All language subtitles for 05-22-The Tentacle-Lighting Setup.mp4

This next shot that we're going to do,
I'm really excited about,

because we've devised something that I
think creates a lot of challenges for

us, and I think it's also going to be a
place where we're going to

get a lot of lessons from.

Because we're shooting black on, black,
on black.

We're going extremely monochromatic

with a very difficult subject matter.

So we've got this bottle of red wine
called the tentacle.

It's really got some interest to it.

Obviously, it's got a

octopus on the back side with these
tentacles wrapping around the front

that kind of come around the logo.

Red wine, by nature, is really dark.

It photographs almost completely black.

So we're going to play with that a
little bit to get some tone into it.

But we like the idea of having
everything be black, on black and black.

So to that, we're going to have a
surface, which is a black tradetray.

It's just a big baking sheet that I
painted black.

We're going to add water to that,

and that's going to allow us to have
some motion.

So it's like this bottle and this glass
of wine are coming out off the surface

of a body of water.

And in the background, we're actually
going to add plumes of ink, but it's

all going to be on a black background.

So we're going to work to get
separation between these plumes of

squid ink, the black background, the
surface that's black, that has a little

bit of water on it, and the black
bottle.

So it definitely has a lot of
challenges.

And I think there are so many great
places where you'll really be able to

learn about light and polarization, and
controlling highlight, and how you make

something stand out,

how you give something an edge so that

you can see it when you're working in a
very monochromatic environment, because

that can be a real challenge.

So

let me just walk you through my set.

We've already gone ahead and map some
of this out, because

we had to figure out everything that
we're doing.

This one is definitely a challenge.

So first things first.

We just have this tray, again painted
black,

sitting on some apple boxes with our
hero bottle wine and our hero glass.

Now in testing it, I know that the
bottle itself is just soaking up so

much light, because red wine is really,
really dark.

We're going to start here with this guy.

We're then going to pull it out.

going to put it in a new bottle where
we've removed about half the liquid and

add water in.

We've done that so that we thin out the
red wine.

We want to be able to push some light
through it.

And

as is, light's just not going to get
there.

So we've thinned it out.

We're going to put in a bare bulb.

I like bear bulb sometimes, and it can
be really, really cool.

So we're going to have a bear bulb
coming really low.

It's going to come through the bottle
and through the glass and just give us hits

of some of that tone of red wine.

That's going to help push off of the
background, which we need that separation.

We've also got a barlight.

This is a light I really like to use,
just to create good highlight, good

edge light.

You can replace it with a striplight,
soft box, striplight.

This one is just nice and sharp, and I
like to use it.

So we're going to go with that.

But keep in mind you can always use
just a strip box.

Then on our background,

we've got a panhead

inside of its grid.

And as always, I have a polarizer on
it, just in case I want it.

But

this panhead is just going to give me a
nice wash onto the background

because we're using black paper.

Paper actually has a little bit of
sheen to it, which means we can light

it up.

If I had black duvutine or black
velveteen back there it's going to suck

up that light and we're not going to
get any separation.

So I actually want to light black.

I want to see black.

And to do that, you can add light.

We're going to do it with the paper.

That way we can get tone.

We can even get a gradation going
across it, which will be really nice

and help give us some separation of
those plumes of black ink.

The last thing that we're going to need
to do is bring light onto the front of

the bottle.

Again, I always bring in my visitech
with the little spotlight.

I need to make this

pop off.

I've got to get some light into that
front of the label

and those tentacles.

So I'm going to use the impaspot,

and I'm going to really tighten it up.

I've got this little insert here,

which is basically just a sheet of
metal with a whole droll through it.

That's going to take my spotlight and
make it much smaller, which means I can

have a more dramatic look on the front.

Of the label, and that's what I'm going
for.

Why don't I walk you through each
light?

We'll just fire one at a time.

In that way you can get a good sense of
exactly what each light is doing.

So, Kate.

Let's just start with the background
alone.

This is guyland,

so that's just the background light.

And if you see that, we've got a little
bit of wash coming across that black it

is.

Light that's actually hitting black,
and we're getting some tone in some definition.

Immediately they'll see that.

I want to get

a little bit more out of it.

Just a little like three tenths at most.

If you look at the right edge of the
bottle is just starting to have some

separation from the background.

I want to get a little bit more out of
that's

better.

All right,

turn that pack off.

Let's go to the barlight.

Only

this little strip light, and this
barlight is going to give me a nice

long edge coming along the side of the
bottle.

And that is really going to help define
it and give it shape like woo.

Look at that.

That alone is pretty sweet.

It's like almost a drawn.

You've just got this really nice edge,
great definition coming on the glass

and the bottle.

And what's cool about this

you're getting it on both sides of the
glass,

the way that glass is positioned.

Obviously, the right side of it's
closer to that barlight.

The bottle's kind of in behind it.

But we've got the highlight coming all
the way down one edge, and it's also

transposing onto the other edge, to the
left edge, where it's nice and thin.

It's just this pencil drawing to me.

I dig it.

I think it's really cool.

Right?

Let's turn that off.

We'll go.

Just this light.

