Shoot: Love at the Wash-n-Suds Part 1
Well, we're going to start off. We've got some really exciting things to do here in this segment, we're actually going to start, like bringing everything to life, but this is a class on frame compositing, and what that means is we want a lot of options here. We want a heck of a lot of options when it comes to actually getting our final image, so what we're going to start off doing is we don't have any of our models except for lee she's on, say, he's, very punctual, but we're going to we're going to just actually take a couple of frames with them off slowly if you wouldn't mind, would you mind stepping off set for real quick? There we go and hear what we can do is make sure we have all the elements that we need and weaken just kind of have a lot of options right now, so in the end, what we are planning on doing is removing this stool and removing the almost clean laundry detergent and taking maybe this passage in that basket away and things like that. So what we want to do is I want to ...
start off with a blank sip, so given that the camera doesn't move in, our lighting is all set up how we want it. To be set up for the final shot what I want to do it it's now like take a couple shots on dh keep like a blank canvas now what I do what is important is that we can't keep everything in about the same place so if we could get a little bit of tape john, we have like some blue tape or anything like that kind of mark the position now most of the stuff isn't that important this waste basket or the chair that's not really that important but where we're gonna have sean wind up levitating that is a little bit important while where that's going to go so we're just going to use a little bit of blue tape here before we move this I'm just going to place this right underneath our object there there we go and that's going to be it's going to be that object and then the rest of it can be kind of moved out this is not going to wind up being there, so we'll move that out we'll take out the longer detergent and even the laundry basket can come out things can go out as well. So what we're doing now is basically building ourselves a blank set in which, you know we can figure out how how would this suit look like with nothing on it? I'm a being too close this door here and we're going to take a couple shots with this door opened and closed in a few different configurations, so basically when I need to composite these back together, we're going to be doing some levitation in just a little bit, but I don't want that stool in there, so when I'm going to need teo, you know, have that frame without the stool in it now is the perfect time to go ahead and do it we've got our lighting, the ireland we've got everything figured out so we can take some of these shots without all these elements in there, so we'll have them for reference later, you can do this before you start shooting the action or after before is never a bad idea because he won't forget about it. Sometimes you'll get done shooting the action like I'm exhausted, all right? Let's wrap and everyone goes home and they start moving stuff and you're like, oh, wait, I didnt take pictures with this stuff gone and, you know, kind of like ruin that opportunity that you would have had and then you have, like, you know, seventeen hours of clone stamping ahead of you, so instead of doing that, what we're going to do is basically just take some pictures thie camera still on the same setting still manual focus still same aperture and everything like that so what we should have is basically just a blank slate, and we can see it up here now over lunch break, I decided to change one more thing, so we can see there we go. I decided to change one with more thing, but I actually haven't changed it yet and that's our exposure here in the lab because the lamp isn't winding, providing a ton of light here in our set, it's just a little bit overexposed, I think of the exposure could come down, so I'm just going to lower the exposure of this real quick, like you want to pop off another frame here for me, I'm just going to step off camera there, we're going to look to see if that winds up being properly exposed a little bit better, all right? And if not, we can always lower download, but looks like that did absolutely nothing so let's, go ahead and lower it down a little bit more, all right, let's, try it again. So this is one of those things where this is kind of like the boring part of a photo shoot, but for this type of compositing in the work we're doing here is entirely necessary and really important, all right, now we'll see when that loads up. There we go so we can choose to, like, make that brighter or darker where we wanted the next thing we're going to do is I'm gonna make just a little bit brighter and I am going to put a gel right in front of here because in this case all I'm really worried about is right here I don't really care about any part of the other frames, so I'm gonna put in jail right in front of our lens in front of the sorry infront of our light here and that's just gonna warm that up in color a little bit want poppet again, make sure I'm not in frame there we go and hopefully we'll get, like kind of a yellowish color coming through here and these are just things they're just colored girls this is a color temperature or in shelf it's a corner cto and you can fold it over and make it a little bit brighter or you can pull it over again sorry, not brighter, little more color we can see we have even more color now so the's a relatively inexpensive and they can have some interest in your photos let's bring up our up just a little bit more here we go and we'll pop that off again here we go and hopefully this is going to actually come up and point of giving us some color in there there we go so we can see this is warmed up a little bit more and it doesn't look over exposed in this case, so that's basically it we're gonna put this back, and now we can call our subjects back into the front. All right? Do you want to come through and then and sean, we can come in again, so we have all what we need now we can bring in all of these other elements and we don't really have to worry about, like, did we get a shot where there is actually no stool there because we actually already did that? So now we can focus on the cool parts were going toe put that right back there and put the laundry basket in there and open that up, so basically what we're doing is deciding, you know, I need all these separate elements to be in these frames I don't know remember where this was? You remember somewhere around their way don't like this and there we go, and it doesn't really matter that I'm in this frame as well, because this particular frame that we're seeing here, the only thing that I'm gonna wind up taking from it is the light that's kind of shining right there that's really the only thing I care about that, so if that part of this image looks great in this part of another image and this part of another image that's what frame compositing is all about that's what we're going to put it together all right, normally this during this time I would crank up music like really allowed to we're in a broadcast I'm going to do it right now, but normally during this time of the photo shoot, everything is kind of like set together we were just like totally have fun with it. All right? So we're gonna go and start doing levitation let's just two big double shirt you wantto go ahead and do it exactly what you were doing earlier sean and let's see we got can you see directly into the life perfect there we go and that's a good way by the way of having that grid there that's a good way to make sure that she's in about the same place that she was earlier so added bonus and three, two one there we go beautiful and let's just like take a final look at this. Now, sean, we'll have you probably not bring your foot as high just because I think you might be blocking lead back there there we go let's, pull down our exposure actually come closer to the camera just a little bit there we go and let's take another frame here and see how we're looking now so some people had some justin's to get hand a little bit larger in the shot and so we're going to try that and then once we get about where we want it there we go and miguel is not in the shot anymore. Oh, there we go it's like something has changed come forward towards me we go just a little bit please yep. In the laundry basket yep, there we are perfect found stained balance messed it. Yeah, I got this I was practicing over lunch perfect let's see that? We're basically right now we're getting back to where we were when we we started before we took a little bit of a break. So mike