All language subtitles for 02-05-Stumpys-Black Line.mp4

Now that we've got our set together and
we've got our hero bottle out there, we

can really start to walk through and
create the image that we want.

Now keep in mind, I want to be able to
do this in a quick and efficient

manner, but I'm probably not going to
get everything in one shot, like

normal.

Being a bit of a perfectionist, I want
to really pay attention to the details.

So I'm probably going to break this
down a little bit.

I know that there are going to be a
couple things about this bottle that

are going to present a couple of
challenges that we're going to have to

overcome.

And we may have to do that by taking
multiple captures.

So let's first kind of get our base
capture.

Let's see where we are with this thing

and take a look at it.

And, you know, let's start with this
guy.

Even off.

Let's just do

the backlight and the top light.

Ok.

So, straight out of gait,

this is not bad.

Remember, I'm going from white line,
black line.

So white line.

I want to create these white lines that
are going down the edge,

because I want this bottle to be able
to live on a black background and feel

that it belongs there.

So I need black saturating coming
through that bottle,

but giving me good clean edges so we
can drop it on.

So a couple of things that I'm seeing
about this that I really like.

One, I'm definitely getting nice
highlights.

We could probably up the exposure a
little bit, because it's a little gray.

It's still atoneing there where we can
push it.

And I've got good highlights in the
neck.

That's also really nice.

One thing that I know is going to cause
a problem for me.

Even though I've got a polarizer on
this light

and a polarizer on my camera, I am
going to have a hot spot

somewhere here in the middle.

And the reason I'm going to have a
highlight still, remember, polarizers

work on planes.

You can kind of slice through it.

So think of this as a sphere, and
you're rotating that polarizer, and

you're picking the plane that you want
to

polarize.

Well, because this bottle actually
curves up this way, and then this way

there's multiple facets, it's going in
multiple directions.

So there's not a single plane that I
can kill.

So I'm going to have to rotate it
around and kind of play with it.

We may even have to use a black card
just to knock it out a little bit and

do it on the separate capture.

So already know that that's going to
give me a little bit of trouble.

The other thing I don't love.

We're starting to get some nice glow in
here.

Just because the shape of the bottle,
the way this is made, we're getting a

lot of dark.

That's sucking up in the inside.

We're not actually getting much light
coming through there.

Obviously we've got black behind it.

So we want to go old school and
actually put a gold Cardin in behind

it.

I want to hide it and get that to glow.

And I want to gradiate a glow.

So if you remember me talking about
labels before, to me, it's really

important to light a label in the right
way.

I always bring my highlight on the left
side

and have it wrap around to the right
side of the label.

As you would read.

To me, that's a really important thing
to do.

When I actually looked at stumpy's
original photography,

which they know

it needs work.

The highlight was coming up high.

It was above the label, or it was above
the logo one label, rather, and it was

also to the right.

So to me, it was coming from completely
the wrong direction.

And that was just the issue with the
light on the label.

So I'm going to have that light coming
right here, and it's going to kind of

gradate over.

But to complement that on the inside, I
want to get that glow to come a little

bit on the right side,

doing a gradation back.

So again, I'm thinking of terms of
classic portraiture.

Classic portraiture is highlight,
shadow,

shadow, highlight it's working that
opposite.

So if you have a highlight on the
person's face that then Falls into

shadow, you would do the opposite.

You would do highlight in the back,
going to shadow on the other side.

That really gives things form and
volume and shape.

And that's one of the things we want to
do here with this bottle.

So let's do that

cool.

When I get a cardinal stand there,

I don't think my camera is totally level

cuckout.

Look at what I think.

Yeah, hang on one second.

I want to level this up, because I can
definitely see them off a little.

Please just pop that superman
butterspock.

She is listening a little

still.

Try that's

still aining a little bit.

Right?

I think it might just be because as I
tighten,

and as I tighten them ballhead,

it just kicks in.

So we might want to just do it in

capture one here.