This light is going to be a little bit
more difficult.

It's coming from the very front.

I've got to polarize it, but it's not
going to totally go away.

I know in testing this out, sometimes
you just can't make those lights go

completely.

You'll get that little blue dot, or
you'll have a little bit of white dot,

but it'll be much better than just the
big main highlight.

Let's go ahead and pop that.

And you can see that clearly.

We've got

it mostly polarized.

When you look at the actual neck of the
bottle,

there's a little blue highlight.

When you look further down, where that
same source is hitting the wine bottle,

because it's more rounded,

it's being polarized even less, and
it's growing it's at a white dot.

And you also see it showing up in the
wine glass quite a bit.

That's because all of those surfaces
are different.

None of them are on the exact same
plane.

We've got curves, we've got rounded

shape.

We've got so much happening

that this light is affecting.

So it's not going to kill everywhere,
but we've toned it down enough where

we've really got something to work with.

Remember, we're always going to control
our highlights.

That's one of the biggest, most
important things that you can do

in Beveridge photography, control your
highlights.

So as I said, we've got this thing
happening in multiple directions, but

let's try to polarize it a little bit
more.

Ok ahead, pop it's

getting better.

Go back to

and just go back and forth.

All right, it's that direction.

So,

ok,

let's put it all together.

What's now go ahead and turn all the
lights on together and see what

everything's looking like in unison.

Yeah,

I'm not sure about this intersection
here,

right there.

So remember, I'm always looking for
tangents.

I'm always looking for things that
don't fit.

Because

one part of an object is running into
another one and it's creating a bad

visual break.

I want to make sure I don't have any
that going on here, which I will worry

about this,

right?

That's a bubber.

Let's overlap the bottle a little bit
more.

It goes

very glad.

Yeah.

So what we're looking at is this area,
right here.

So when I'm talking about tangents,
this highlight is bleeding right into

the highlight.

That's going in the opposite direction
of the wine.

So it's breaking visually.

I want to get better separation.

A big move, and it's

a big move.

And now we've got that tinnacle right
on the right.

No, they have to overlap.

One of it just needs to go more.

Did you move the wine or the bottle?

I left the glass.

Ok, good.

Try that.

So as I'm looking at this, that's
getting really busy and crappy what's

going the opposite way.

Let's bring one glass out, further out,

come in just a hair,

or you stop it there.

Just wait right there, and you see if
it's good,

too far?

Right?

Too far?

What way?

Too far out?

Do you not think so?

Well, they're just touching now.

So you do want them

to overlap.

This is now we're getting back into
where we all send here that refraction still,

actually, the reflection

it's not coming through.

It's a reflection on it.

You mean this

that I can live with, because we can
even clean that out.

And as we, as we introduce the other
bottle

and get light in there with that bear
bowl, it might really change.

I just feel like it's too far out now.

Like the glass is just not overlapping
enough.

But let's bring it in, just a scotch,
and then we'll see if I like it from there.

Ok,

I think that's better.

The highlights are not tangent, they're
not running into each other.

There's a little bit of breathing room,

but they're overlapping.

You agree to disagree.

I think you disagree.

Honestly.

I pull back a little bit, because
they're looking at it really tight.

It feels really tight to the ends.

Separation

going completely apart.

Is that what you're thinking?

Honestly don't like that.

I think they have to overlap.

If I have to retouch tentacles out
online, doing that.

And then I think it needs to go.

And mar it's too close.

When you are blown up, it best than that

little more,

a little more.

There you go.

Is there enough separation between
those highlights

here?

The red and the white

actually go in just a little bit more.

Yeah, it's going a lot more.

So, again, we're splitting here.

The devil is definitely in the details.

And I'm a big believer in making this
look exactly how I want and spending

the time splitting those hairs, getting
those details right.

All right, that's good,

really.

And truly,

this is going to be

for positioning and for the bottle
capital.

I'm going to tip this guy up and get a
little bit more light on the cap.

We have this market,

and

then once tip it out and get it on the

cap

and pop that.

Please.

I give me any light up there.

Now,

try that.

It's so polarized

that,

yeah, you may think I am totally
polarizing, outright?

Am I going to worry about it?

well, you get, underlie,

I could, but I can also.

We're going to do it without?

No, no, I need to do it here.

I mean, I need to do that.

Try.

That's

getting there.

Beh,

let's add a little bit more in.

I don't want too much,

honestly, because I'm going with this
black on black theme.

I want to bring a little highlight into
that cap, but not too much.

I want to control this.

Again, I'm going to keep going back to
that.

Cohi, pop it.

Yeah, that's good.

Go ahead and mark that.

We should really start retouching no
document on this

fun.

I just call it technical wine.

So let's mark what each one is for.

I'm going to have so many captures on
this.

I want to definitely take rejudging
notes along the way, because I've got

my base file.

I'm going to go for a little bit,
additional light on the cap and so on

and so forth.

All the way through the saying, I know
I'm going to wind up with multiple captures

as I like them, as I see them come in.

I want to write down what they're for
that allows me to go back and review

those notes, make sure I've made the
right decision.

And then I can hand things off to the
retoucher,

and he'll be able to fall along and
know exactly what I'm doing.

