Capture On-Location Base Plate Image
The next one here we're just gonna be covering you know, what I'm looking for, what I'm thinking when I'm out shooting backgrounds and how I like to basically hop around, and some of the squirrels that run around in my brain which by the way, there's a lot of squirrels that run around there so you're gonna see when I'm photographing in the next segment, I turn into a little kid. So for those of you who think it's unprofessional, get over yourself (laughs). (audience laughs) I love my job. So yeah! That's like, I don't know, squirrels (chuckles). We're gonna see some videos and we're gonna do some stuff. So yeah I'm just gonna sit, take some frames here of the background. I've got this nice cliff-line here that I really like. It's nice and simple, I don't have to worry about a model, I'm not worried about freezing anything other than myself and maybe getting my camera too wet which I can live with, so that means I can sit here and just focus on the composition, and where I want everythi...
ng to go. So, first thing I'm gonna do is I'm gonna get nice and low, I'm gonna shoot the angles that I know I like, and I know I'm gonna use, and then I'm gonna get some different heights and different angles. So basically I'm just selecting a point where I think I'll put the model, and then I'm just gonna shoot the frames that I like. I'm gonna make sure that I'm a little bit overexposed just so that I know I have the information. And essentially what I've done here is I found there's a black rock on the ground that's actually a good anchor point for me going into the studio later, that I know where I can put this person so I'm just putting my focus point on that so it's something that's obvious, and then going forward I just have more references. Alright, Charni can I get you to come in here? And so this is basically just so that I can get an accurate height. I'm gonna back you up, see that black rock behind you? Nope over this way, little bit, little bit, little bit, there you go, that one. Awesome, so that's the rock that I was focusing on so I'm just gonna put her in the exact same spot, we're gonna take a shot and now I have a reference for the atmospheric light, and the height she needs to be for the shot. So I'll take a shot from standing, portrait, and landscape just so that I have the options. And then can I get you to come closer? So in the world of options I like to shoot that I have options - good - so now I have a different perspective just so that I have more options going forward, more information. Awesome. Perfect. And that's pretty much it. I take lots of photos. Yep, I take lots of photos (chuckles). Lots and lots, and lots of photos. So I mean, we were out there for 15 minutes and I didn't take tons, and tons of them this trip because we didn't really need to but yeah, a lot of times also what I'll do is I'll photograph different cliff parts so that maybe I could build them into the background further away but we're not gonna do that this CreativeLive, but in other case it's some of the stuff I like to look at. So I'm gonna just pull this up this JPEG here and so when we're looking at this image, and we're looking at this light, we wanna be able to replicate this in post-production, right? So we're gonna sit here and I'm gonna look at this, and I'm gonna say oh okay so we have a slightly brighter highlight here than we do here, and actually her outfit being a little by shiny makes this really easy to see what's going on. So you have one light source coming from here even though technically it's all one light source but if we're building this in post-production, we're building this in lighting, we're gonna have to figure out where we're gonna put our lights so we have one rim light here, one rim light here. And then we have another light source here, you can see here on her face it's a little bit softer, we could probably bring one light here that's gonna come down at this angle, and then we're gonna have a fill light here. Now because I love the look of lighting on location, I love strobe lighting on location, it's some of my favorite photography that I love to look at from other artists that are doing that, I will probably bring in this light from this direction that's gonna hit her face a little bit stronger just so you get a little bit more shaping in her face, and we can just kind of build this nicely. So if I was to put these two lights behind her on the corner, I want them to be large, soft light sources because I want the light to wrap around her nicely so I'll probably use V-Flats. I mean a lot of people say that oh, well you could use you know big soft boxes or whatever but V-Flats are cheap. If you don't have the money for V-Flats, you can go to where they sell fridges and you can get like those fridge cardboard boxes and paint that stuff white (chuckles), and you have a V-Flat. So they work pretty well. I mean if you want it to be harsher light you can line it with tinfoil and it'll be even stronger, right? So you don't necessarily have to spend billions of dollars on crazy expensive modifiers when you can just prop up some cardboard and then fire it. Another way that we could do this is we could start bouncing light off of a wall, you could start bouncing light off of a ceiling cause we do in this image, we do have light coming from the top like the very top of her head, but I'm probably not gonna build that today. The ceilings here are really tall and they have lots of texture, and everything, and I just, it's gonna be way more than we need to do today. So another case, going into my head I'm sitting here going okay I need four lights: two V-Flats and probably just, I like octoboxes cause I think they're pretty but you could actually use like large shoot-through umbrellas. So a shoot-through umbrella's gonna throw a lot of light everywhere and in this case that's okay because on this location we have a lot of light that is getting thrown everywhere.