who's operating the operating all the technical stuff back here would you mind zooming in? Teo sorry. Zooming into hannah's face so we'll just check our exposure there and see if she's a little bit overexposed or under exposed I think she's looking pretty good he's definitely got a little light coming from here and that's kind of coming from the overhead light that we're seeing right over here so we could fill in that shadow just a little bit more so let's bring her power maybe if you could step back just a tiny bit sorry that way back towards lee there we go perfect and we'll pump this up in power just a tiny bit more there we go and I think we're backing sure. So we're pretty much back where we started from before we left for the break and we're ready to start shooting let's just do it see, I'm gonna look at this monitor and this is calibrated for the for the video cameras that are on us right now we have another screen down here which they provided for us, and I believe this one is more properly calibrated towards what the image will actually look like on a computer screen. It's got a little bit less contrast, so right now we're kind of like working our balance between dwight trust what's going on here or do I trust what's going on there? And I think I think I'm gonna trust what's going on there and that's, another great point is where these air going to show up? You want to generally, if you are shooting tethered like look at your computer screen, you know, make sure to shade it even like a laptop screen is really not gonna be that great. If you could bring like a nice color calibrated monitor on set with you that's really the best option? S o I don't really trust the back of my camera the lcd usually that's going to be a little bit to contrast and the color is going to be a little bit off a tv like this is going to be even more contrast except especially when it's set up to be visible for the film cameras so we've got this other monitor and that's what we're kind of trusting here so but the people at home should be seeing the display from here so that's that's perfect people home should be seeing exactly what they should be seeing but we're all good together ok cool so are lighting is in place and I think we're good to go so we're ready to go ahead and start the levitation so first thing we need to do is we're gonna pin some clothes to adam so we've got some safety pins safety pins are on that table back yeah sean adam I apologize all right? Who wants to be the safety pin clothing person want to work on it? You khun I mean, I don't know julia yeah, there we go. All right, so basically the ideas I'm probably not like a leather jacket or anything like that. Wei have more clothes, okay? There's advanced it over there. Perfect. I'd love to use clothes that are actually yours that would make it a little bit more believable, like this blue blue shirt would be good, I think on basically the idea here is that we're gonna camp inside close to the back side of you thank you julia basically the idea here is that we could take this stuff and pin it to the back side of him which is going to make it actually looks like it is well we're going to make it look like it's kind of like bunched up and like forcing him tto be moving up so this is what's causing himto float in the air which I don't know it doesn't really make that much sense but why not thes clothes of an incredible power to make you fly in the air pretty cool alright and if this looks totally stupid, we're just going to change it up and do it slightly different. So that's the awesome part of being able to do this for shit's like you know we'll try something I think it's gonna look good but if not we'll just change it up and do a little different so quick question on dh I'm sure you'll go over this tomorrow but check her friend says how do you keep the shadow from the levitating guy but still remove the stool from the image? Is that something you need to shoot differently for or is that just all handled? Good question it's going to be handled in post? There is a little bit of an overlap if we didn't have the shadow that was like falling right where the base of the stool was that usually wouldn't be a big deal if I do have to change out just that little section shadows usually change in luminosity so it's going to be a little bit darker it's also going to be a little bit less contract so I'm gonna teach you guys how to do that in post production if if that's the journey that we need to go tomorrow if there's a piece of clothing like covering it up then that would just be fortunate and we don't have to worry about that either so yeah, something that we can kind of take care of here but we can also take care of tomorrow uh in the computer if we need to do that olds red eye says is critical is camera position is one of your good idea to use a remote or cable shutter release that you normally do is a great idea it really is a good idea we're using pocket wizards in this case the plus twos and there is a cable release that you can use with park wizard plus twos for the five year mark too it's just a basically goes from the camera flash remote port to the shutter port on the camera my camera bag is over there I don't remember if I brought one with me to seattle or not but if you guys want to dig around that camera bag and see if there's a shutter release cable then we can use it why not it is it is a really good idea. The other thing is we're shooting senate actually mike was in the control booth I think mike and take pictures right? Because we're shooting tethered right? Pretty awesome so then we're really not touching anything so actually that's really nice. Yeah, well, if you have, you know, hundreds of thousands of dollars of technology behind your photo shoot and someone in the control booth drove the whole thing that you could use that option too. So mike, thank you. That was awesome and he's not even in this room we're talking to it that's amazing way might have him take some photos during this too why not? I'm totally open that what's another question awesome. Another question is, well, some of some of our audiences just joining in on the second part of the segment right now and they're wondering if you could refresh and go over why choosing stroke versus speed lights? Okay, cool, good question and that similar questions asked earlier today the reason why we're using the stroke such as the einstein's in the alien visas instead of speed lights his we need to be a decent bit of light output from these not only that, but excuse me in this particular set up, we're actually using six different lights some of them are in south boxes like this for fox that's right above us here might be kind of hard to make make it help because there are a lot of lights here for continue slights but that's in a little bit larger role of a lighting modifier some of these lights are in smaller modifiers like we've got a grid here and there in the back of the room, we've got a light that's basically shining directly into the wall and bouncing light around, so one of those reasons is we need a little bit more power output them most speed flights can provide, especially with our fill light right back there that's just lighting up our entire scene with a little bit of phil that's one reason the second reason is we're planning today the photo shoots its last, you know, we started off early in the morning and we're going to be going all the way until four o'clock and during that time if you do have a lot of power output with the speed like you're goingto during your battery's really quickly so, you know, basically like, halfway through the shoot, we have to go around changed the batteries in all of our in all of our speed lights, so for a couple of those reasons put the power output necessary, the batteries and the modifiers that we're using I think in this case using strokes is a bit of a better option cool, good question one more from l a photo how does how do you decide your workflow in what shoot first when doing friend composites, we talked about doing it with elements yesterday but about four frames what's your choices shooting brilliant what we just brought on is we cleared everyone off the stage and we made sure we got a couple of blank plates now, just in case anything changes, I'm going to do that again at the very end you just want to, like do everything to like really cover yourself because that's the whole point is to be able to like take two from frames and things like that where we want to do is build the set up toe where we have a lot of what we want in the set and that's our starting place, so we still have every firm that we've taken right now. Let's say the camera hasn't moved from before lunch let's say