David, god, do that's

better better.

All right.

You're going to plop the gold card in
there.

So kid's going to bring a gold card in
here, and she's actually going to pick

up the light from above.

This is one of the main reasons I
always have a panhead above.

It's also one of the main reasons that
there is a grid inside of it.

I want to push that light down.

It helps give shape to the shoulder.

But when I need to push light into the
liquid that's the best source to get it.

That's something pretty good.

If the card needs to go to your right,
because I'm getting a little bit on the

left side, that's good.

Now we lost it.

It's coming on the left, and we've kind
of lost a little bit.

So it needs to move to the right.

Yeah, pull the bottom in.

The bottom is just kicking out
slightly.

They go.

I think that looks pretty decent.

Let's pop it and take a look.

No, we're not quite catching enough.

I think you might be tower.

I think it out.

Am I

yep?

All right.

So here is a great lesson in polarizers.

I'm going to show you something here.

So, again, polarizers are taking the
plane, and they're knocking it out.

And I'm trying to knock out some of the
highlight on that curve coming in.

That neck it's also polarizing out the
light.

So

that first shot, you can see, we have
almost no glow.

Let me rotate the polarizer slightly,

slightly, again,

slightly, again,

slightly, again.

And you guess you're several things
happening.

That glow that's coming from the right
side of the bottle inside is getting

brighter and brighter with each take.

But that glow is getting much nicer

and it's

not quite going down enough.

It's also good.

It was peaking out before we got rid of
that.

Let's do I?

Ooh,

i'll sort of pretty good looking that
highway.

It's screaming.

So there are a few things that we're
noticing here.

And I'm going to kind of walk the
computer, mouse around the image.

So there's a little white line.

That's coming down here.

That's

kind of pulling my eye

that's actually

this stand.

It's nice if you can have black camera
stands, or any of your equipment, if it

can be black, because it will help
hide.

So we're going to have to go ahead and
put black tape on that because I'm

getting a line in there.

I just don't want, I could easily
retouch it.

But why not put dubutine or black tape
or something on now and just do it in

that single shot.

Again.

I've got this highlight here that's
pretty harsh.

I'm probably going to knock it up with
the car to retouch it slightly.

And I'm getting these little bitty
corners that are caused by the card

that's, ok.

It doesn't bother me all that much.

I can actually work with it in post
production, kind of fudge it a little bit.

He's going to clip down on.

Yeah,

you know it.

I think it's time to bring in

a front label light to, what do you
think

good and fire?

It's

really strong.

Yeah, it's really strong.

And I'm getting a huge highlight off of
it.

So

who

are only highlighted?

Gun are ugly how it is going, which is
very important.

You know, I'm going to bring this in,
though, I want to make it a little bit

more dramatic.

Turn it down,

we'll feather it

a little weak?

No, I don't think so.

You still get the texture from the
paper, which is nice.

I think it means a hair more light,
though, don't you?

I think it's just rotated.

Ok?

It didn't want to bet.

Will you rotate this kind of formulas?

So if we can kill that highlight with
the polarizer,

go and go

opposite way,

quite a bit.

Go and stop

right there.

Ok.

So we're making a couple of adjustments
with the impaspot.

I want to bring that light onto the
label.

I just want to feather it across, go
ahead and pop it.

And if you look,

there's a highlight that's coming up
above the label.

And you ask the list of the light
intenphey,

you totally do.

Let's rotate that a little bit more.

I'm having trouble with all the video
light that we have in here seeing

what's actually going on.

So keep rotating it.

There you go.

I think that's got it.

We may have to do it just by looking on
the computer, because there is so much

ambient light.

Yeah, what direction are you going in

when you're rotating?

Keep going just a little further.

Let's see if we get it.

That's almost got it.

Just a hair more,

that's got it

good.

Just like a lot more power.

Yeah, definitely.

So I'm bringing that sense of light
coming from here.

I wanted to kind of concentrate on the
old Monroe and bring across.

