All language subtitles for 33-CapturingPlatesWithTalentInBackground.mp4

So the next bit we're going to be
taking a look at the creation of what

that scene looked like, what the plates
looked like, and how we were able to

utilize our talent in some different
ways.

All right, let me know when you're ready

wanted.

Yeah, go ahead.

Good.

It is kind of like you're pretending
that you, exactly like, you're leaning

over it.

Go up a little.

Can you turn your body that way?

Just like you're looking?

There you go.

That's nice.

Yeah.

It's great.

Good.

Cool.

Now, walk toward me.

Good.

Keep coming

this way.

Walk off this way.

Great.

That's cool.

I got variations of him on the plane.

I got some of him walking away.

So I can always decide later which of
those that I want, or maybe both of

them.

Again, it's all about creating some
staggering effects of people.

Let me

still you for a minute.

Can I get you?

Maybe

it's like, standing back over there in
between?

Yeah.

Now, walk that way.

There you go.

Maybe, like, come forward, like you're
looking at the engine.

Come forward.

Come forward.

Come forward.

Come there you go.

Yeah.

Good.

Nice.

Great.

Great, or great.

Cool.

Come forward to the front as well.

Yep.

Let me take the hat for just a second.

Good.

And now lean forward, like your back is
turned and you're kind of like working

on the tire.

Go other side.

There you go.

Yep,

good.

Now, go and go into the

bomb Doors.

Great.

Yep,

I don't know if we'll see that, but

cool, that's good.

All right, cool.

Come on out.

You.

All right.

Now, I'm going to get my plates.

So

the only downside

is, this

is in my plate shots.

So I do have to move it.

I mean, I can take it out.

I would like to not to

know,

i'll turn it off.

Yeah, ok,

ok, thank you.

Now that's in the shot.

Can you?

Can you wheel the octa

or just turn it?

Plates again.

Ok.

Ok.

So that's the shooting experience as to
what that was like

there.

This was where

the sketch began.

Kind of what I was aiming for with the
shot.

And I think we got it relatively close.

I'm going to cut over to the computer
here really quick, and show you what

that selection of images ended up
looking like.

We go, ok.

So the shot that I ended up liking, and
I tried a few different variations of this

was, I, like, the one where they were
kind of facing the front and looking

off to the side and laughing.

And you can see that there are a lot of
other different variations of

my subjects kind of in the background
on these different planes and stuff.

So there's one of them in the
background over there.

There's one of him working.

The tire.

There's one of him looking at the
engine.

And then I've also got that plate over
there.

This one in particular, and I'm going
to talk about this a little bit more

during post production, was one of the
more difficult ones to stitch.

The reason was because the subjects
were so close to the frame in the

foreground.

It presented a lot of problems with
perspective.

I eventually,

you have to figure out the right
combination

the ways that it renders out.

And I'm talking about this, I want to
talk about stitching panels, but there

are different ways you can render it
based on perspective and different

mapping methods.

And certain ones are going to be more
successful than others.

And this was amazing, a little bit of
trial and error to make it work.

But what I ended up doing by the time
it was all said and done,

was we combined

this foreground.

This was the background on the plane
shot.

I've got this one in there, and I've
got this one in here.

And then we used a combination of the
rest,

and it ended up looking like that

we're going to talk about this a little
bit later when we get into post

production and what that combination
looked like.

But I think

all things considered, this turned out

really remarkably close to the
illustration.

So this is kind of

what I was going for

with this image.

Now

let's maybe have some questions about
what that shooting

was.

Yeah,

what are some considerations to take
into account when you're reusing the

same models in the background?

What do you have to look out for and
pay attention to?

So

some of the more obvious ones are, is
the face showing

and how much of them are in focus?

Fortunately, I was using a really
shallow depth of field

and they are completely out of focus.

Everyone in this in the scene is also
wearing the same thing, which helps a

lot.

Because if you want everyone to be
dressed irregularly, and you start

cloning people, that can look really
strange.

But because everyone's in a uniform,

that helps.

There were a couple small adjustments I
would make, maybe, like taking the

jacket off, or taking the hat off, to
change some things up, or just hiding

the face

was another one.

And so that was kind of what I ended up
getting away with here.

The one thing that I kind of thought
was a little bit

close, which would be something I'd
worry about.

And this is getting into really
specific things.

Is, if you look at him in this shot
here,

where

he's standing up,

there is a similarity

between it

and here, in terms of how he stands,

it's, he stands and varies, even though
he's in a different pose,

it's just the way he stands.

And so I would probably

that's about, that's something I would
consider, how similar looking does it?

Because even though it's how to focus,

we can kind of register it as the same
person.

But I think because

he's pretty obscure, and he's wearing a
different jacket, I don't think you

pick up on it too much,

at least I hope.

But you know, my hope is that your
attention goes to the foreground, the

foreground subject.

So,

yes,

yeah,

when you're doing your,

getting your place in your panham, or
you want an extension plate, or you're

just doing it right off the top.

And photoshir, I'm just doing it right
off the Pivot,

I find that that's usually fine.

It obviously introduces a little bit of
distortion.

You're going to see that in the theater
image.

It works a little bit better because
everyone is so far away from the

camera.

It is quite a bit more exaggerated.

In this image, in this particular
panel, it doesn't really present a

problem at all.

In the first image from today, this
one, it definitely introduces quite a

bit of distortion.

And so I was playing with different

renderings, for which one gave me a

distortion that I was happier with.

And so it is definitely something you
have to take into account.

But it's a pretty high resolution, so
it can stretch, especially when you

shrink it down.