one of the frames we took of hannah was like one of the ones that we want wanting to use in the very end well providing nothing else moved we can still use that even though we shot it you know, an hour ago in the shoot you in the next coming a half an hour or an hour, we can still use that frame if that turns out to be the best frame of the day it's not a big deal it doesn't have to be right now I'm hoping it will be but it doesn't have to be so that's the whole great part of it so once you get most of what you want in the shot once we get sean and levitating and get some clothes hanging off him and things like that that's what we're going to start saying like okay, this is where we're gonna start the composite now let's go ahead and start bringing all these different pieces together so I would say when the majority of it's in there then that's when you you know to like start a composite then you could bring out that all of them back after cool good questions I'll get teo right on all right let's see what this looks like if you wantto start levitating there we go and kind of like come back and go ahead and do a quick limitation for me and we're basically just going to see if this looks weird yeah let's just take a picture and see what it looks like now the clothes are kind of like hanging down there we go and look at each other if you could there we go this is a love scene so in a minute we're gonna work on emotions and making sure that this is the thing you love the this photo's called love at the washingtons so you know all right so here we go. It looks a little bit like this guys like hanging out of his pocket so weaken we can kind of push this more around to the back side of his leg, maybe instead of having it in front. Is that okay? Perfect. There's. No rules here, there's really? I mean, set like there's a guidebook on how to close pin close to people to make them look like they're levitating, but this is a pretty good start. I think we might want to put, like, a little bit of clothes on to the back of the shirt as well. Perfect. And what else you guys think from the audience? The live studio audience. What do you think? Back of the knee? Oh, yeah, totally because it's like lifting it up, right? Totally. I dig it. Maybe something coming right to the back of his arm pinned in the back booth, flying out in perfect would I want to do with this is I want to do two different things. I do want some of these clothes to be, like, kind of, like permanently stuck to him and that's why we're doing safety pins, but in a second game is going to come up here and he's actually give me throwing clothes up at shaun's back, so he's actually literally going throwing clothes doesn't mean like, you know, outside of the frame, like kind of crouching and throwing them in, and when they hit his back that's when we're going to take those frames as well, so they should kind of helped to define that as well in anything that's kind of like floating in the air. You don't have any tube socks to you, I think they'd be funny. Is anyone in the audience of tube socks I wear like you like the white, you know, socks were like, yeah, oh, then the yellow is that? Is that a sari? Nice alright, sweet, I don't think it's funny to have like socks kind of flying around? Yeah, let's see what's in there, there's probably some you have underwear too. I saw that in the words really fancy underwear, I won't be touching games like know know that right way see any socks or any fencing sheets, curtains and sheets and things like that. Hey erin, is there any way we can attach like line or string or something to some of the clothes, too, to be able to pull them back? So give him lateral motion? I just sent someone to look for fishing line, but we don't know if we have it or not, we're both brilliant can you explain that to me? A little bit talk. So you take a fishing line, you you take it like stay to the end of the sleeve of his jacket, and then you would actually pull it off so that it would hang horizontally versus just hanging straight up and down, right on to give its emotion to get the motion like it's, like coming out because you're going? Yeah, totally. Okay, cool. I was yeah, I think we can totally do that. Whether we do whether we do string or we could try it on a capture or if we did pin something, you could actually move your arm and capture that motion there because we are shooting and one over sixty of the second, and we're basically freezing our motion right now so we could do it with string or we could do it just by like, uh, yeah, flipping around having fun, no socks, it's? Not really that big of a deal. I just thought it would be funny if they get to talking floating in the air right here. I didn't write that on my list, things that I wanted for this shoot, all right, how we doing just the fancy underwear that we've got on the ground here, right on. Cool and I think pretty soon gable room ready for you to come up if you want teo and start throwing some clothes so the whole idea is to be able to get a stream of clothing kind of coming and this is the original sketch that we had it was a little bit more of a distance between our subject and the washer but basically we want like a stream kind of coming out of the washing machine eyes my did and then kind of like lifting him up towards here so maybe like a you know, a bit of clothing up in here I'm kind of up in that way I think it might be fun is well to get some clothes in the foreground so if we had like, you know, a little bit of clothing like kind of towards the camera that would help to give a little bit of depth there as well so a lot of what we're doing today is about creating that we've already got miguel here in the foreground we've got lee there in the background so we really are doing a good job creating a lot of depth in the photograph so it doesn't look like really flattened plain and boring all right how we doing awesome would be normally like a loud music pumping at this point I was like why is it so quiet? It's never quiet on my photo shoots it's always crazy all right, you want to come on up? We won't have you grab any underwear or anything like that but let's see what it looks like so we're just gonna we're gonna have to try a couple of things right now because we don't know we haven't practices. You know, gabe is not a certified clothing thrower, but I feel like you'll do pretty well. What? There's a shoe in there we could throw shoe promised charlie try to not hit you. Okay, so basically, the idea here is that there we go way okay, straw is gonna be, like, kind of like leaning back in in place there and as he's as he's in place with basically just doing what the pose the levitating posey been doing I think is really great, and I think we want to throw clothes upward angle and relatively hard I think, you know, like, don't, like, knock him off the stool or anything, but like we want to make it actually looked like these clothes are are kind of like lifting him up. And so that force is what we're going to do, and I'm gonna do like a countdown do a three to one, you could throw it, and then I'll try to capture it when it's ago and the best thing here, guys and this is about compositing, so talk to the audience about the best thing here is that we really you know head is going to do a great job and by chance we might get a great photo of hannah right here is this is going but really even if she wasn't standing there it's really not that big a deal we're focused on this part of the action and once we get that right then we can photo focus on that part of the action so that's the wonderful part about frame compositing is we can focus on one thing and it's kind of simplifies your brain you don't have to worry about every little piece of the same time so all right we ready get perfect let's go for it all right and three, two, one and go wait go some kind of stuck to you that's really cool all right let's see what we've got on the end perfect. So this really does it's starting to look like these clothes are kind of coming up I think if we can get more close kind of coming from the bottom that would be great and let's get some colorful clothes in there we've got we've got this orange kind of like blanket here yeah, some reds and some greens why not? So what maybe doesn't look like it's just I want to make sure that it doesn't look like it's just an extension of the clothes that he's already wearing yeah, we should definitely do that you if you want to take care of it you khun you couldn't do it you know that the clothing stylist in this we're gonna credit you with clothing throwing stylist final image so this is the sort of thing during the photo shoot this is a great time when you can try something over and over