All language subtitles for 27-TheHaircutLocationSpecificsAndMotivatedLighting.mp4

So we are here at the historic flight
foundation, and we are about to start

setting up to shoot.

But before we do that, I want to take
you through a little bit of the process

that happened when we first arrived.

So the first thing that we saw when we
came in was we had to position the

planes.

And we have two different setups that
we're doing today.

We are doing a setup that involves one
plane, which we are doing first, and we

have a setup that involves two planes
that we are doing second.

But in order to kind of get ourselves
ahead of the game, we actually set up

the two plane shot with the orientation
of the planes to begin with, because

they had to be brought out, kind of
taxied along and positioned in place.

And what we had to do while that was
happening was I had to help direct,

because I was looking through my camera
with the lens that I was planning to

use.

Because the choice of your lens in a
shot like this does actually make a

difference on the composition.

How far things are away from the camera
changes based on the focal length.

So a more wide, wide angle lens is
going to make something in the

background seem further away, and a
longer lens is going to make something

seem closer, again, like the theater
chute.

I'm using a relatively

medium length, focal length lens.

I'm using a ninety, which is a little
bit closer to a seventy mill lens.

Or if you're on a full frame, something
like an 85 is probably going to be a

very similar look and feel.

And the reason I did that for this
first shot is because it gives me a

better sense of compression to the
background.

And I didn't necessarily like the

smaller plane that I got from the 55
mill lens.

So what I ended up doing was using a 90
and making the background seem a little

bit larger.

The plane seemed a little bit larger.

And another great benefit of it is it's
going to make the background a little

bit more out of focus.

And it allows me to go down to a 28.

In this particular instance, again,
helping with that depth of field.

The weather today is a little bit hazy.

We were anticipating a very sunny day.

We kind of have something that's
relatively close to sunny.

And we came out, and I wanted to check
with the direction of the light.

Again, this helps with how we position
the planes.

And so what I use for that is an app
called sun seeker.

And it allows me to do like an
augmented view of the scene.

And so I can hold it up, and I can
actually plan to see where the light is

going to be throughout the day.

And for us, it's going to be arcing in
the sky, over on this side.

So it's kind of like our right side,
and a little bit behind version of this

shot, which is what we're doing first.

And then by the time we get to the
secondary shot, it'll almost be frontal.

And that was just kind of,

we needed to plan where things were
going to go.

We're also working in a relatively
confined space.

We are shooting at the end of an active

runway, and so we have to be kind of
careful, since we are, we are in that

space, that we are very safe and
precautious, and we are

taking all the necessary

precautions to make sure that

everything is good.

So for this,

with that weather I knew, coming into
it, we're going to have a little bit of

a sunny day.

So with the inspiration image, it's a
very

cloudy day.

So even though here in Seattle we also
are likely to have that kind of

weather, today is not one of those
days.

Today we have a sunny day.

But what we're going to do is turn it
into something like a cloudy day by

using some scrims and overpowering
daylight.

So we are still going to try to create
that effect

based on

the tools that we have.

And I think this is an important thing
to remember, we are on a sunny day, but

it doesn't necessarily have to look
that day

if you can modify it.

And so my approach

for a daylight today is to kind of work
around the sun.

And how do I manipulate the thing I
cannot control, and that is the sun.

And so that's kind of my approach to
motivating the light of the scene.

The sun is

coming from here.

How do we diffuse it on the subjects?

How do we soften it up?

How do we make it look like a cloudy
day?

And for that, we're going to be using
the scrims and some lights to overpower

daylight.

We're going to be keeping the direction
relatively similar to that light.

Overall, I don't want to compete with
the daylight.

I want to create a slightly more
modified version of an augmented

version of reality.

This is because if I let's, say, put a
light way over on the left hand side.

When the sun is to the right.

It looks artificial,

and that's not necessarily a bad thing
every time.

But in this particular case, we're
trying to make something that looks

natural, and so we don't want to fight
with the light.

That's already there,

So

what we're going to do is just revisit
this list that you saw me talk about

last time, which is what I do when I
approach the scene.

And so obviously

I come in, I check the practicals, I
check the environmentals,

what does the

space look like?

What can I do?

What is it going to look like over the
course of the day?

How can I modify what's there?

What can be changed, what can't be?

And so that's usually the first thing.

Then I get out a camera and I start
looking at the frame.

In this particular case,

I was using a ninety millimeter lens,
and f 2.8

that's a medium format.

So on a full frame it's about a 7072

millimeter.

I would probably say, if I were
shooting this on a full frame, I'd go, 8585,

would give me almost the same kind of
look and feel to the image, but

actually also give me an extra

extra bit of fstop underneath that.

So I could open it up to as much of,
maybe like a 1.2,

if I were using an f 12.

So

that's probably what I would use to
translate that shot.

On a full frame.

I'm going to adjust color temperature,
figure out what I want this data look

like on a regular cloudy day, it's kind
of a bluish gray.

So I was probably looking to use a
slightly cooler color temperature.

And then I start looking at contrast,

color and tonal contrast.

How was my subject framed in the shot?

How is the

shadows on the face looking?

Is it too bright, too dark?

What does the scene look like?

Are there any colors that are jumping
out,

should there be so forth and so on.

So

before we actually start talking about
setting

anything up in terms of gear, maybe
we'll see if anyone has some questions

about this particular step.

We did have a question about, in case
it's windy or rainy, when shooting on

locations, do you have any kind of
protection to protect this subject?