I don't want it up here.

I just, I wanted to kind of wrap around
and give some shape.

You turned it up?

Yeah, I didn't.

A little bit.

That's pretty good.

You know what?

I notice, we have now

liamo,

our label has left it.

Oh, one eyebull catching.

You know, when I'm going to get a
burnishing tool.

Hang on.

So remember, I talked about burnishing
tools, this little plastic thing,

sometimes, even though I've got fresh
labels from them, they're just peeling

off a little bit.

Now, maybe that the sticker is not that
great, or maybe I didn't clean the

bottle well enough in terms of getting
responsive off.

But I can use this plastic

burnishing tool just to try to help rub
it down,

see if it can't stick better.

But it does not want to grab, does it?

We have to watch this.

We may have to change it out.

It's pretty nice.

So obviously,

the base is really weird.

It's glowing its gold.

That's not what we want.

We're going to have to pull the golden
cart out and just do another one for

that.

But for the most part, I'm liking the
body of the bottle.

I think I want to bring the power up on
this guy.

Little bit,

because it still looks a little yellow,
little gareish

better

like it.

Yeah.

So the last move I made was just to
take this light and to feather it away.

So I'm actually only catching a little
bit of it.

If I were to stand and draw a straight
line.

The center

of this

light of the spotlight is hitting here,
several inches away.

So I'm actually only using that half of
the spotlight

to light up my label.

It's feathering it, but it's giving me
that nice gradation as it goes across.

If I rotated a den on, we'd get more of
a hot spot in the middle,

just be really distracted.

I don't love it.

So it's nice when you can start to play
with your lights and think about that

in terms of feathering it only using a
part of light and don't use the

entirety of it.

If you look up above

my panhead, isn't sitting dead over

the bottle, if it was the middle of it,
would be right here.

We're using this front part to get some
light coming down, to give a little

light on the neck label, to give a
little light on the main label.

But we're using the body of it in back
to light up that gold card and push

light through.

So think about feathering your light,
use your light source, but not

necessarily the entirety of the light
source.

You can play with it and get some of
that edge light, which is really nice.

We still need to bring out power
highlight from a little bit of like,

oh, yeah, yeah, please.

That's why.

Meanwhile, it's good to have another
set of eyes.

I'm thinking about sixteen different
things about this bottom.

And it strikes to have another set of
eyes, thinking about what else you can

do to improve it.

That's better you come up a half.

So now that the edges are brighter, I'm
really going to go for the main body of

the bottle.

The label looks good.

The edge is good.

The glow inside is looking pretty good.

Overall it's a pretty nice shot.

We're going to work on the base.

And the next separately,

just going to clean this off with a
little bit of air.

And we'll grab this shot.

I like it.

You like it.

How I get anything else?

I'm going to mark that that's going to
be our

base body.

So let's pull this gold card.

So I had to do this, that where we get
the neck.

You're going to do that one.

First

let's do the things that we have the
light on.

Ok?

Ooh, man,

go yeah, start there.

Tip up a little bit.

I need to catch more of that white,
right there, a little bit more.

There's some better stuff happening,
and that's kind of interesting.

You don't want to want to do though.

It's too strong as it

is, too strong.

But there's some interesting stuff
going on in there.

And that gradation is kind of cool.

And we need to get up a little higher,

to the black.

Pardon?

Here,

a larger gold card.

I don't know that.

I agree that we tried right in here.

That that's from the azure gold card.

I'm a drop, dislike, too,

or the stando

that's not bad.

At what point?

Do I kill that highlight?

Do I have it there?

No,

not entirely.

Yeah.

I keep going,

really, yeah.

I mean, it's really hard to kill it.

Ok?

Can I still mostly gone there?

Can I get the gold yet?

Try it's.

You had to tip your gold card up of that

even more.

A little bit more up.

It's just catching.

Someone's, like, take it back further.

You're just catching too much of the
top light on the gold card.