and over again much like we did yesterday with sarah if you guys remember when we were using you guys weren't here but what we were using the cereal bowl and she was like slinging the milk over and over and over again to try to get the right frame so I gave if you don't mind I'm gonna probably have you do this twenty or thirty times just throwing clothes over and over and over again and some of these are gonna be like, oh man that's awesome right there and somewhere we like no let's do it again so whenever you're ready, let me know and I'll do it three to one countdown oh actually I thought of one more thing I'm sorry there we go this almost clean this is part of the story this is still pretty full so the whole idea is we have almost clean laundry detergent and you were going to be using this to put this in the washing machine but you're going it's actually gonna be in your hand and it's like the closer like forcing it out of hand so actually wants you to spill this onto the floor so you're going to be holding it in this hand and you're going to be like that when we take the picture it's gonna be like actually coming out of the box go do that yep just like that perfect fill the water desert with what with that thiss time yeah no it's totally cool that's exactly what we want you to do all right, we're ready for you. All right? We're ready and then sew all say three, two, one and at the same time gave him through the clothes and then you can start spilling is that occasion all right three, two one and go there we go very cool let's take a look at that got a lot of action going on and you could even bring that out farther towards the camera if you wanted to so cool so we've got spilling action which is totally cool the camera is definitely capturing that way could maybe throw the clothes mohr from behind so they look like they're looking like they're coming from behind or what do you guys think? Should we change the serie of side of cereal box? We changed almost clean to the other hand so it doesn't get in the way the clothes or what what do you guys think of the studio audience, which are both ways? Personally, I like it being in front like that, but I kind of want to see it, like move forward with a war like stream that kind of suggests that it is moving forward, you know, and so having, like, kind of go like that, perfect and we're going to make this photo almost think is basically no photos, I take her completely clean, I love messes, I think they make things a lot more fun. Perfect. All right gave you doing great. We're ready again to gather the clothes. All right, just get me so called right on and we're ready. I'll go ahead and count it down and then if you if you want to actually, sean, if you want to move, like during the frame, like, kind of like, bring it actually forward, I think that would be really great if you want to turn the box morse even read it or yeah, yeah, perfect. All right. And let's, go three, two, one and go. Perfect. All right, let's. See what we've got. Perfect. I think in this case it looks a little bit like let's maybe take them, yeah, let's, get rid of that guy it's a little bit too big it looks a little bit you're doing a great job staying out of the frame by the way I'm going to pump up this light just a little bit here in background so it's sorry our room light so it's going to light up the you have clothing a little bit more and I'm also going to bring it more round to the front who it's nice that's going to help just kind of like accent all this close just a little bit more and uh they would see that no was focused on hand and she's killing it over here awesome and I think what we want to do is this one looks a little bit more like sitting up so let's just make sure we're doing everything we can to make it floating all right and give if you don't mind I'm just gonna pull this pole this actually forward just a little bit here all right way might be tied down you know it's just on a heavy sand bags there we go I might be incredibly weak that you could be the end all right there we go and I'm going to pump up the power just a little bit here we'll see how that looks all right and we do have a couple of options we have washington's in bottle form but we also have it in box for two so if we decide we can do that way have that option too all right maybe come back just a little bit more if you can and if you need to readjust on this stool it might be better there we go perfect and let me know when you guys already ready shaun get alright and three two one and go perfect these are awesome all right so basically now it's like looking at these images and seeing what we like and what we don't like in love with this like actual detergent falling out there maybe you can we clean this up was that okay? I'm sorry I feel like I'm making someone clean up work this weekend for people apologize critique some of the other points lee I think you're doing a great job back there you look surprised like you're like what's going on um what are the other points might could resume into hannah's face is that okay making sure our exposure and everything like that looks good I think it looks awesome alright let's zoom back out if you don't mind um what do we have any comments from from our audience? Let's see christopher b has a similar idea. I was thinking of two so we're on the same wavelength can the almost clean at movement to this in the spilling in part so maybe like when the laundry's like lifting him upwards and forward there would be movement so the almost clean would be like whoa kind of going backwards so he's like would be like what kind of spilling and making an arse of things so I could manage that so you're going to be instead of just like spilling it like down you're going to be like almost like like, swing it up yeah, I think that would be really really cool what do we think about the clothes? Is it is it getting across what we want to get across this but at this point maybe mike could you split back like one or two and we'll just see like that's probably too much clothes, huh? Go backwards yeah there we go. Cool. What do you think about this? Maybe it might look better if this door was closed they wouldn't be spilling out of the laundry out of the out of the hole at that point the laundry hole just like washington scene expert on right now we're like technically that's a wichita hole but if we close that up that might be a little bit less distracting and then maybe it would look like instead of the clothes coming out of the laundry hole wait they call it will be coming out of the out of the basket so we can try a couple shots like that let's just try closing this up and there we go and then I think I want to try a cz well a couple shots where I think the I think the pinning definitely doesn't work but I would like to try some shots without it pinches well it's just to see what those look like because we really didn't try that so you guys ready to do it again the studio all right so you're thinking kind of like flinging up at this point miguel you might want to close your eyes and just think all right and if you can get even farther back you might maybe if you put your butt a little bit more forward in the seat sean would that help you think I know it's not not all right how we doing game ready all right three two one and get married I had to come together great let's check out what we've got very cool all right, well, we've got a couple I'm what was that? Oh well we're using frame compositing we could totally take that out if we need to take that out, eh? So we've definitely got a hand in here let's see, I like this hand a little bit further down and I did like more of a constant stream of the sun so if we can't get that to be maybe like half the half the distance between what you were doing before and what we're doing now what do we think any other comments on theo stream looks cool coming out here? Yeah, I liked it when we flipped back one there we go I liked it here because I can I can see it would be almost cool if it was like coming out in this way yeah yeah in that way would be cool is always like a lot is coming out I think I think that's the way to do it right on let's start again go back over here all right and then after this friend let's try unfitting some clothes and we'll try it like that as well all right ready great guys three two one and go that's awesome I'm going try holding our shutter down for the next time so let's try this one more time basically the exact same thing as you did before and this time I'm going to try shut holding the shutter down and seeing if I can get multiple multiple shots now this this camera only shoots like four four point two or something frames per second but I think we're