processing the images that they were

coming in.

Since a haze machine generally makes
your shadows a lot brighter, gives you

a loss of contrast.

I just put a little bit of contrast
back into that.

Help to ground it a little bit more in
reality.

That's actually what that shot would
have looked like as I was tethering it.

Now, as far as the stitch

which you saw,

this was the image.

This is what it looked like as it as it
came into camera.

And I could just shoot her in the frame
that it needed to be on and on and on

and on.

No change, no change and no change in
my frame looks really good.

And then once I would have that,

I did plates.

And so my main plate is this one up
here it's that first five set of

images.

It's the horizontal plane, and just me
shifting a few degrees,

giving me that stitch.

Now, before I actually

start doing it, as soon as I have her
in place, because I met,

like, f,

was I at f 35, I think

I flipped off the focus so that it was
in manuals, so that there was no chance

of it changing focus,

so that it kept the same focal plane
throughout the plates.

And that's really important.

And so once I had there it was, click,
move, click move, click move, click

move, click move.

And then, because I know from experience

that I lose a little bit at the top in
the middle, I went up and I went across,

cross, cross, just to make sure I was
getting that really beautiful, ceiling

texture.

And that's

what the point of that was.

I'm going to show you this in the post
production,

in a later section,

how to stitch this together.

But once this does all get stitched
together,

it ends up looking like this.

And this is still in light room.

It stitches together a raw dng.

You can see that's why said there's a
little bit of a gap up there, but it's

not much of anything that I
necessarily, it's not a difficult thing

to fill in.

But this is what it looks like when
it's all put together, and it gives you

the ability to make

all of those raw adjustments

in

light room.

So this is more or less the stitch,

right out, a camera.

And when I said that, this is an iso
thousand

at this, made up, 15000

pixels on the long side.

To put that into perspective,

we're going to let this camera struggle
for a second with trying to zoom in on it.

We'll get there eventually.

There we go.

Ok, so,

but this is it at 100 percent

for scale.

I really must focus on that, apparently.

But

while that's coming up,

this is what it looked like, kind of
kind of straight at the camera.

There we go.

It's pretty sharp.

I mean,

the noise is negligible at this 0.

And I think that looks

pretty good overall.

And then it'll figure out a way to zoom
out.

I mean, that is the one downside when
you're doing such is that the images

are huge.

So a, when you start bringing into
Photoshop, these files get massive.

You can obviously resize them if you
want.

But I think it's

a really nice way to create the
compression

and the effect that you otherwise
wouldn't get.

Because I just personally prefer

the way this looks to

the way this other image looks, which
will eventually

show up

now we go.

I'm happy with the other image.

I just prefer that.

I think it looks a little bit more
cinematic,

because when you're doing something
that looks like movies don't really

shoot with this perspective that often

whereas.

This seems a little bit closer to the
animorphic style of lenses where you have

a perspective, that's closer to this.

Now,

also, this is cropped to a sixteen by
nine, which helps,

but

everything in the room just feels a
little bit more natural to how the

camera lens would see it, I think.

So that's why I would gravitate towards
something like that.

You can also see that the black promised

helps a little bit with the haziness.

It just looks a little bit more

kind of across the board.

Hazy.

The detail, I think you lose a little
bit of the

structure detail, like with the metal
and stuff, which I think puts a little

bit more attention onto where you want
it and so I'm a little bit happier

with that.

But

to show you the progression

of where this goes,

this is, again, where it starts.

Then we light the background,

we get the subject lit.

This is the safety shot.

And then that's kind of the

actual final shot that I was going for.

But that was all said and done.

Then I would, of course, bring this in
a Photoshop, I'd make a few more

tweaks, do it, clean up some things,

and, you know, that's where this would

end up.

So

let's take a couple of questions maybe
on what the first shot

kind of

kind of went through.

Did you say you bounced the light in
the octobox

at the camera, off the subject onstage?

If so,

did you manage to freeze the subject,
or how did you manage to freeze the

subject as such, slow shutters?

Yeah, so it is, the strobe that's.

The stroblight is, like, the main one
is the one that's lighting her camera,

right?

Which is what's happening over here.

Kind of the cool little lucky thing
about this, out, this particular

stitch, as I actually selected a stitch
where I had moved

that light out of this frame, because
it is actually in frame

in one of the other ones

you can kind of see it here a little
bit, but it was even further in frame

and one of the other stitches.

And so all I did was I replaced her
middle shot with what would have been

the stitch of the middle, and it just
kind of automatically cleaned it up for

me.

And it really

did.

Really.

It was a really, fortunately beautiful
job of not me having to do very much.

And so it's feathered a little bit more
at me, just to get less light on her.