Ok,

better.

It's good.

It's pretty good.

Ooh, yeah, nice.

Oh, there's totally some stuff to work
with in there.

It's cleaner in here to card

ooh, yeah, we're

totally losing the edges

that's ok,

no, that's nice.

Yeah, so much better.

All right.

So if you look at what we did,

I was holding a black card in to kill
this highlight that was just creating a

big, nasty white spot in there.

Because I want to have light coming
through that area.

If I've got the gold card back here,
but it's being blown out by the white

spot.

We're not doing ourselves any
injustice.

What we have done is given ourselves
some really interesting tones in that

shoulder.

And that neck area that we can use in
post production is going to feel good.

Before we had just a weird rectangle
that was kind of where the neck is.

I wasn't Loving that.

Now we've got some real options to take
that gold card in

play with the liquid color that we
have, and blend it with the other

image.

So now I think I just need to go for
the neck label itself.

And we're probably in good shape, and I
need to make sure to get that base.

So let's see what we get.

Good,

to touch the camera.

Ooh, that looks good.

No, looks real.

Good.

Getting that a little bit of blue
highlight.

So if you look right, here

there's a little tiny blue highlight
that's showing up.

That's, again, this light

polarization

gets you most of the weather.

Sometimes you just wind up with a
purple or a little blue dot

that won't completely go away.

And again, it's because this bottle is
moving in so many directions that we

can't knock a single plane off.

Because it's kind of everywhere that
little blue dot is.

Much better than having a big, nasty
spot.

That's an easy, easy retouch.

Now I definitely like what's going on
in the base in terms of having just a

little bit of color down there it's a
lot nicer, but we are getting two

really weird white lines that are
coming from

the light that's bleeding through on
the side.

So remember, what's happening

when you look at a bottle,

the light that you see on the left side
of the bottle is always coming from the

right side of the set, from behind.

So it's this stripe

that's creating the white line inside
the bottle, but in the base, it's also

creating that hot spot.

And we're getting it in two places.

So I'm going to have Kate hold a black
card over here.

We're going to knock that out, and then
we'll switch to the other side.

Knock it on the other side.

And we'll just use those as a quick
comp to make this bottle even better.

Go ahead,

lower

up just a little, right there.

So you're going to see, right here,
boom, that'll didn't get it all.

Go up a little bit more.

Ok,

too high.

Pulled out for a second.

Ok, back in.

Oh, ok, no,

that's just showing up.

This little bit of highlight is
actually showing up in the lip, that's

running around the back.

That's not going to completely go away.

So, again, we'll just retouch it.

Let's go ahead and move to the other
side, and we'll get that

better.

It's giving me some bounds.

I'm catching some of them here, dying,
catching something up again.

That's got it,

all right.

Some of them marked out.

That's from my left side.

We still had a little bit over there
too.

Same thing.

Let's go back and do that site again.

Are you ready?

All right?

Awesome.

That's going to do it.

So for this guy, we've got four or five
shots, right?

We're going to combine a few things in
order to get a really good

main body, where we've got that label
that's nicely lit up, and a little bit

of glow coming in from the opposite
side, giving it that gradient that

shape.

We're knocking out the little white hot
spots that aren't at the bottom.

We're doing another shot for the neck,
where we're giving a gold card to give

some volume and some tone coming
through that liquid at the same time.

We're also knocking down some of that
highlight created by the panhead.

And then the last thing we're doing is
adding in the neck label.

So four or five shots, and we're going
to have a perfect image.

And it didn't take that long.

It's pretty kind of fast to
systematically go through that.

Now what we can do is we can actually
flip this set very quickly, and we can

turn it into a black line white set.

So we're going to have white coming
through the center, black edges that

are going to give this a nice kind of
sharp feel as it sits on a white

background.

On somebody's website, again, we'll
have to fine tune the lighting the way

we have here.

But we can quickly do this versus
completely building a whole new set,

which is a monstrous timesaper.