All language subtitles for 26-AirstripShootPreProductionConsiderations.mp4

So let's take a look at the mood board.

So once I've got my concepts in place,
once I've got my drawings, drawings

sticking around, I go to Pinterest, and
I start pulling images together.

This is the same

idea you saw me address yesterday.

This is just a very different set of
images.

And so the idea of showing you this is
to show you what my headspace was like,

what kind of colors I was looking for,
what kind of framing I was looking for,

general look and feel to the images.

And so this is what I was pulling from.

It was a combination of historical
photographs,

a few things that are modern, that were
people doing recreations and photographing,

which helped me source costumes.

And then also, like those illustrations
and stuff.

There's also a still down there from, I
think it was

an old Spielberg.

It's, like, amazing stories, or
something like that.

Remember them with the cartoon wheels?

I don't know, these amazing stories,
but that one, that was the one that was

going through my head when I was making
it.

So that was definitely kind of in the
back of my mind.

So this was generally the look and feel
that I was going for, and where I would pull

source,

source material and inspiration from.

So then, because of the location, we
send someone out.

We sent a couple of people out to do to
do some location scouting.

And they get out there and take a lot
of pictures of planes.

The collection is available online, but
don't necessarily always get a really

thorough understanding

of what they have available and what
can be done, how things work in the

space, what the outside space looks
like,

the places in which you are going to
shoot, because I wasn't planning to

shoot inside, and you need to see what
the outside looked like.

All of these things also allowed us to
pick the planes.

And so we went with both of these.

On a left, they call grumpy.

It has a

seven door

character on the side of it.

And this is an old classic spitfire.

The spit fire is actually the plane
that is in the background of the

original photograph.

And that was why I chose that one.

Ok,

so take a look some of the wardrobe.

This is just a couple examples of what
we went with.

Some of this was

relatively.

Some of it could be a little bit more
modern.

You can get away with it.

Like the flight suits.

They really have.

It changed too much, especially when
you're just looking at something that's

underneath a jacket, same with the
barber.

We went with just a generic vest.

You could find that in any old normal
store, nothing dressed, dress shirt,

vest, very simple.

Knot of the period.

The sub that was a little bit more
difficult to find, or stuff like the

jackets getting the same jacket,

the different kinds of hats, different
kinds of boots, all of these different

things.

And so one of the places that we pulled
from was a vintage costume shop here in

Seattle, which I've used many times
before, and they're really terrific,

called vintage costumers.

You can also find this stuff, if you
have enough lead time online.

You can go into,

sometimes, costume mental shops, well,
will allow you to pull it off.

But sometimes you really need to pull
vintage stores, thrift stores, things

like that.

EBay is another great resource.

I find that when you are working in
period pieces,

costumes,

a lot of times can look really

costumy.

And that's generally what I try to
avoid.

And so I'm a big fan of pulling from as
many different sources as you can to

layer different elements.

And that's what's going to make your
costumes appear a bit more

believable.

So that's where a lot of these things

are taken from and from, you know,

different people's adding.

I found stuff for, like, I needed an
old boxer.

And I went to vintage costumers, and I
got the gloves from them.

And I got shorts from another costume
shop.

And then I got the boxing hat from
eBay, right?

And so the whole thing costs 100
dollars or so, but,

you know,

you get something that looks a lot
better.

So

that was the direction of the wardrobe.

Then we get to hair and make up with
the guys.

I was looking for

two characters, one who had kind of a
little bit of a fade in the hair,

because I wanted him to match the
barber a little bit.

And so fortunately, that's

very, stylistically popular with young
men right now.

And so that made it pretty easy to come
by with the other gentlemen.

I was looking for someone who was in
that blonde, strawberry blonde,

kind of a kind of a look.

And fortunately we found one as well,
and we happened to catch him in the

summer, where he didn't have much of a
beard, and so we got them to trim it

down and

made it work for the photograph.

