All language subtitles for 13. Case Study Part 2- Digital Post-Production

Right after

I do shoot, we go into a very old
fashioned way.

The whole shoot is printed out on these
contact sheets, basically.

And then I edit them.

I make a first edit, and I make a
second edit.

And then I actually sit at the computer
and look at them on screen and make

decisions.

On my final decisions,

we added down to that one image that we
liked.

And

let's pull that one up that we were
looking at.

So when I left last night

there's something I wanted to

try,

which is,

I was trying to,

when I was first

photographing her

in this bush.

Do you see how dark she is on top and
how this light is hitting

the

peaches?

first of all, I think we put too much
color in the peaches.

Let's take it out, let's flatten it out
again, so they're softer.

I think I want them to go more

into the dress, so that it feels a
little bit more,

not that they're camouflaged, but that
we just don't want to exaggerate

anything, I don't think.

And then the second thing is,

do you see how in this particular

contact,

the ambient light

is pretty dark on top?

And I found that kind of interesting.

And what we did is we ended up bringing
the strobe around and litter again.

And I would like to bring it back to
feeling as if when you first look at

the picture, you're really just looking
at

this than what you're seeing.

So if we could go back to what this
looks like, I don't think you should

see her.

I mean, really, I think she should fall
into that tree.

I don't mind her being bright, but we
just have to bring it back down,

exactly

like, she's more like the upper part of
the picture is in shadow.

So she actually becomes part of the

tree.

Yes,

ok, come back a little bit, just a
little bit.

Ok,

come back just a little bit.

And there was something.

Yeah.

Now, should we let's dig out the green
around her, a little bit around,

just in here.

That's actually quite beautiful.

And it looks less

set up in phony

that's quite.

That's actually beautiful.

I don't know how bright I want to make
that green, unless you see.

Ok.

So the

issue we have is that when we block the
natural light, we lost.

We lost all the beautiful

dabbling of the natural light on

her dress because we were holding

a

silk up to block the natural light.

So looking at these earlier pictures, I
just wonder what it means

before we actually

start to block that light some of these
dabbling, like I'm looking at

this.

Do we want to borrow that from this
picture

and just add,

like that?

Just either layer it over, or i'll see
what it means.

Yeah,

ok.

So let more of this skirt come in and
listen to this skirt that's there.

Let me just see you.

That's how her start comes.

Maybe it bigger

this piece in here.

Let me say,

just

the light part, just this

little section right in here, through
that.

You know, actually, when you

darkened the top part of her, I might
be there.

I may be very close to being there.

And then maybe what we want to do is
just triple through some

colors.

Yeah,

all we're trying to do is go back to
the way it felt naturally, you know.

and we

used

some strobe and some silks, and

to photograph Alice.

And then what we want to do is bring it
back to it.

Looks like

you're not really feeling a strobe too
much.

What you see on the screen is not
necessarily

what you can print.

The screen is a very beautiful

process.

The light comes from behind it, you
know, it comes behind

in.

The light is from behind, and

it's much more

luminous than you can when you go to
print.

This so you may love it on the screen,
but it's a whole other thing to

print it.

So you would probably have to open up a
little bit,

but I think it's not a bad guide.

The screen

with the magazines right now,

we send it in

like this, and then they actually
separate it there.

At this point,

it does turn out they are going to run
this

in vanny fair, but they're going to put
it on the online magazine,

so online, so it will be pretty much
what we see.

And I'm still feeling like she's so
clean.

It's just, you know,

I feel like I still feel the strobe
there

for the women's show.

We printed everything on Xerox, and
everything looks kind of beautiful and

soft and muted,

but it's not the way it's going to

translate on better paper, or even on
the screen.

So there's, you know,

I've had many, many times

gone to printers and say, I want to
print it just like this Xerox.

And they say, is, we cannot print it
like the Xerox.

Can I make a suggestion?

Let's take the light out of the face,
period.

And I mean, what I mean by that is,

some of it has to do with the color in
that head too.

I think,

I think the fact that this light is
hitting us so unnaturally

that

it's coming in on one side, like that,
like a strobe, would, I think that's

the problem.

You know what let's, go ahead and open
it up a little bit on this side of the face,

you don't know, just slightly, not
fully, on this side,

just like a triangle.

Interesting.

So now and now, go overall dark with
everything.

Because I think what was happening is

there was something

so phony feeling about the light just
being sidelighting her.

I know the problem.

If you're in a shadow,

you should be cooler.

It shouldn't be so skin Tony.

I've had the opportunity to sort of
play with color

the way I would play with black and
white in a darker.

One knew how to print a black white in
a darker.

Manever, printed color

with the opportunities,

develop color the way I'd

like to see it,

because everyone sees color differently.

Stephen, learning process.

I mean, after all, cinda, I feel like
I'm not there yet

with Alice.

I'd like this a lot.

I think it's a very pretty image

for Alice.

And I don't know if dad says enough
about Alice.

I'm surprised sometimes if I just live
with an image for a little while.

I'm

falling in love with it more.

Can you compare it to the way we had
it?

The last thing you wrote up on my phone,

in my eyes, she looks really dark, but
let's kiss.

See how it looks.

Which was the new one?

Yeah,

what a difference.

She's part of the shadow now, right?

I should love

that.

That's