okay as far as our power level goes on the light they should be ableto they should be able to keep up so let's go ahead and try it again and I will see if I can get multiple shots out of the same clique alright ready guys three two one and go so that's about the frame rate that we can go through now if you guys want to click on see these shots that I just took I took four in a row and although we are using these lights, the recycle time on them is just a little bit probably longer than what we're actually going to be able to see. Sorry then my frame rate, which means by the fourth shot, you can see, we're losing some of our light. Can everyone see that on? Can anyone guess at which light we're losing between? Yeah might compare the first to the fourth that would be great. Thank you. Um perfect. Can anyone guess it? Which lights were losing here? Anyone in the audience? Definitely the feline in the back that's that the almost full power? Because remember firing in the wall there so we can see what a big difference that feel like really does make in this case, it looks like we're losing a little bit of power as well, from our from our strip box that's actually providing a rim for sean as well. So the idea was cool to be able to just click and hold it down. But that's, one of the reasons why we probably can't do it is to recycle time for lights. So if you did want to battle that, some lights do have a faster recycle time. Like the pro photo a ares which you don't have to buy. You can rent those for a photo shoot. So it's, one of these things where you have to shoot over and over and over again. If you guys wanted to rent here, that would be a good way to go for that as well. All right, let's, go ahead and do it again. All right. And I'm ready whenever you guys are so three, two, one in magic wand. Perfect, that's. Awesome. And can we get quite a bit more let's? Go gave a little bit from the, uh from lower with the with the clothes. And then if we can do even more spilling, I think would be awesome. Sean, andi let's, do let's try one pinning some of the some of the clothes. What do you guys think you're doing? Is it getting a little bit? No, it's. Fine. Okay, right on, let's. Go ahead. And julie, would you mind unp inning? Just a couple of the coast, maybe just the hoody where it's attached to his leg there. So we really do want you to be. I know it's hard there's a ton of things to focus on, but like as far back as you can, so it looks like you really are you know, kind of levitating in there. We do one with someone just supporting his head. What we could do one with someone like standing there and holding you with a piece of clothes. Would that help out? E just wondered if okay, if you lean back more and would that help you? It's so nice that way we could do holding your head or holding your back with a piece of clothing because we want a piece of clothing there anyway, so there we go. That's the final shot, guys, we did it today is over again. Everybody okay? Yeah, we could do whatever it is it uncomfortable to go back all that way? You got it. Okay, cool. I won't ask you to do it for, like, incredibly long periods that what you could do if you want to do is if you want to lean back, I'll take a picture and then just come back on forward. Yeah, perfect. Thank you, jon perfect. All right, we ready and let's go a little bit lower with the clothes throwing in perfect. We ready guys and three to a lot of spillage. Three, two, one and go. You never know with these very cool can we go back? One accidentally hit the camera, hit the shutter twice there I'm gonna change my mode so I can go back to single shot only so it's not going allow me to take two shots and wrote like that I think we've already proved that that's that's what we need to do for the shot possum well I think we've got was a little bit premature on there we definitely want the close kind of like hitting up towards him I think we've got sorry we go back one more there we go we've got a good amount of spillage I think that's probably about as much as it is going to come out of the bottle out of the box right yeah if we needed we could make the whole little bit bigger you want to yeah we're not gonna make the hole bigger because like yeah I got that michael's bigger all the time there we go and yeah, I think the clothes they're definitely working perfect yeah and you're doing great that looks totally like you're using it as a magic one. Yeah, so that if I had to look up beckoning in the dictionary this would be that I'm beckoning perfect how was it smell like almost plane yeah, it doesn't sound great but it's okay, awesome. All right now wait a lot of spillage apologize guys for having to clean this up over over again all right perfect and gave whenever you're ready, all right, perfect and a lot of spillage three two, one and go wake up a little bit lower probably pretty hard to dio way off my still that was pretty awesome really it's pretty wild let's do a couple you can take a break sean if you want to go ahead and stand up you can take a break let's do a couple we talked about maybe we can go ahead and sweep this in and gave if you want to just have a couple of pieces of clothing we talked earlier about having some of these items closer to the camera so if you want to just grab a couple of these pieces of clothing and throw them here closer to the camera we could choose to bring these in after the fact if we want to do that as well perfect all right way just had this phil washington do write a little bit of a restaurant I know it's like a pretty big workout I did it for like two seconds on here and I'm like, oh god that's right? All right, you want to come just like you're good actually they're throwing on towards the camera will do maybe like a one at a time kind of thing all right and three, two one and go yeah, you got it I think I captured it was the most beautiful photo I've ever taken let's see what it pulls up yes let's get it maybe you coming coming back this way alright perfect and three two one and go try to hit me in the face with that all right that one will not work pretty much covered the whole frame I'll take a picture of planets farther back three two one and go I don't think that went into my friend you want to just try for like right yep there we go and three two one and go perfect so this would be really cool because we could decide to put these into the frame later if we want to do these we'll just cut them out on ben place them right over top all right you can come actually in the frame if you want teo there we go and throw it on towards me there we go yep three two one and go perfect let's try that again if you wouldn't mind if we could just gather these kevin these pieces of closing up and we'll just try throwing him again this time if you want to be on that side and just kind of throw them for them off in this direction so the goal here is to try to get some of that are you know coming closer towards the camera but not necessarily interfering too much with our their shots so yeah, I think smaller clothes like the one you're holding yeah perfect in three two one and go perfect and yeah maybe throw it out in this direction so I can get it when it's kind of over here perfect and three two one and go very nice cool like that piece of clothing is actually really great I'm going to talk about this for just second this'll last capture actually works really great because if we have sean is kind of in the background there and this is kind of coming towards the foreground that and maybe like another piece of too like here here we could then kind of build that depth in it's going to make it just a little bit more like you know there's a massive clothing no like coming coming from behind him that's what's making you float all right let's do it again a couple of times it's like so crunchy on my feet when you walk it's nice all right ready and three two one and go perfect and let's try this one more and then we'll we'll resume back I just want to make sure everyone took a little break there we go in three two one and go perfect all right we read it again yeah right on let's do it again right so you do like slippery dance on this stuff not good alright everyone watch your step please don't fall I'll try to take a picture as you do make it look really natural how'd you make it look like actually busting his butt israel alright perfect and we're ready to go let's have these all come from pretty pretty low like where's but you can actually come in frame a little bit more gave every morning yes coming in a little bit more I can always we're doing frame compositing here guys there we go waken kind of like get his back and like under his legs in that sort of area two all right, we're