Working With Scrims On Location
Okay guys, so we are gonna start by getting the Scrim over the top of this. Remember they're gonna be standing up, and we wanna make sure it's out of the shot. So if we can pipe it up and make sure that that is gonna be blocking him. In about 30 minutes it's gonna continue to move this way. So that's the way we have to plan to guide that Scrim as it goes. Above that we're gonna use the Octa to start. Alright, so let's go ahead and move that into place. This is where this is gonna be.
Where do you want the C-Stand so it wouldn't be in the shot?
Yeah, we're just gonna have to plunk 'em around if we can, and we're gonna do a plate shot of everything not in place that we can easily overlap.
Does this go on either side?
Of the chair?
Yeah, we wanna get as much real estate as possible covering them, so if you wanna start with it laying flat before we raise it. Then we can kind of see what best case scenario is. That's looking about right. I mean, working with Scrim's is kind...
of a necessity when you're doing this kind of stuff, but it is a tremendous pain. It's very cumbersome to set up. Usually requires a couple of people orchestrating it.
I think we wanna go a little farther.
Probably gonna have to go, or back as well.
To more like there?
That might be in the shot. I don't know if you're gonna be able to get up that high. Yeah, I think it's gonna be a little bit more like that, cause we also need to pipe light from the front. So we have to bend it a little bit.
Go up in these arms first?
Let me straighten it a little bit, real quick. I just want to see something.
You want this?
Yeah, let me just angle so it's straight. There you go.
That's about it, right?
I think that's about where it's gonna go. You're gonna have to back it up, because it's now cutting off. Cause the guy's gonna stand behind him.
We're gonna raise it way up though, right?
Yeah I know, but as it goes up higher it's gonna go further. So he's gonna be here. He's already in the light here. So it's probably gonna have to go quite a few feet back. Yep, exactly. Alright that's... Is is on me? Do you see it on me?
Alright, let me do a quick little test on this. Cause it is so very much in the shot. Can I get somebody sitting on it real quick. Yeah it's good. 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 gonna have to be comped out of the final shot. So, I'm gonna need to do plates of this image after we shoot it regularly with no one in there. It's just so I can easily throw the plane on top. Two, I want that really shallow depth to field. I'm looking for something like a two eight ideally, which means I need to use those ND filters. I'm not using high speed sync. I'm kind of going the traditional film route. My camera doesn't have high speed sync, so I'm kind of here to show you that if you're camera or your lights don't actually have that, you can still achieve a visually pretty similar result by using ND filters. 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. They're usually shooting at a pretty slow shutter speed. Even though they're using like maybe a low iso on the film, you're still not necessarily going to get that look. Because that slow shutter speed is you know, one sixtieth of a second. One fiftieth of a second. The ND filter helps to counter that. I've got three stop and I've gotta six stop. So I'm gonna try my three stop first, and we'll see if that gives me what I want. If not I can always add the six instead of it. Can I get someone to sit? Okay. That's good. That's looking really good. This is a three stop. It's giving me a really nice soft edge to the light. Which is good. We might want to add a second layer of diffusion. It is giving me a little bit of wrap, but let's ad 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.
It's up to you.
That might be a good way to go about it too.
So where would you like this?
So what we'll do is... Here come with me. We'll shift this over just a couple of feet Jonathan.
That's good, right there.
Mm-hum. Good. So the reason I'm shifting the Scrim is, because I'm anticipating the sun moving. I know that the sun is gonna move this way, and I'm already starting to get it a little bit close to the edge of where they're gonna be. So I'm just basically giving myself a little bit of room to not have to move it later. Then also it's not gonna be necessarily behind the head as much. So it's kind of a twofer. This is what that lighting setup looked like. We've got two Scrim's in here. The two six 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 D1, D2 with a thousand 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've brought us.
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