All language subtitles for 04.Demo Shooting Indoors With Natural Light

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These are the user uploaded subtitles that are being translated: Eߣ�B��B��B�B�B��matroskaB��B��S�gQM�t�M��S��I�fS��M��S��T�kS���M��S��S�kS��?M��S��T�gS��O��O�I�f�*ױ�B@M��libebml v1.4.2 + libmatroska v1.6.4WA�mkvmerge v56.1.0 ('My Friend') 64-bitD��A�PDa����[�4s��d3ꚙxf�޵Cg�"T�k���ׁsňUcD[�w̓�������S_TEXT/UTF8"���enSn�English�D%C�u�������[MUSIC PLAYING]�� mC�u@��G�ǡ��So for this shoot, we're going to be taking some photographs�� Ƞ���� �in natural light.��&������We've got this gallery space behind me���C�u��_������and we have a balcony out to the side where�� 砽��� �we're going to do some demonstrations with a model��#C�u@��s������that I work with, Jess Cole.��蠼����I'm going to use the camera app on my smartphone.�� �á���And while you can go in and make adjustments to exposure�� �C�u�炒�����or shoot with filters, I just like���������to use the factory settings.�� >C�u@�炧������Part of why I wanted to use my smartphone��4�����4for this demonstration was to show just�� $�����Xhow easy and accessible it is to use what's���C�u@���������in your pocket to make a nice portrait,���������especially in natural light.��6����� �You're mainly looking for the sun.���C�u@��լ�ɡÁAnd it's about your subject, the connection with your subject,�� n����� nand what the light's doing.��̠ơ��:The main objective is to show how you can cut light, bounce��LC�u���2�����light, and essentially manipulate natural light��J�����Jto make a nice portrait of anyone.��&C�u�� ������[MUSIC PLAYING]�� �C�u@��'��ơ��When you walk into a room that's lit up with natural light,�� n�á�� nlike we are here, there's a couple of things you can do.�� XC�u@��>\�����First, look at what your windows are.���������We have two windows here.��8����� �And we're using both to basically light her up.��bC�u@��R������And I'm going to shoot her against this wall.��S�����SOne thing to think about when you're using windows���������for natural light is what you can see here���C�u@��k�����is that the sun is coming in pretty strong.��蠾����If you look at her clothes, the shadows are strong.�� �������And that's definitely a look if that's what you want.���C�u@���P�ȡBut for now, I want to diffuse it to make it a little softer.�� ��ġ�� �And actually, Jess, let's scoot you closer to the window.�� FC�u���젲���So see, I'm looking at her face and see�� ����� how, especially when you're closer to the window,�� "C�u@��������the shadow is going to be much darker on this side,��M�����Mit's going to be much stronger on this side.��)�����vThat's a lot of contrast, essentially.���C�u���X�����So to diffuse it, I'll just bring down the diffusion.�� >C�u@���F�����You can already see the difference there���������and how things round out on her face,�� $������things kind of evened out all around.��lC�u��V�����So for me, I prefer the diffusion look.��ؠ�����So when I bring that down, and now�� �C�u��!�����even that it's gotten overcast, you���������get a much softer look overall.��d����� �[MUSIC PLAYING]�� �C�u��N2�����When a model is very, very close to the window,���������the shadow side of his or her face�� $C�u@�e������is going to be much more exaggeratedly shadowy.�� ֠���� �So Jess, if we bring you kind of over more, yeah,���C�u�����ȡyou can see the shadow side of her face is slightly brighter.���C�u@���n�ȡIf we're indoors and we're using natural light from a window,�� ����� I like to really make sure that we��ܠ�����can feel the light hitting the person's face,���C�u@���ܠ����but also think about shadow.���������So when we're up against the wall close,���ơ���there's going to be a very close wall shadow from the model�� ^C�u@��������onto the wall.��ѠˡŁ�So also think about the way that the light throws shadows around�� k�����<in the room.��ʠ����Another thing that we've done is we've brought��ZC�u@���|�����in just a little bounce.��蠨����So you can use anything white.��⠷����It can be any kind of white card or whatever�� ~�����Hyou've got in your house, basically,���C�u@���������to bounce in light from this window.���������And then we've got a bounce here, just��������to send some return light in.���C�u@��\�����Then the main window, which is kind of the key light,���������we've just cut it a bit here so that it's not�� ������,underneath her chin.��tC�u��(������It's just kind of coming directly from the side.�� 2����� 2If you're near a window indoors and you�� �C�u@��<蠣���have any black material--��p�����pthis here is a floppy, like professional black flag,�� �����tbut you can also use trash bags--���C�u@��W(�����you can essentially cut the light if you want to.�� �á�� See how that already takes the light off the wall there?�� zC�u@��o��á��You can also shape it by taking it off the wall and more�� Ƞ���� �onto her.��H�š��Just play with materials like this to shape natural light.�� �C�u@���B�����When you're looking at natural light,�������you're thinking about what direction��ܠ���� �it's coming from, how you want to soften it or cut it,�� |C�u@�����¡��and what you want to bounce back in on the return side,�� 栾��� �or what you want to bounce back in in front of her.