ready three, two one and go perfect and are you still able to see directly into the into the light here? All right, there we go perfect just to make sure that well that'll fill your bead of fill light on your face perfect we really again let's try it three, two, one and go I think that was a really nice frame there we go perfect. So that was really nice for the back part. Shawn that's a lot of clothes like they're kind of like it really does look like they're kind of like pushing him up, doesn't it? So I think that really does work for the back part of sean pretty well, what we're going to need now is the under part of shawn too so we could have you thrown both times or we could get a second person in here throwing clothes what do we think second person does someone way have a bit of more clothes? We canoes oh yeah totally good point yeah we could do these two all right so these clothes you're going to be basically like right about here if you wouldn't mind and you're going to be throwing these so the goal here is to have we need like a solid stream of clothing that's going to go from here like all the way down here so they're kind of like a like a rim light of clothing and yeah shine you're looking great if we could keep your leave louisa may not leave he's not getting enough credit back wait that makes the shy priceless I love it that is ridiculous all right we'll see you back out but that's I just want to give you your due credit because that's amazing perfect okay so I really liked earlier when we were starting out when we had the right leg higher and the left leg kind of like down low I thought that was really dynamic but I think we're headed towards a really a really great direction how do you guys feel about the shot when we get a little bit of feedback here before we started with the two throwers and maybe just a second from the internet any ideas ever anyone has you have the internet laughing right now perfect so everyone thinks the funny is the cameras the image is funny perfect all right I need to move over some way there we go perfect so southern belle actually has a question why are you not removing everyone from the set? They're going to be in the way when you just capturing just the clothing? Yeah for this shot it that's a really good question. So if you remember when we created we took some pictures of everyone sorry the set with no one in the way so let's say in this frame let's say we decided to use this exact frame well, I know that I have a picture without this hand in here. I know I have a picture without games hands, so this is the whole idea behind frame compositing it doesn't really matter that his hand is in there because I have another picture that his hands is not in there. So that's what we're going to be picking up tomorrow is kind of like figuring out which of these friends we can use from one part of the image and which ones we're going to using from different parts of damages and put them there. So as long as I have at least one image that I'm satisfied with for each part of the different, the different final it really doesn't matter so alec and be standing right there and as long as I have a frame where he's not standing right there, I can remove them at any point in time so great question and that's kind of like the whole basis behind this because we're trying to pull something off here we got a lot of like clothes that need a fly under sean and obviously we kind of need to have people in sets like do it but you can you couldn't do this without frame compositing so that's the whole idea behind what we're doing here that was a really good question perfect. All right, let's get to it so this was really great. I love this like a bunch of clothes the amount there so if you guys wanted like, trade secrets on like how to throw clothes in this manner you pretty good and yeah and I think this spilling is really good so let's go ahead and let's try taking a couple more shots and let's see how it goes there's no real wrong way to throw clothes it's all right in my book all right and whenever you guys are ready ready to rock all right in three, two, one and go there we go. Awesome. Perfect. So all just kind of demonstrate what we were talking about just earlier. So here we've got all these clothes that are kind of falling under there we go and alec, you did a great job right out of the back all these clothes that air like on the underside and kind of like pushing him over so I do have areas where we can see that actually alex is in the shop, but if we decide to do this in the end shot if we decided to use this exact picture, I know that I have images without that, so I won't have to do a very complex massing job basically I'll just use a quick selection tool select around his leg and then use a frame before where his head wasn't right there so it's going to be a very quick and easy job after the fact, which is very, very cool all right, you guys ready to do a little bit more let's do it it's gonna be so cool and you're doing great, I love all your faces very nice all right, in three, two, one and go perfect! This is great! I love the clothes coming from both angles let's, let's do it again, I think we're in it and this is the point where usually I would crank up the music really high, we listen to something crazy and everyone was just going crazy with it. So if you guys want to like sometimes when I'm on set, I'll usually have people like kind of like, if it's, they're supposed to be energetic, you could be like, whoa are you know, anything that you want to do? I'm totally totally down for that hanna whatever you want, you're doing a great job so if if you want to you know, say anything you can totally do that for you know, whatever you guys want to do so just think of it like you're actually interacting so we definitely want you doing a great job with spilling, you know? And the and the clothes are really good, but we definitely want that interaction between the two of you if we can get it so kissy faces and like, who faces that sort of stuff is great oh yeah reaching towards yeah, I do like a sistine chapel kind of way let's try something like that one out that's where the fun comes in and here just to let everyone know here in the audience and you know, the folks over over at home were getting to the point where we're getting the image like this is this is the part where we're we've gotten almost all of our technical challenge is out of the way and so we're going what we're gonna be doing opening it up really soon here is we're going to be opening up to suggestions to anyone who's at home watching and anyone here in the audience so they can say like all I really want to do this, we've got the technical challenge is out of the way and we're ready to start having fun so let's go ahead and do it guys get into character let's make this happen it's gonna be awesome all right ready and three, two one and retrieve her perfect let's try that again you guys are doing great I like the reaching towards each other that's a really good game we could keep the clothes just a little bit lower I think that'll be good all right there we go do you need a refill? It all you know there's a lot of alright ready and three two one and go awesome beautiful and are you still there? We'll see directly into the light okay, perfect let's have you be like the beauty queen again in this one? All right. And we ready shawn I want you to really get back you can this time in three two one and go oh god, that is so cool wow very, very cool. All right, shaun, I like what you're doing. I think more of like a like a floating maybe let's do less of the reaching towards I think is really good. I love the new thing, the one thing that we want to do, mike, maybe you can zoom in here without the one thing that we do want to look out and it's important to kind of it's important kind of keep these things in mind it's like we're having a ton of fun but there's a bit of a shadow here that I do want to take care of so let's make sure we bring your hair from down around the other side you could bring you could bring the hair from this side forward if you want to do that and with the washingtons and kids instead of keeping it so high maybe come down just a little bit lower so we can manage our shadows and everything like that but so far it's awesome all right let's go ahead and do it again stay in the energy I love it all right we're ready and three two one let's go for it beautiful let's do it again and we get get I want the whole box spilling out this time all right ready in three to one here we go awesome very very cool let's get this sweeped up and let's go ahead and take some suggestions from the people here and from the people all over the interwebs that is