All right, we cooled that

I'm going to adjust this back

to where it was.

The other thing to keep in mind about
polarizers, just like on my camera,

where I've got

the spring loaded clip that I use to
rotate it.

And I remember where that is, thinking
about it as a clock,

I do the same if I can on lights

like this.

Spotlight has a dial here where you can
adjust the front for knell lens.

I use that knob for that dial

as my clock indicator.

So I know if I'm going to make a
rotation, and I was like, right at two o'clock,

I want to adjust it slightly.

I can do so and then go back.

It's really simple.

Let's bring that other bottle.

You think

I said we bring the other bottle and
get this

bare bulb fired up.

We need to face the same direction,

so it won't be at them pointing,
because you're not going to use the text.

Actually, I am going to have to use the
text, because we've got to have the

light coming through it.

I think you're lazy with the area.

I think light comes through the whole
thing.

Just try to line up as closely as we
can.

I might want to replace it completely.

Do not create.

No, really.

Then

that's just what it looks like.

Ok,

like, my fingers stuck to the paint.

Oh, I cut that in the eye again.

Wow.

All right.

Really big difference.

That's too hot.

I'm getting bleed.

Way too much bleed.

That's really pretty.

Yeah, maybe diffuse them there a little
bit.

The glass is so dirty

that

as the dirtiest glass ever a good
thing.

We're not going to use that completely,
blowing out.

All right.

I want to take a good amount of light
out of there.

Don't you think?

Go ahead.

Pump it again.

Got down,

another stop.

You know, there's a little light when
you hold that confusion.

I try, that's

better.

I think I need to rotate the bottle
back a little bit.

I think it feels like it's two

it's facing too far to the left,

isn't it?

Just to hair, just to hear.

I've got to bring it back.

There's no time,

ok?

That's pretty.

That's really pretty.

So you can see on screen,

we've got some real interest starting
to happen inside of the bottle.

There's just a little bit of glow.

That's coming in.

I'm getting it in the next, slightly,

getting it coming down and in the body
a little bit.

That really gives us something to play
with.

And again, when we put it on, that
really dark background, it's going to

start to pop off.

I feel pretty good about that

mark that.

All right,

that light is pretty cool, but it's a
little too strong.

So I want to diffuse it a little bit.

We're just going to use this finger.

That's got the fusion on it.

I'm just going to hold it in there,
kid, it's going to pop.

It's

better,

much better

all around.

And, like, I was not half bright down
here.

You just have Mars.

That'll tell it more.

I tell you what I do, like, though,

I like a little bit of that in the
actual glass.

Always you lose that.

Yeah.

So let's use this for the body of the
glass, or the body of the wine

on the right side of the glass.

And then we'll combine it

with that guy for the bottle, because
this is a lot nicer

and the top.

Right.

Now, we need to go for

water.

Yep.

Do we need to turn that background
learning?

Gabby up?

Yeah.

Stop.

That's only kicked out.

But make sure to turn off

there.

Bomb.

Yeah.

Thanks.

Where are you?

All right?

So here's what we're going to do.

I want to get a little bit of movement
in that water.

Remember, this entire tray has got
water in it, right?

I just want to create a little sense of
movement.

Some cool ripples coming along through
there.

I'm going to actually

use a can of air to do that.

Kate's going to fire.

And let's just see what.

We get.

Something hanging off of there.

I don't think that's enough

that get anything.

Ooh,

we're like, ooh, that's sexy

that's really nice.

Oh, man,

you only get out one.

Yeah?

And I'm,

maybe we should adjust the background
night, so we get someone and the other

saying aren't.

Yeah, let's move that.

So if you look on a screen, we're
starting to get some nice ripples that

are coming across,

basically from this side.

Degrading in the background is really
harsh.

I'm just not getting any light here.

If you saw me doing that, I just

slowly started with the cannabar.

I gave a good consistent pressure, just
giving me a little bit more and more

and more

in creating that whole pool of ripples
going across.

I didn't want to hit it really quickly.

I don't want it to splash up all over.

Take your time with this stuff.

Just go slow.

It's always better to build up.

You try to give him.

Well, let me just make sure I'm the
lights in the right place.

All right.

Yep,

ooh,

it's going to be nicer all the way
around.

Cah,

all right.

You're ready.

Whatever's, if I come from right behind
the glass,

let's try that.

You got a little stronger.

Ok, ooh, god's pretty.

Mark that one for sure.

I'm going to keep going fire

and that's nice.

That is perfect.

We've got it.

Let's move on.

I love it.

That's perfect.

With just a couple captures, we're
going to be able to build a surface.

That's going to really make a huge
difference in the overall shot.

That water going across, that sense of
movement with the bottle and the glass

standing in, it's going to be killer.

That.

Combined with just a couple shots for
the bottle, where we've got a little

bit more light coming through the good
cap, and a couple of shots to build the

body of the wine.

I can't wait to get to the ink now and
let that stand off from the background.

So let's go ahead and do that.

We're going to break this all down,
we'll put it up our tank, we'll fill it

up with water, and then we can really
begin the ink shots.