���C�u���[�����[MUSIC PLAYING]�� ��š��CUsually I start each shoot with decisions about the model,�� �C�u@��҄�ơ��whether that's your friend or a real model or someone else.���������The person in the casting is really important to me.�� `C�u@���l�����Also, it's about choices of what they're wearing,�� ����� how they're looking.���¡��You want to select an outfit that they'll feel good in,���C�u@��r�����that they'll feel confident in.�������All the decisions down to hair, down to makeup.�� �����I mean, I try and personally make sure���C�u@��>�����that they look like the best versions of themselves�� ������ �and that they're comfortable and have their position.�� BC�u@��.(�ġ��But then we also talk and we make sure that, for example,�� ������ �things like the skirt aren't showing anything,�� C�u��D䠱���that her shirt is sitting nicely here,�� B����� Band that she's posed in a way that it feels natural�� C�u��Z8�����or that hopefully looks good on camera.�������I work mainly to make the models feel both important���C�u@��q0�����and valuable and comfortable and beautiful�� P����� Pand whatever they're wearing.��ؠɡÁ(So you want to make sure they're OK with what they're wearing,�� C�u@���d�����how they're being presented.��젺����You want to talk them through the kind of image��蠟��� �you're trying to get.��Π�����And I think making your objective very clear�� 2C�u@���8�����is super important to making a good portrait of them.�� @����� @It's always about a conversation with the model.��pC�u���蠼���It's always about, again, what they feel best in.�� ������ �Obviously you have your ideas and you�� �C�u@���<�����want to make sure that you get the picture you want.���������But it wouldn't be the picture you want��R������if they were uncomfortable.���C�u@���������So when you have a conversation with them--��v�ʡāveven this morning, we were like, what do we think for the hair.�� _������And we've worked together before,��_C�u@���(�ʡāso we both really liked the idea of her having her hair slicked�� A����� Aback.�������� �We wanted to use some color here.��n�ɡÁHSo I really like the red skirt that we had and this red shirt.�� �C�u@��<�����For me, it's about making sure that the background and���ɡÁwhat the model's wearing has a little bit of contrast and pop.�� �C�u@��5>�����I really like how the red looks aesthetically, to me,�� n����� nagainst this kind of pale bluish gray background.��bC�u@��Q�����When I start like taking portraits,��D�ɡÁDI just kind of walk her through a series of poses that I want.�� fC�u@��e������So I mean, she's a natural.��*�����*And you can see she's already created a nice shape�� ؠơ��in terms of like her legs being crossed and her look at me.���C�u���������And so if I want--������Jess, if you could look out the window there.���������Nice.���C�u@����ȡAnd for example, like I said, sitting a little taller is that��x�����xyour shirt doesn't--��������tyup.�� �C�u���ꠛ���Jess looks great.��\�����\We've worked together before.��[������So we already have that rapport.��5C�u@���֠����And I think that's important to also���������have this like repeating collaboration with people.�� �����[MUSIC PLAYING]�� @C�u@��䠯���When I'm thinking about composition,��̠�����if the goal is to make a nice portrait of Jess,�� �������you can go about that any--���C�u@��~�����a million different ways.���������But when I'm looking at the environment, when��S�ǡ�� I'm looking at her, when I'm looking at the outfit, when I'm�� �C�u@��3D�����thinking about elements that I want in a picture,�� ����� I'm basically breaking down what I want to include���C�u@��H/�����or what I want to keep out.��e�����eSo if I'm making a full body portrait,�������� �I personally really like things like the trimmings�� �C�u@��]�����of the walls.��t�����tIn this frame, I'm keeping in these column trimmings.��̠����@I'm keeping in like the corner of the wall.��C�u@��wP�ǡ��Obviously the radiator is in, if I'm shooting her full body.�� ��ơ�� �And those are all like aesthetic decisions that I'm making,�� �C�u@��� �����you know, in terms of making the portrait.�� [����� [And then I might take that one and then��Y������I might go in for a close up.�� |C�u���:�����And then I might go even closer when I just�������want just Jess and the wall.�� *C�u@���z�����Another part of composition is how she's posed.�� r�¡�� rSo Jess, if you try even just swinging around this way,�� �C�u@��ޠ����it creates a different shape and a different--�� ֠���� �yeah.���������And even how your foot was there.�� �C�u@���>�����That creates a different shape.��F�����FSee now how the focus of how she's posed�� Ԡ����becomes about her foot and her heel.��DC�u�� ������If that's what I want I kind of compose her that way.�� ⠰��� �But if not, she could cross her legs,�� dC�u�� ⠻���and then it becomes more about how her arms are.��蠙����[MUSIC PLAYING]�� �C�u@��=򠵡��Next, we're going to go out on the balcony����ġ���to 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