And so that was what I was going for
obviously, we don't need extensive hair

and makeup.

But we slicked the barber's hair down a
little bit, and the other one was kind

of meant to be a little bit long and
messy.

And I wanted it to catch wind.

Because I love that little detail about
this photograph is that the wind

catches and blows some things around,
and you have a little bit of movement.

You have it in the cape, you have it in
the hair.

And so I was looking for a subject that
had a little bit longer hair

on.

The guy sitting down.

It's get to props.

Dressing out.

This scene with props was one of the
trickier parts of this whole process.

We actually, we found the guys pretty
quickly.

They all signed up on board.

We had the location down.

The props and the costumes were
probably the trickiest part of this

particular shoot.

And when I was looking at the original
photograph, I knew that I'd need a

series of things.

And so the barber obviously needs,
like, a pair of scissors and a comb.

That was pretty easy.

Woodchair that's pretty easy

pipe,

relatively easy to come by.

The book was a little bit tricky.

Several editions of it.

I was really hoping to find the same
edition, which was a little bit

difficult.

I did, I found it, but a lot of them
are over in England, because that's

where it was printed.

And so it was a little, I think there
was one in the us.

And I had it shipped in.

I mean, it wasn't too expensive.

I think it probably cost me 25 or
thirty dollars for the book, like

priority shipped.

it was worth it for me to have that
little detail, because I really

appreciated that little element.

So that was what the book was.

The cape was just a piece of fabric.

And I sent a bunch of different sample
fabrics.

And I said, anything that looks like
this,

go to the fabric store and find me
something that we can just wrap around

them.

It didn't have to be a barber's cape or
anything like that.

And so that was relatively

simple to use.

The tools with the wrap was a little
bit tricky finding a wrap that was in a

similar color.

The tools are kind of mix and match.

You have the brush, you have like a
straight razor, a few different things

we kind of just found in a vintage
shop.

And we can lay on top, which you'll see
a little bit in the frame.

The yellow wrap, what we ended up using
was a

life vest,

which I was originally looking for

for the pilots to wear on the outside
of their coat.

Because when you look at a lot of the
images of the time, they would

regularly wear the bright vests over
top.

And

it was

near impossible to find that,
especially because I was really trying

to stay as true to the raf as I could.

And so it's really difficult to find

royal, British, royal air force stuff
in Seattle from World War ii, believe

it or not.

So we couldn't quite get into that over
here.

The closest we got was the navy one.

And because it just didn't look the
same to me, I ended up incorporating it

as the rap.

And I think it worked really well,
because we kind of hit it a little bit

lastly.

We needed a fan.

I wanted to make sure that I would have
some wind going.

And so we bring the fan out, or a
blower.

In this particular case, we actually
found that on the day we were getting

some nice breezes.

But it was just a matter of preparing,
just in case, because I was

anticipating a sunny day.

We got the fan out here,

and I can make the wind move if I need
to

so those were kind of my considerations

for the props.

When we get to our actors, and this is
what they looked like.

I felt like we got em relatively close.

We've got kind of the blondish, red,
reddish blondish hair, and then we have

the high fade.

And so that was what I was looking for.

I wanted similar haircuts, but I was
also cool with them looking a little bit

just more

modelly, more traditionally

modern, modern handsome.

I guess not that nothing of the other
guys weren't.

It was just a different time period.

And so we went for a little bit more of
a stylized version of the image.

This guy also had some tattoos down one
of the arm, which I didn't necessarily

mind.

I thought it was a little bit
anachronistic,

and it was just kind of a cool little
detail that I think tweaks the image in

a little bit of a fun way.

So it doesn't really give you as
definitive of a sense of time to the

image as the original wooden.

So I thought that was pretty cool.

All right.

So let's talk about the lighting.

Now, if you remember, and

you remember from the theater shoot,
that one was really complicated.

That was many, many lights and we had
to light an entire scene.