Like, how do you

certainly in Seattle

summer now?

But so

when it's windy,

there's not really a whole lot you can
do.

It depends how windy does I wouldn't
really use huge scrims on a really

windy day, they are.

It's bad advice.

It was, as there was a slight breeze
with a few little, like,

slightly more than soft

gusts through the day.

And it makes me real nervous when I'm
outside, when I'm shooting with this

stuff, and it's heavily anchored down
with sandbags.

But even still,

it becomes a sale with long enough,

strong enough wind.

I've worked with ones that were doubled
the size, that we're 1212 by 12 and

stuff like that.

And I've been with them as they catch
wind.

And you can't do anything, you can't
catch it.

You just have to get out of the way.

And you hope that,

fortunately, no one was around, because
we don't set it up with talent near it,

but it was in the middle of a big open
field.

But, I mean, it just catches wind and
it goes.

So one of the things that's especially
helpful is to

use it at much more of a flat angle, if
you can, that's going to be less

susceptible to catching wind

when you start getting it like this, or
this is when it catches,

otherwise, it just kind of flows past
it.

And so that's really helpful when
you're using scrims

as far as rain.

I mean, I wouldn't be outside with all
the gear in the rain.

So

you,

I would be inside, hopefully before
that happens.

We've been on sets

recently where there was a rain issue,
and you're waiting until the last

minute.

And then everyone grabs stuff and runs
in when you can.

So you can obviously protect people
with an umbrella, but you can't really

protect the gear.

So you can sometimes search tarps and
stuff over it.

But generally, man, you just want to,
you want to get that stuff

out of the weather conditions before
you can.

So with call sheets and everything
else, if I'm shooting outside, I am

constantly constantly, constantly
checking weather

it's always a huge consideration for
me.

You always want to be safe with that if
you can, and avoid problems for

yourself.

I've seen producers on call sheets,
they put the weather, the weather for

tomorrow is going to look like this.

Know that if you are expecting whether
at seven pm, you should probably try to

be wrapped by six, or whatever the case
may be,

or,

hey, it's going to rain in the
afternoon.

Great for the afternoon shots.

We're going to make sure we're inside,

we're doing the inside stuff so you can
plan your day around what the weather

is supposed to be like, and it'll make
your life a lot easier.

Versus being like, oh man, I needed to
get this shot at this particular time,

and I don't have a backup.

And then what?

So you always got to prepare for these
different things?

Good,

yeah, it's too.

Well more, could you talk about them?

Could you talk about the model release,
and also how you bring your team

together, makeup, artists,
hairdressers, especially if they

haven't worked together before.

And then what social media or
classifies to you?

Like, how do you find those people?

I guess, the model release.

So

that will depend upon

the usage of the images, if it is just
for my personal use,

and I'm not ever going to be using it
in any commercial capacity.

You can sometimes get away with

kind of

good faith model release, but when you
start using it for commercial purposes,

you can run to some issues.

So in the instance of stuff like this,
because it's going out to

everyone, I mean, you have to

do your eyes and cross your teeth to
make sure your releases are covered.

It's always helpful if you can get it.

The downside,

especially in a place like New York, is
you're really not going to get people

to work for free.

Usually to sign a release,

where I am, at least.

And so

we have to either pay people, or

that's usually the solution.

This is, you pay someone to use it for
full release stuff.

So

that's definitely a consideration.

It depends upon where the images are
going and what they're being used for,

as far as getting everyone on the same
page.

Mood boards, or how I do, it's

a makeup art, as I worked with a while
ago, was one of my favorite things that

any crew member has ever done, but in
terms of preparation.

But she actually printed out pages and
pages of mood images, things that she

had done,

directions that she wanted to go, even
just pieces of little

attachments and stuff that she had, and
it was all just categorized

on these pieces of paper that was kept
in a plastic sleeve, on a binder and

brings it in for the whole crew and
sets it down, and so that everyone can

get on the same page visually.

So I also liked that, like you could do
that with mood images, print out your

Pinterest board, put it in some
sleeves, leave it on the table.

Everyone can look through it, get
constant reminders and refreshers about

what's happening

for this particular shoot.

We had drawings of

the sketch.

We had the sketches printed out that we
could show people, this is what we're

going for.

This is what this needs to look like.

That was very helpful.

It's all about communication.

People

can't come into this kind of stuff
blind.

They have to have a really good idea
about what they're doing.

So you see the mood images beforehand,
you talk them through it, you explain

to them what the image needs to look
like.

It's just really about having that
conversation

way ahead of time and making the
subjects aware of what this all needs

to look like.

And then with social media,

sort of like, how do you

do work regularly with the same makeup
artists and stylists?

And

how do you get people when everybody
just walks and nobody knows each other?

How do you get, because you're going to
be working and show you need it to work

smooth?

How do you get them?

I do like to try to reuse the same team
members.

If I find people that I like and stick
with them, hey, they know how I work.

I know that they're dependable.

I know they can execute whatever the
goal is pretty well.

Sometimes they're not available.

So it's helpful to have a couple of
backups.

But yeah, no, I regularly keep the same
people for that reason.

Once I test someone out, find them,
i'll find someone I like.

I just use them over and over again.

Same with assistants.

I like to use the same assistance over
and over again, because the more you

use them, the quicker they are going to
be for you, because they know how you

work and where things aren't, stuff
like that.

And yeah,

you regularly test new people, but,
yeah,

same people.

If you can