awesome oh man you killed it oh that is true we could well we can uh we can solve that as well if if this is the frame that we decide we're going to wind up using weaken definitely solve this as well in a number of ways we could move the chair back there we could do quite a bit of things so no worries on that let's say some suggestions so what suggestion was for the soap was to put basically kind of a black card and have and just drop the soap in front of it to be ableto like pull it on now is that too much like element compositing or is that something that you would do in this sort of situation to get the perfect soap float the perfect so close that's great question because that is a different type of compositing that is element composite in what we're doing here is frame compositing I'm not totally opposed to combining multiple forms of compositing in one image you can totally do it in fact we could do every single technical positing back with this image if we wanted to do we could get a stock picture that we found online if like some kitty cat or like lowell face or something like that we could put it on a poster back here is well and that's yet a different type of compositing so we can definitely combine those all into one I think that in my opinion I really like the streams that we're getting here to me we're not really like missing out on anything but if we were to feel like we were missing out on anything then I think that would be a great opportunity to go ahead and start doing some of these things mike if you wouldn't mind zooming in to the to the actual stream here there we go perfect there we can see this is where another reason we have a lot of questions earlier about our shutter speed and using these strokes and we can see that we are actually like freezing this action it might just look like a like a you know kind of wavy stream there but we can see each individual one of these particles it's maybe we've got a tiny little bit of motion blur but for the most part we can see all the little particles and I think that really does help given a lot of life cool. Okay, I think that one of the biggest issues that everyone is been talking about a lot is the stroke in the background the strobing background way we don't have a shot without that stroke definitely don't this guy right here is that this one right here? Okay. Cool. Well that's definitely something we want to make sure we take care of the cool thing is we can take care of that at any point in time now if nothing moved we could take care of that in three weeks right? Things will probably wind up moving but we can keep in mind that when everyone has gone we can just go ahead and push that away on dh then take a picture we could just do it now well it's not set up in a way that cygnus swing really easily but I will take care of that I promise I haven't forgot about it but right now it's it's not really bothering what's going on in the shot because it's not getting in the way of anything so we're we could take everything now we'll take care of it soon yeah we'll take care of it so cool any other suggestions maybe on the action that we've got going on here action they would love to see lot of people want to see the laundry basket being kind of thrown maybe under his legs yeah you okay with that laundry basket thrown under his legs right on we want to throw like a cat and all that picture picasso with the cats in the air because anyone can we can throw in here to weigh the cat magazine a magazine I totally thought that although that kind of doesn't go with the concept anymore and that's one of the fun things about compositing but one of the tough things is like you get in it you get in the groove and you're likely alice through all these other cool things in there and pretty soon you lose the concept a little bit so about the laundry basket I do physics sting does kind of fit it's like kind of borderline because it's supposed to be the clothes that are rebelling but why not let's put the laundry basket in there I think actually at least having it in frame does make sense so let's try that and the great thing is if we decide later on if we decide tomorrow that you know in fact we don't want this laundry basket and frame well it's not gonna be a huge deal we can just take it back out we can use a frame where that doesn't have that laundry basket in there totally totally cool. All right, one other suggestion was to have a levitating washington's bottle over hand his hand that's brilliant while yeah, like the washingtons is what's giving the power okay, so to do that all we have to do we could use some string to do that or you could just throw it up in the air and I could capture it right in the ear and, uh that'll freeze that motion to so do we wanted I think we can time it I think we could do three two one I think we could do a poor and having everything come up we said we've got some string upset but I think we can do the toss and we can do it toss right in the year what do we think? All right, I know you guys can do it I've got faith it's gonna be awesome all right? We're ready it's gonna be ridiculous and we just take this a little bit off camera just a bit there we are alright, perfect and three, two one and go perfect that is so cool we've got a really, really nice stream going on there the clothes look great the toss theo toss wasn't one hundred percent there but I think that we could try to get you wanna try again maybe well let's do it just like a little one like a little like kind of like sorry alright just like you know so it's almost going like straight up if you don't want to focus on that if you want to focus on something else and say you know what let's do this in a different way aaron that's totally okay because we can just weaken literally if we wanted a frame where you were standing there and I was literally standing here holding it like that we could remove me after the fact like that's the whole point of what we're doing here so we can do this in any way you want. All right, beautiful. Are we losing our film line a little bit? Let me just take a picture. It looks like what was that? Maybe it was that that light did we? All right? Looks like we're losing our feel like if you wouldn't mind can you compare? Oh, it was that light wasn't it so that one it didn't fire okay, we had a slight misfire okay, cool, well that's another thing about about doing this sort of thing is make sure you keep an eye on like you know, I thought sean was supposed to look better than that and that's because we had a misfire over here so not a big deal all right, we can try to get you ready beautiful all right in three, two one and go after again perfect let's try it again let's try actually let's try you holding it up I think just do it in a natural way everyone and I like the faces that you were doing andi will come in in a second when we when we make sure we're going to flip through these shots with sean and then make sure we have one that we really like and then when we're done with that we can focus back on you again is that okay? All right let's do it three two one and go beautiful. That was awesome. Awesome. Yeah let's do very similar this but let's do you'll see it up here in a second? Maybe if we can do yep yep down and it's a lot to keep in mind I know all right if we don't want let's try it one more time all right, we're off. We're in the pursuit of perfection here there we go all right, you guys ready? Everyone ready and three, two, one and go very very cool I'm loving these they're coming out all right what do we think about the laundry basket in the bottom right do we like it audience yeah makes it look a little bit like okay that makes sense on perfect I think if we can rotate your body a little bit towards the camera yeah yeah your torso exactly that I think that's exactly what we want all right let's try it again if you don't mind we want to try it maybe have some like yeah perfect that yeah that's perfect and yeah I think you're great maybe pull the hair back from sorry the other the other side there we go perfect here we go and then can you rotate around towards the shine a little bit more there we go. All right love it. All right, perfect with that? Yep. That's perfect love it all right, we ready three, two one and poor awesome. All right let's take a quick break, shawn you can come on down and let's get you refills and maybe we can clean this up as well. All right, so let's, look through these shots. So now is the point in which during the shoot this would be what's called like basically calling is going through the images and seeing what you've got seeing the images that you like seeing the images that you don't like and this is a great learning experience so we don't