But the benefit of being outside

is that

the scene is lit for you.

And so all you really have to do is
control the light on your subject.

And so this one is a little bit simpler.

And so what we've used

for this is one head.

I used one pro photo d 1000 wat head
that's the only light that I used.

The reason I used the note for 1000
Watt, over the 500 Watts that I

traditionally would, because I was
putting it through an octabox

and I was overpowering daylight.

And so I wanted that extra stop of
power from the 500 to 1000.

So basically, when I'm working outside
in these kinds of environments, I'm

looking for more power,

like whatever I can.

I can always dial it back, but I want
to have it if I possibly can.

I had, originally, just in case,
brought two of these heads, because I

could always stack them together, put
them side by side, gives me an extra

stop of light.

At full power.

I ended up only using and needing one,
but I did bring it just in case.

Now, to go along with that, I know I
said we only used one light, but I did

modify the light that was there.

I modified the daylight and I used 26
by six scrim gyms with a full stop diffusion.

These are side by side, just to make
the diffusion

really large.

You could have also gotten away with a
much larger scrim.

You could have also,

in all fairness, probably done it with
one.

But the two allowed me just a bit more
comfortability in the way I was moving

around, and it allowed me to blend the
scene a little bit better in post.

And so yeah, I could have done it with
one.

And you're going to see some issues

when the modification of the light
using this crim is a little bit more

narrow in the second set of images,
because I needed the height on.

It definitely makes a difference, and
it makes the post production a little

bit more challenging.

But that was what I use for this.

And the modifier, like I said, that I
used on the pro photo d one, was the

five foot octabox.

So

if,

and i'll talk about this a little bit
later, but

if I happen to have a cloudy day, I
don't need the scribs.

I just happened to have a sunny day,
and I wanted to make it look cloudy.

But know that the clouds are built in
scrims, so you can always keep that

kind of a thing in mind when you want
to minimize gear.

The, you know, if you really strip this
down, it's just

a light with a soft box, is what's
creating this effect.

Ok?

So we're going to take a look at the

inspiration image, the sketch,

one more time

before we actually

break into

what the walk through of this is going
to look like on video.

Maybe we'll see if we can field some
questions about the inspiration mood

board stuff.

How much time you spend on interest?

Doesn't it when you're making a moon?

Where do you do it anyone sitting, or
do you come back to it?

I do it in chunks.

I do my interesting in chunks.

So

i'll maybe spend it's

pretty conducive to how you want to
find stuff.

So maybe i'll spend half an hour to an
hour putting some stuff together once,

if I ever have to come back and add to
it later on.

Because it'll also automatically
generate

close images for you, which I find is
really helpful.

And so it kind of almost ferments your
board a little bit.

You leave it up for a bit, and then you
come back and like, oh, there's

something new I can add to it.

And so the longer you lead out on this
material, kind of the better, the

better you are

with making it happen in half an hour
hour, and then occasionally poke back

in and spend a few minutes, but

not a huge amount of time,

since you are the art director and
there is no client at the end.

Correct?

Yes.

And are you going to recreate or be
inspired by?

To what degree do those

those compromises or other decisions
come in?

Is that, as you're sourcing things and
you realize, oh, I don't have this

exact duplica, I guess I'm going to be
inspired by, yeah, how does that process?

I generally aim for,

I generally aim for really trying to
nail the authenticity as best as I can.

First,

I inevitably have to make compromises.

That's generally how it goes.

But I always push for the

top stuff first.

And so if things happen that I have to
make concessions for, then I will.

In this particular example, I really
wanted to make the recreation

as close as I could.

That was the whole thing.

I was kind of on this coubrick kubric
kick, and with Barry Lyndon, he was

going through and almost nailing
certain paintings

in berry Lyndon pretty

almost exacting.

And so I was kind of going for that
here.

I just wanted to create a much wider
scene of it.