But what there would have been here is
a flag blocking it from flaring as much

at camera.

And so that was kind of the point of
that

Hector.

Asked.

Looking back on this image now, just
seen it on the screen, instead of

talking to it, would you have done
anything different, or would you just

do try to capture that exact same image?

I was pretty happy with it.

I mean, it ended up

real close to what that final image was
aiming for.

With it, a few things kind of ended up
a little bit lucky.

So, for example,

I actually think the left part of the
image, over in that backstage area, is

visually really interesting,

which I liked.

Best case scenario,

I would have loved the spotlights to be
higher up, but that was not an option.

So they're a little bit low.

I would have liked probably a little
bit more definition

on the beam,

but I have shots where there is a
little bit more definition on the beam,

and I didn't prefer them.

So I ended up

just sticking with what this looked
like.

Yeah, no, I was pretty happy with the
result of this.

It kind of turned out how I was
planning to.

And,

I mean, there's always little tweaks
and things.

But overall, I was pretty happy with
the result as to where it began.

Cool.

How many photos did you take for the
stitches?

So in this particular one I took, I did
a couple different versions.

So,

you know, obviously

probably about twenty or thirty.

But

for what this stitch became, it was
twelve.

But I think probably of the twelve it
actually uses.

By the time I cropped it down,

it probably uses

seven or eight of them.

Because, I mean, this is,

i'll show you,

this is what the crop does.

It hurts my computer.

Noddy,

we go.

So you can see it's not using a lot of
this.

Yeah,

ok,

yeah,

yes.

Could you talk about the posing
process?

It didn't seem like you were giving her
a lot of direction.

She's very professional, she's very
good.

And then also the placement of her in
the frame,

having her face

the second third, in terms of Rules of
thirds, rather than facing the other

way, or having her back up.

So

i'll start with the posing question
with her,

what I'm doing this kind of stuff?

I really like to go the extra mile and
get

people who are

professionals and good at this, because
there are so so many moving parts to this.

It makes my life a lot easier when I
don't have to micropose and micromanage

the talent.

There are definitely times where you
have to, and

you have to go through that process and
explain that and break it down and

spend the time and energy to do it.

I didn't have two with her, and that
was very, very lucky, and that was on purpose.

So

when I'm looking through a model's book,

I'm looking for a variety of pose.

Because if they're giving a variety in
their book,

chances are,

is them.

But if it's kind of like the same stuff
over and over again, or

there's not a lot of movement variety

through it,

chances are, like, I recognize, they
may not necessarily be the best at it.

And so it just becomes something that
the longer you do this, the more you

see in a book, who knows how to move?

And so that was

something that I really considered for
her.

She moved really well.

And then the other question was,

compositionally.

So the thing about composition is,
composition is

all about a suggestion, not an absolute
rule.

And so this,

I mean, it's kind of a third,

but I was more thinking about

the triangle,

like the golden triangle.

So it's all about creating diagonals.

So the third

composition is a little bit more

useful when you are working on a flat
plane.

So your strong horizontal lines are
better

when

your horizon lines are strong
horizontals.

When they start getting into diagonals,
it doesn't really work as well as a compositional,

as a compositional device.

So this was more about creating balance.

So you can kind of see she's framed by
the arch,

which is also framed by the lights.

She's framed by what's happening here.

Like it's about trying to make sure
your subject has

their own space

a lot of times.

So that was really what my main
consideration was for this.

I also knew that this whole bright area
on the left hand side is very attention

heavy.

And so I didn't want to put her right
up against it, because it would wait

hurt, it would wake the image too
heavily to the left hand side.

So she is actually like, this is meant
to draw your attention, because it's a

person, and she's the only figure in
the frame, and all of this is bright,

but this is supposed to even it out,
and anchor the left side of the image,

and give a little bit of weight
compositionally to what's happening.

But again, it's only one thing, and
it's off in the corner, so it's not

supposed to be all your attention.

It's just supposed to create a little
bit of visual weight

over to the left hand side.

So that was kind of my reason for that.

Pointing her into the edge of the frame
is actually really just about kind of

crowding it a little bit on purpose,
and giving

a bit of,

almost, like,

putting it in a condensed space, which
makes her feel a little bit more small,

like that was kind of the point.

So if it wasn't so much

meant to be grandiose into the crowd,
it was meant to be a little bit more introspective

and kind of a more personal emotion in
a grandiose scene.

And so by putting her facing the edge
of the frame

puts her in a more confined space.

Her expression matches that a little
bit, and the pose matches that a little

bit.

So it's not meant to be this
performance to the crowd, because

there's no one in the crowd it's
supposed to be kind of the opposite in

that setting.

And it

hopefully creates some layers

to what the image is trying to convey