Original subtitles

I'm out here on our front, on our

back porch, we got this beautiful mountain view

and we're gonna try and do a reflection

shot, another reflection shot, but this time we're

gonna shoot through the, through the glass and

we're gonna have, um, we're gonna have Daryl

out in the porch and we're gonna have

Maddie inside.

So let's give this a shot.

Okay, so Daryl, you come on out here.

Okay, perfect, right about here.

And what I'm gonna do is I'm gonna

use a big lens.

The reason I'm using a big lens, I've

got an 85 on right now, is because

I want to keep myself out of the

reflection, which is much easier to do with

a bigger lens as opposed to a wider

lens.

So I'm just gonna show you what I'm

doing with Daryl first.

So Daryl, I just have facing the sun

and I've got this beautiful sort of high,

highlight right on his, on his profile here.

And if you look at the reflection, I

can just expose for that highlight.

So I'm gonna set, I know I'm gonna

be using flash, so I'm gonna shut my,

set my shutter speed to 1 200th of

a second.

My eye, it's very bright out here, so

my ISO is 100.

And then I'm just going to play around

with my exposure.

And basically I'm just upping my f-stop

so that I get the exposure that I'm

looking for.

So I'm up at f5.6, that's still

a bit too bright.

I'm gonna go up to about, about f8.

And I'm going nice and low here because

I want to try and eliminate the highlights.

And actually I'm finding f8 a little bit

dark.

We'll go f7.1. Okay.

Perfect.

Yeah.

Okay.

So I'm at f7.1, 1 200th of

a second.

I'm pretty happy with that exposure.

I've got it just exposed for this nice

rim of light that you can see in

the reflection on the profiler's face.

Now I'm going to try and layer Maddie

into this.

And the way I'm going to layer her

into it is actually put her inside.

So I'm going to have her face inside,

within his face, hopefully.

But his face is reflected, her face is,

I'm actually going to be seen through the

glass.

Now there's two options that I could do

here.

One is I could have Maddie stand forward,

just come forward.

And you can see when she's in the

sun, I don't have to use a flash.

And I'll just take a shot like that,

just so you guys can see.

So turn this way Maddie, a little less,

so you can feel the sun on your

face.

Tuck, tuck your hair back there.

Just like that.

And stand for just a tad.

Perfect.

I just want to show you guys what

this looks like, because this is essentially what

we're trying to achieve with the flash.

But I'm going to do it with the

flash instead of natural light.

So Maddie, go ahead and stand back in

the shade again.

Okay, perfect.

And she's right in the silhouette of his

head, which is great.

So I'm going to shoot right from here.

I'm going to get a flash.

I'm going to put it at a nice

hard angle, just to match the hard angle

of the light that's on Daryl's.

Right about there.

I don't even know what my flash power

is.

I'm just going to taste the soup with

where it is right now and we'll see

how it works.

Okay.

And I actually, I'm actually going to change

my composition a bit.

I really like including Daryl's beard and profile

in the foreground.

So I'm going to layer that in as

well into the reflection.

I'm going to focus on Maddie.

Close.

We're actually pretty close with the flash power.

I'm going to up it a little bit.

Or sorry.

No, I'm going to decrease the flash power

a little bit, maybe by one stop.

And Maddie, I'm just going to have you

turn a little bit more towards the flash.

Perfect.

Come on.

I'm going to focus on Maddie again.

That's about perfect.

Okay.

So now what I'm going to do is

I'm going to adjust my composition and do

some micro adjustments because A, I'm trying to

get Brett out of the frame and Michael.

And there's a highlight in the background.

You can see the other deck on the

other side of the house.

So I'm just going to see if maybe

if I shot this way.

Okay.

So let's have you move forward here, Maddie.

A couple of steps where you were.

The flash accordingly.

Okay.

So I've readjusted the video crew a little

bit just because Brett over here just always

gets in my shots.

He was in the way.

So he's come over to the other side

because shooting in this pain was way better

than that pain just simply because of the

window on the other side of the house.

And here, if I, if I, if I

shoot from this angle, I'm able to eliminate

that highlight.

So perfect.

Let's see.

Oh yeah, that's way better.

Okay.

Maddie, like half an inch that way.

Perfect.

And you guys as heights line up just

perfectly.

Okay.

And just a little gentle giggle there, Maddie.

Perfect.

Okay.

I'm just going to show this to Lanny,

make sure there's nothing else we want to

do.

Oh yeah.

So I've got, I've layered his, him in

the foreground.

Yeah, that's cool.

But the reason I did it there is

because over there I had those highlights.

Right.

And let's go back to the other one.

But then I've got that.

It's not possible to get that under his

chin, like under his beard.

Why?

I just think it might be cool to

have it.

Oh, well I could go here.

Yeah.

Yeah.

Oh yeah.

That's a good idea.

Perfect.

And Maddie, a little bit more towards me,

but not.

Yeah, there we go.

Okay.

And then both of you, I want you

to give me a smile.

Yes.

Perfect.

Perfect.

Okay.

We're good.

Great.

Okay.

So that was shooting through glass with a

flash.

So I was exposed for the reflection on

the outside of the glass, which in this

case was Daryl with the sun shining on

his face.

And I layered what was inside the glass

and whatever I wanted to layer that was

inside the glass had to be at the

same brightness as what was outside the glass.

Right.

So that's why I put a flash on

Maddie to layer her into that reflection.

One of the things you'll notice about this

shot as well is that the reflection of

Daryl is going to be double reflected because

he's reflected on double planed glass here.

So there's several different reflections of him.

He's not sharp, but Maddie, because we're shooting

through the glass at Maddie, she's a clean

image.

She's not a reflection.

So there's no, what's the word I'm looking

for?

There's no double reflection on her because we're

looking through the glass on her.

And if you're ever wondering what's reflected in

our shot and what's shot real, it's quite

easy to tell.

You just look for the telltale signs of

what has a doubling or a tripling, or

sometimes a quadrupling, depending on how many different

panes of glass you're shooting through.