All language subtitles for 30-TheHaircutShootingPlates.mp4

We have covered the actual shooting
process.

We've covered the lighting.

The one last thing that we are going to
take a look at is the act of shooting

plates, which I talked about a little
bit.

And so we are going to see that
inaction on this chute.

I think I got this.

So let me get the plates on this shot.

All right.

Cool.

Covicool.

That should be good with that.

Let's

wrap you guys for now.

And then we will move the scrims out.

And I'm going to do one more of just
the scene.

So in this particular instance,

because we had to use the scrams,
obviously the scrimiums are in the

shot, and that sucks a little bit.

So

I could go through in post production,
I could spend time clone samping and

healing and removing it by hand, which
I've done.

And it's definitely a way that you can
achieve this.

But because I'm shooting on a tripod,
it actually makes it a lot easier if I

just take the time afterward

to get that same shot

from the same position, at the same
focal point.

So what I'm doing when I'm stitching
these together, once I have the guys

shot, it's where the focus is locked.

What i'll do is i'll switch, switch
back to manual focus, because I'm a

lazy autofocuser.

I don't trust my own eyes to get it in
focus, especially at like f 28.

And so I flip it into manual focus, and
I Pivot it in both directions, and I

get the shot.

So the focal plane is consistent.

Now that it's locked in place, I'm
going to take the exact same shot with

them, not in it,

at that same focal plane.

So that when it stitches on top,

everything should be pretty lined up,

and I don't have to spend forever

making the clone stamp,

try to work on the background.

All you guys are good.

Thank you very much.

And now, forty plates.

And so now I'm getting the shots for
the plate, nothing else,

the plane out of focus.

Good

noise.

So that wraps us up here for the first
shoot of the day.

I'm going to talk a little bit more
about putting the plates together and

assembling these images in a little bit
of a later on lesson.

But for now, we have a code foundation,
and we are ready to move on to the next piece.

All right.

So

that's basically a quick little preview

as to what those plates are looking
like.

I'm going to show you how to assemble
those when we get into the post

production section a little bit later,
how we put the initial plate together,

how we

put the secondary plate on top, and how
easy it is to actually blend the two

together.

The hardest part, the most frustrating
part of the whole process, is just

waiting for the computer to render
them, putting together, which can take

several minutes.

But once they're actually put together
and layered on topics, it's much easier

than you think it is to make that work.

But what I do want to show you,

while we have the opportunity, is kind
of what the evolution of these images

looked like.

So you can kind of see how we got

to

the final product.

And so on the far left image

is what this looks like,

our test image, or marker, what this
looked like with no scrim.

And you can kind of see how it's lit
from the back,

and as a very, very different feel to
it.

So we bring in the scrimp.

It changes the exposure of the subjects.

We ended up having to compensate.

We went to a much lower aperture, but
all the light looks a bit softer.

Ok?

Then we figure out what we want that
light to look like.

So

changing the overall exposure

using Nd filters.

We basically could darken it down, make
it feel a bit more like a gloomy,

cloudy day.

Here I've added in it's a little bit
strong, but I've added in the main

light, the key light, which adds in
some shape.

And I've also cooled the color
temperature down a little bit.

So in the original image it was a bit
warm, and here it is cooled down a

little bit more.

And that gives me, again, that bluish,
grayish look and feel to the day,

making sure that white balance is
correct.

And then when they are in place,

it ends up,

it ends up there.

How do people that are just starting
out, like, can I do a portion of this,

or what's your recommendation on that?

You?

You can.

When you do the legwork,

more Doors will open up to you then you
think.

And

wherever you live, there is something
that you can find

that will be a cool location, that you
just have to

ask, or

be very charming

to get them to let you use.

And

I've seen airplane graveyards, I mean,
everywhere you go everywhere I've can

look and do in a homework, and you will
find something that can work really

well for you.

You just have to try.

And it's not necessarily about spending
the money.

It's just about asking

talking to the right people.

Because

generally, I find that people are a lot
more

accommodating

out there in the world

than we might think.

Now, when you're in a place like where
I live,

New York, it's not that at all.

It's very difficult,

it's expensive,

it's time consuming.

It is, it is a process

to find these places.

But

if you are

in a small town somewhere, somewhere,
somewhere, like

that's not a New York or LA, you would
be surprised

at what you will have access to be able
to find if you just go out and

investigate.

These places are everywhere.

I mean, I've

done location scouting in a lot of
different kinds of cities all over the

world, and I can always find something
wherever I go.

It's just,

you've got to find it.

That's probably the hard part is just

looking it up and finding it.

I noticed that there was a shadow from
the scram at some 0, and it still looks

like there's a shadow there.

Which, when you're setting all that
stuff up,

I mean, does that

come into your equation at all, or do
you just deal, say, i'll deal with this

impostor.

I mean,

there is only so much you can do with
it.

The thing about,

in this particular shot,

I shouldn't necessarily hate the shadow
that it was being made.

I thought it looked kind of natural,
because there's a shadow

under this, and it's pretty out of
focus, like, you don't see it a whole

lot over here.

I mean, you see it

there behind them.

But if

the direction of the light, like, it
actually makes sense.

And if you look at the source material,
there is a shadow in a similar spot.

So I don't necessarily hate it.

In the second

chute that we do it's a lot more
obvious, and I have to go fix it in post.

Basically, you can use a really big
scrim, or you can try to blend it

later.

And I didn't have the ability to use a
really big scrim, so I had to blend it later.

But you can also, if you're using a
shalode up the field, helps to blend

it.

Also, if you're really low to the
ground,

it also hides it a lot.

It's when you happen to be up higher
and you're shooting down, that's when

you see it the most.

And so here I'm down here

and so, and I'm shooting with a long
lens, so it's pretty minimal.

In the final result, I actually don't
think

I didn't do anything to it.

In the final sit of this, I think it
looks fine.

The other ones alone needs need a lot
more help.