And basically,

if

it were, if I were there in that space,
what were maybe some variations on that

image?

Like, what would those might have
looked like?

That was kind of what I was going for.

So I wanted to make it look really
close.

So that, like, if you've seen the image
before and you're familiar with the

image, you undoubtedly are like, oh,
that's doing that image it's very much

on purpose.

I'm not saying, hey, this was a
completely

original my idea, like, this is what I
came.

But it's not, it's absolutely me trying
to recreate this photograph.

And I try to

be very exacting so that it appears
that way.

Whereas on the other image, it's a
little bit more of a Hodge podge of a

few different things, and so that's not
as close to anything.

It gives me a little bit more leniency.

It's different approaches.

And sometimes I'm looking to be a
little bit more true to the original,

and then sometimes I'm looking

to just be very loose with it.

And I think the second one is a little
bit more on the loose side but I wanted

to make it feel

visually and stylistically, very
similar to the first set.

And so the second one, although it's
inspired by something that looks very

different, it's meant to look more
visually similar

to this one.

That makes sense.

Yeah.

So

obviously you're well into your career
at this point.

You've got probably more flexibility
than a lot of us.

But could you see doing a shoot like
this,

just as your own personal work,

as opposed to something that was
commissioned?

Like you go out and say, hey, I want to
do this and gotten

do?

Sure.

Yeah.

I mean,

there were other other places that I
was looking at that we didn't get into

creativelive, that were out here, that
were just cool locations.

I ultimately didn't have time to do it.

But yeah, no, I love

being.

You can definitely do personal projects
that have a bit of scope to it.

Obviously, I wouldn't say I necessarily
need to go out and spend 5000 dollars

putting together a singular image.

But

if an image costs me

a few hundred dollars, 500000

dollars, whatever it is, and it becomes
a showcase piece for me,

then I can use it as it's promotion
material.

And so

you don't have to, like, you can call
in favors.

I've got shots that

look very heavily produced.

And it was me calling in favors across
the board for every spectrum of it.

And I think by the time it was all said
and done, I was at the cost of lunch

and a few other miscellaneous things.

And you can achieve this kind of stuff

if you

put in the leg work to do it.

Just

paying for it tends to make things.

It greases the wheels, greases the
gears a lot a lot easier.

When you are

doing it for favors, you have to work
with time and around people's time, and

be a little bit more patient with
certain things.

So,

I mean,

other than the

access of this particular

airfood, which everyone has different
levels of access, and you can call on

things and get permission for things
across war, like the vintage, the

vintage.

The vintage train museum is one of
those examples.

They do engagement shoots there.

I mean, everything that was actually in
this image, I would have no problem

funding myself

in terms of the cost of what that
image.

I mean,

if I'm not paying for models because
I'm doing it for a trade, and commonly,

when I'm doing personal work.

I will shoot some stuff for you.

If you do this for me, and we'll get,
like, some cleaner, simple,

whatever images you need for yourself.

And so it becomes a trait, that becomes

the way you can call in that favor.

And then sometimes you have

makeup artists, hairstylus that you
work with that are friends of yours.

And they'll come in and do it just
because it's a fun, cool image, just to

do something fun and cool and creative.

And so that takes care a lot of that.

I would go, ok, I borrow this chair
from somebody.

The fabric is raw material that costs a
few dollars.

I buy the book.

Ok, you go buy a few other
miscellaneous props.

This image, other than the access to
the location,

wouldn't really cost me that much

in the grand scheme of things.

So once you can figure out

kind of

the key humps

you need to get over, yeah, this stuff
is a whole lot more attainable then I

think people may assume it is

it's just generally, you've got to get
out and ask, you got to talk to people.

And I find that emails are rarely,

emails are not always the most
successful tools of communication.

It's the phone that you have to just
call up people and talk to them and

go visit as another one.

And people are more likely to say yes
if they can put a face to it and talk

to you, and everything else.

So also something to keep in mind