have to be done with the photo shoot right now, but we do want to make sure that we at least got the shots that we want, so we're gonna go through them. We're going to take any final points that we want to learn from the photo shoot, and then we're going teo looked at him so, mike, if you wouldn't mind, just flip to the left and we'll talk about some of the things that we things that we like, and as long as we have elements, you can keep on going, these are awesome. We want to make sure that we are looking like we're levitating here, and as long as we have elements that looked like we are all right, thes, they're so cool. Nice. There we go, I think that yeah, there we go, I think that's a really great levitation shot. What do you guys think? It really does look like he's floating in the air? We've got a lot of clothes kind of coming up if we needed to bring the hamper, we could do that as well. I think I think that looks great, like we could go back just a couple of more, I'm sorry the other way. Perfect. Perfect. Keep on going if you could. So you can see a progression. It definitely got a little bit better as as the day went on. Were getting a little bit better and better and better with our shots. All right. And here we're just throwing some clothes waken go on back there. There is one suggestion. Yeah, just wanted to bring up maybe for later, but somebody really wanted to see someone's face in the first washing machine. They want someone inside of there. Yeah, maybe is like the secret. Another secret element in the photograph. Is this a reflection or company? Actually, someone in there, somebody do that earlier. Um, one of the fun things we did, you know, size has been in there twice already. So what was that? Yeah, there we go. All right. I'm totally down with that. If we want to put some lasted against the way, it makes no sense with the concept, but I'm totally down with doing it. Do we have any other suggestions from from here again, again? Question about the back they strove in the back. That is something that people consistently are coming back to. Yeah, so could you explain this one more time how removing that from it won't affect the light? That is already there okay great part well let's go ahead and just do it now if you guys want to take a quick break we could just uh head on out of set and I'll just remove it right now it's a great thing that'll take two seconds to dio so they're they're talking about this life here and we could just we'll wind up yet swivelling around give me just one second if you wouldn't mind john so this like the majority of this life let's do a shot all stand here mike if you wouldn't mind taking a picture now sorry I'm putting you on the spot ok and now what we're gonna do is we're gonna turn this light off all right and then if you wouldn't mind taking a picture again and then hopefully bringing bringing those two up side by side so we'll explain kind of like what this light is doing and then why moving it is probably not gonna wind up making that big of a difference so we can see if you could pull those up two side by side there we go it is affecting the light obviously is affecting me however it's not really affecting the background of the image and it's not really affecting the floor there it's providing a tiny bit of film but it's not really affecting that much the majority what this light is doing is lighting this surface in here so by moving this light it's not really changing the light on the entire scene it's just affecting whether this guy is lit or not so now that we have a shot with it lit we can go ahead and move it do we want to go ahead and do that that's a great point john just mentioned that like does have a brit in it so it really is just hitting hitting this area so we can move it completely off of the completely our frame. All right, can we see it now and let's try taking another picture now there we go remember, we do have another like that is in fact behind the set that we can't see at all there we go okay, so what if they're like that is completely behind the set and now we're going to bring it back out but all we needed it was one shot. All we need is one photo with that light not being there. So now that we have that one photo with that light not being there that's all we need to composite that back in there so we could see there we have it and there we don't and the light back there is the same because it wasn't caused by this guy it was actually caused by the other light that's off camera good question is that is everyone okay with that? Okay, perfect perfect. We'll turn this back on because it was providing just a little bit of phil back there, but the only place that I really needed the light to be not there was just just in this area right over the bulletin board. So and now it's gone just like that, or we're taking pictures of a laundromat that just happened to have einstein set up in it. Want your pants up that sometimes, right? Yeah, good questions. Another question from the internet for you, christopher b says, how many shots do you need? Teo, get an image like this, the one that you're working on. How many photos in general that's a really good question? Sometimes you'll get what you were after pretty early on. Sometimes it just takes a little world. Whenever I'm doing this sort of thing and we are working with from compositing, I tend to air on the side of more photos instead of less photos that's just kind of like how I shoot it's a lot easier to stick, stick around for another twenty minutes and take another fifteen or twenty maybe thirty more photos then it is to, like, you know, wrap everything up and then have to set everything back up if you do miss something, so really what I usually do during this period of time, like what we would actually be doing is taking a break during this period of time look through the photos and just make sure we are getting exactly what we want and if we're not getting exactly what we want, we got a break coming up and I'm going to go through all these images just to make sure, like, do we have the right expression from hannah? Do we have the right expression for shawn? And if we don't, we're gonna work on just those little elements, but as long as we have one image, well, we've got hannah how we want her we've got one image how we've got sean, where we wander that's all we need and then we're gonna put those two together good question that is great, savini says. Would it be smart toe light and photograph each person separately instead of all at the same time so you can beam or interacted with each person? That's a good point? The reason why I wanted to make sure that hannah was in the frame while sean was in the frame, although this during this last section we were focusing mostly on sean, there was a couple of like bonus points by having handed there the first porter's point is she was still doing a great job there might have been one of those even when I wasn't directing her at all that could be one of our favorite images. We just don't know what that point the other thing is, we want interaction between our two subjects. We want the interaction between hannah was standing here, and sean has sent in their and that interaction can't exist if she's not here. So even if you've probably seen it before, like a poor compositing job, you know where someone's like, they're like looking off over there, and they're supposed to be looking at a person who's over here, you know, like they're looking in the wrong place, they're in the wrong direction by having both people in at the same exact time make sure that they are going to be, in fact, actually looking at each other if that's what they're supposed to be doing. Michael porterfield is from alaska asked, will you make the light more dynamic on post, more dynamic great questions on dh that's a great question for a couple of reasons. First, we're building our lighting, I was looking at this tv screen, which, from my point of view is a bit more, has a bit more contrast, and the final images do so that's one of those things where, like I probably wouldn't have had to normally you don't have to do that sort of thing, normally you're actually seeing the images. On a computer screen. So I wanted to air on the side of safety instead. But if we do want to make the lighting a bit more dramatic in prose, we're definitely going to be doing that. So tomorrow, during post production on day three, we're going to bring everything together, which for the composite. But we're also going to be doing some style izing. So we're going to make sure this image we're doing, dodging and burning. We're going to be sharpening, and we're going to be doing all kinds of really cool stuff to make this image really pop out.