So obviously

doing that lateral, that lateral move,
would

also be another way to do it, and
possibly give you a little bit more

help.

Probably give you a little bit more
help.

But I thought this

still achieved a pretty working, pretty
good result.

Now, when you do these plates, have you
ever used a slider to achieve that?

I have not.

I have not.

Again.

I know that it

helps and works pretty well.

But I have found that in my experience,
the instances in which I have used it,

this was enough

to work.

For me.

It's not something that I do

regularly.

To do this kind of work with plates
with this amount of stitching.

It's not a regular occurrence.

But I do it a lot of times

when

I don't really do landscape
professionally, but I do it for fun

when I travel.

And I regularly will shoot

a wide scene with like that lens,
because I think it gives a better

compression of the background.

Like if there's mountains in the
background, there's a better sense of

scale.

When you're using that kind of a focal
length, as opposed to a really crazy

white angle, lens.

And so I just think it feels a little
bit closer to the way the eye sees.

And so that's why I'm a fan of using a
focal link like that, instead of

something really crazy, wide

questions online.

When you're shooting plates, do you
always turn a life off?

When do you turn them off when you're
not?

It depends on what the situation is.

So in the theater, I turned the
foreground lights off because I wanted

a clean plate of that.

But I would have left, obviously, the
background lights on, because that's an

environmental thing that I need

here.

I thought that the

lights in the front were causing a
little bit of

an issue with not giving me a clean
floor, clean ground.

And so I wanted to make sure that the
plates were clean,

so that when I blended it later,

it would help those things be a little
bit more seamless.

And I mean, you can see there is a
definite outline to that scrim.

And it just,

it is what it is.

If I had a much larger scrim, or many,
many scrimbs,

great, I can avoid that.

But in this particular instance, I just
couldn't use one that large.

If you've ever seen

west world, if you ever watched, like
they have the western town, one of my

favorite behind the Scenes from it was
they needed to make it look like a

cloudy day.

So they basically scrimmed the entire
section of town, and it's these huge

scrims over the entire

set outside.

And it's amazing.

Bah, that's not what we did.

we don't have that HBO money, and

not many productions do,

but that exists.

And it's great when you have the
ability to facilitate that.

But this was working with a singular
scrimp, and then we fix it later.

Is there any reason why you chose a low
angle shot related to the cinematic look?

So

with this one, in particular, it was
really more about

making the planes look big and epic.

And I just, I really liked that
perspective.

When you see a lot of war movies that
feature planes like this, they use that

low angle quite a bit because that
there is a sense of grandeur to that

hero angle on this kind of stuff.

And when I'm looking at the source
material, the planes are much bigger,

even than the ones we use.

And they're kind of, I mean, you can
see in that illustration how big it is

in the frame.

And I wanted

something that felt similar.

And when you shoot from that straight
on angle, they look smaller.

And so the intent behind shooting
really low was to just make them even

larger than they were.

Yes,

I just wanted to reiterate your
process.

Do you always shoot on auto focus?

And then I noticed that that focal plane

kept the same as you're doing the
panorama.

So when you're doing additional
panorama shots, do you always

then take it?

I put it on manual focus to maintain
that same.

Yeah.

So, I mean,

I don't trust myself to pull off

auto focus.

Most of the time

I regulate a manual focus.

I don't trust myself to do it.

So I use auto focus.

And in this particular case, so you
change the focus, so it's on the face,

and then it's locked.

And I would, regularly, because they
were moving around, I was changing it

when they were in place.

But once I needed the plates, I knew
that it was close enough

to that.

Like, once I got that shot, I could
just slip it to Manuel.

And that keeps the focal plane
consistent, across.

So then I make the plates, and
everything blends in, because I don't

want it to refocus and make the planes
and focus on some of the shots.

And then with them it's out of focus.

That's.

The entire point, was to make that
depth of field consistent.

And so no matter how I panned, they
have a relatively similar focal plane.

Yeah, I mean, there's going to be
slight,

slight changes to it, but it's mostly
the same.

And that way, when I'm shooting the
people in the background, I don't have

to worry about blurring those shots to
match and not necessarily get it

correct or close

this way.

It's already there, and just stitches
together a lot more cleanly.

So I shoot them, I get them in focus,
they're good to go.

I lock the focus, and then I don't
touch it.

I just start taking the plates.

I turn, take the picture, turn, take
the picture, turn, take the picture,

move the lights out, take the picture,
turn, take the picture.

Turn.

It's the same thing.

I'm just doing different versions of
it, so that I know for safety,

depending upon whatever ones I want to
combine, they are.

There

it's more like, I may not use most of
the plate information.

I'll shoot it way, way wider.

I'll shoot taller up, down, sometimes

through the theater.

I shot an extra layer above that.

I threw away most of with this.

I shot way more to the right and way
more to the left than I ended up using.

So it's just about giving yourself that
flexibility and not trying to have to fix

all of it later if you don't have to.

Yeah, if the final shot is horizontal,
why take it vertical and work with so

many plays we're talking about plates
right now.

So, yeah.

So it's about what I can fit into the
frame,

and so I can fit them

vertically.

I couldn't have fit them horizontally.

It also, I mean, shooting vertical
plates across is going to give you more

images, which ultimately gives you

higher resolution, if that's what
you're after.

It's also going to give me a better
sense of perspective when I'm using

smaller sections closer.

Because when you start backing it up
and stitching together, you're still

getting more of that wider angle look
so this just gives me a better sense of

perspective, as opposed to just doing
like two frames side by side.

Obviously, you can do that.

There's nothing wrong with it.

I just think I prefer the look of the
compression when it's closer to this.