All language subtitles for 28-WorkingWithScrimsOnLocation.mp4

Ok guys.

So we are going to start by getting the
scrim over top of this.

Remember, they're going to be standing
up, and we want to make sure it's out

of the shot.

So if we can pipe it up and make sure
that that

is going to be blocking them.

Now,

in about thirty minutes, it's going to
continue to move this way.

So that's the way that we have to

plan to

guide that scrim as it goes above that.

We're going to use the octa to start.

All right.

So let's go ahead and move that into
place.

This is where this is going to be.

Yeah, we're just going to have to plunk
them around if we can.

And we're going to do a plate shot

of everything, not in place that we can
easily overlap.

Yes,

yeah, we want to get as much real
estate as possible covering them.

So if you want to start with it laying
flat before we raise it, and then we

can kind of see what best case scenario

is,

that's looking about, right?

I mean,

working with scrims is kind of a
necessity when you're doing this kind

of stuff.

But it is a tremendous,

tremendous pain.

It's very cumbersome to set up, usually
requires a couple of people orchestrating,

orchestrating.

It's

probably going to have to go or back as
well, but

that might be in the shot.

I'm going to be able to get it up that
high.

I think it's going to be a little bit
more like that, because we also need to

pipe light in from the front.

So we have to bend it a little bit.

I'll only straighten it a little bit,
real quick.

I just want to see something.

Let me just angle it.

So it's straight, and you can go,

that's about it, right?

Yeah?

I think that's about where it's going
to go.

You have to back it up, because it's
now cutting off,

because the guy is going to stand
behind him.

We're going to read it.

Yeah, I know.

But as it goes up higher, it's going to
go further.

So he's going to be here.

He's already in the light here.

So it's probably going to have to go
quite a few feet back.

Exactly.

Is it on me?

Do you see it on me?

All right.

Let me do a quick little test on this,

because it is so very much

in the shot.

All right.

You want to?

Can I get someone sitting on it real
quick?

You're a good barber.

Yeah, that's nice.

Okay, cool.

It's still pretty bright.

I have

a couple of visual considerations that
I need to make here.

One, I know that this scrim is

going to have to be comped out of the
final shot.

So I'm going to need new plates of this
image

we shoot it

regularly with no one in there, just so
I can easily throw the plane on.

Top.

Two,

I want that really shallow depth of
field.

I'm looking for something like a 28

ideally,

which means I need to use those end
filters.

I'm not using high speed sync.

I'm kind of going the traditional film
route.

My camera doesn't have high speed sink.

So I'm here to show you that if your
camera or your lights don't actually

have that, you can still achieve

a visually pretty similar result by
using Nd filters.

And Nd filters are kind of how
filmmakers have to achieve that shallow

depth of field look.

When they're using a lot of light, and
outside we have a lot of light,

and they're usually shooting at a
pretty slow shutter speed.

And even though they're using maybe

a low iso on the film,

you're still not necessarily going to
get that look, because that slow

shutter speed is 160th

of a second, 150th of a second.

So the end filter helps to counter
that.

And I've got a three stop, and I've got
a six stop.

So I'm going to try my three stop first,

and we'll see if that gives me what I
want.

And if not, I can always add the six
instead of it.

Can I get someone to sit?

Ok,

that's good.

That's looking really good.

So this is a three stop.

It's given me a really nice soft edge
to the light,

which is good.

We might

want to add a second layer of diffusion.

It has given me a little bit of wrap.

But let's add the light first

and see how that looks.

But yeah, maybe we can double silk it.

Also, what might not be a bad idea

is to put another one, maybe side by
side, underneath of it.

And we can at least make it even bigger.

So that might be a good way to go about
it, too.

What we'll do is

come with me.

We'll shift this over just a couple of
feet.

that's good, right?

There.

Could.

So the reason I'm shifting the scrim

is because I'm anticipating the sun
moving.

I know that the sun is going to move
this way, and I'm already starting to

get it a little bit close to the edge
of where they're going to be.

So I'm just basically giving myself

a little bit of room to not have to
move it later.

And then also it's not going to be
necessarily behind the head as much.

So it's kind of a tuper.

This is what that lighting setup

looked like.

We've got two scribbs in here, the 26
by sixes, side by side, just to cover

as much of that scene as we can in the
foreground.

From the front, I'm bringing in a five
foot octabox.

It was a d, one, d two, with 1000 Watts

of power behind it, and that's giving
me a little bit of shape to what that

key eventually becomes.

Again, it's

meant to evoke a cloudy day, but it's
just a little bit more

sculpted than

what that daylight would have

would have brought us