Couture Fashion Shoot - Part 1
Okay, so here we are with our extravagant set up. Um, I'm going to be going straight into a shot, thanks to the test, but we did the other day. I know what kind of shot I want to start with. I got the lovely taylor. They're already too be part of this. If I shoot that with couple together with a low five, we've just done so. Okay, so I've got my cameras set up here on my tripod very low down. I want to go straight into doing a kind of side on shot rather than the the shot we started on the tests. You when we started in the middle of the room shooting her just basically stray on, we're going to come an angle so that we're getting closer to her with fifty millions on dh we're going toe in terms of getting the room and the bread for the room. We're going to be shooting tilts to one side on, we're going to be also shooting with lights as well. We've got a flash on a boom that is dangling over taylor that's goingto illuminator from above in a nice way, which I've used in a lot of my shots a...
nd I really like that affect the boom on is actually part. It does actually go into the frame so we're going to also take another shot without it in the frame so we can basically composite that where the boom arm wass whereas usually I can do a shot without with a boo mom in because I'm so far back it becomes part of the image so without further ado I'm going to start just to test the lighting how it looks on taylor on dh see if I want to make any adjustments to my frame before I start locking it down and taking the shot that I want to unmask the boom arm out of because I've got to do that with the camera exactly in the same place so let's have a look at my settings I'm on I'm bringing my shot speed down to an eighteenth because I want to let it on being like the room I got my so two hundred on dh we've got their picture on two point five that's what we decided to test shoot we would work with um so let's just go ahead on dh get a focal point on to taylor and just take let's just see how this looks you just zoom into that and to see we've got some nice sharpness on the model house that looking little little heart on there um, something you should I don't know I do like with contrast that I think let's um all right, I'm gonna like immediate reactions that really like that the way the flash is pulling around for background um I also want to let in the in britain like to give the detail of the location she's in we've got the chandeliers on full back because well, because we think that they kind of add something to the image on in this framing I've got us well, I've got the shang I've got two chandeliers I've kind of framed according to those chandeliers because then I want to move to the one side and get another chandelier in aiken then potentially make that wide scene so I'm thinking about the chandeliers and using them is my punctuation if you like teo to make sure I'm not cutting through one on then having a problem when when stitching later so do you wanna try it just might shot speed my did you think I'd bring down teo sixty I just want to have a little bit more ambient like coming in there so taylor's good just standing there just for now while we get the lighting right? I don't wanna throwing poses yet because it just be a waste really how's that looking uh technically it's right but it's down to me sorry technically it's right but uh sort of yeah, we can work way too much about pose yet because I am thinking about composition and lighting and the sharpness is well but a sixty if is that that room risk with her posing or is that well we're gonna we're gonna try that we're gonna try I'm just going to bring this down I don't get my seconds right because I want to lay the foundation so I'm thinking very simply here about just getting composition and sayings right on lighting and obviously they all affect each other so make sure my composition nice and straight as well to make life easy for myself because it's a lot of lines going on in this room and that's one of my major concerns is to get that right um before I start reposing the model you've got to keep a close eye on the soft box about forest because that's gonna shatter her wherever she's going that's possibly a little too hot of the moment you meet and have a look at uh face how's that looking is there a little bit of softness going on in the jewelry you think why is this just a little little heart I think we're gonna go down teo I'm controlling my flash from my trigger so these air kind of uh basically wireless sets so I can control it from here which is very handy obviously when we got the boom arm up well yeah so I just put that down two tenths of a stop get a tight lead on that, okay I'm tempted to go back up to an eight year maybe even a hundred that's not just check my folks this morning the shine on the one thing that was a little bit off vocally just wantedto that's noted uh okay, I think let's let I want to take up to a hundred for a second okay, so I moved my focus point around again like we did on the loaf myself because I've got my camera locked down and I can't be moving I come around obviously so I'm moving my focus put around to get sharp was I cannot face okay, so what you think about composition? We're good to go with this. Yeah, yeah it's fine that's just wanting maybe let let's try one to five twenty five shots speed okay, yeah, and then and then bump it up tio three twenty eyes so ok go again can use this bond here. Uh bring the ice so down teo let's get out to one hundred. So what's happening with that irs so that we've just bumped up is actually bringing out too much of the room so she sort of blending in with the room too much when we want her toe dark yeah, okay, so let's go to two hundred again and then that should be a way we should be ready to go just staring at the computer for good yeah, yeah okay, so from the composition is about right I'm just gonna move it a little bit this way uh, no, I'm not all right coming through it's alright, I just want to get the whole of the doorway in the shop behind her um just ask youto I should remind you in a minute so don't worry, just hang on there just going toe I want my show my competition is right because I'm going to be compositing out the boom arm and I'm gonna make sure that I'm not moving my camera once I get it right, so focal point I'm gonna not gonna lock down because she's going to be moving around in a minute so I'm just gonna move my focus point as I go so shortly and we need leo and its assistance, okay, so lean it, um you see that I'm gonna be moving her over a little bit. I've just moved my camera little bit left because I want to get the whole of that doorway in complete in one shot, so if you want to shuffle her forward a little bit and then we're gonna start posing her yeah, so a little bit this way so just a bit more towards me I'll just let you know when she's good, huh, a little bit forward and to your right okay, so you need I need I need a little bit more because you spread the dress out can you move a little bit this way? Uh that should be about right okay, so you can try few poses so matthews just sorry one thing yeah in a minute yeah, yeah so we talk about this one pose that we homed on our test shoot we're going to replicate that we thought it was very nice shape I might well, I just had dresses she does that matthew's moving the lights of the boom arm is above her more now that she's shuffled a position so I'm going to have a do a shot in a minute to test that that light is still looking as good as it's being yeah watch the show. Okay, so I was gonna throw a test shot just one step out shot everyone see the lights looking the same as the last shots. Yeah. Okay. So right posing if you want to do you remember the swamp owes from the test shoot just throw up on me now let's have let's have an idea of how that looks so in the same way that you were doing it before with your arms up they just go for it for just move my focus point to your face that's it just relax for a minute for a second I'm just gonna look at that I'm also thinking about the dress I love the way when she throws that poses the the shape of the dress kind of adapted a little bit completely changes now that we've thrown the posing on a gofer again taylor okay, I'm gonna need teo just there's a little hair light back here I'm gonna need to bump that up a touch yeah actually lean it could you maybe just swivel taylor's torso round to her left so that we're seeing more of that sequined material flowing over that yeah, just like we had in the test shoot where we could see it flowing down I last nicer just may be a tiny bit more but you know, still keeping that ok have a look how that looks just aware that haram is potentially kind of coming in front of a face just it's not in front of the votes yet, but just keeping aware of that figure arms just down a little bit and if you could just mean your arms like this just trying to separate one from the other um and so so you put in both up and then you kind of go like this a bit more uh, more loving, more this left arm just just drop it down a little bit that your left arm dropped down a bit more bit more could go yeah and then just pose like that with one arm slightly lower than the other so I'm getting a separation between the two arms it might be better how it was I quite like that because then we're not obscuring her head too much but having a shoulder going up this kind of opening the area to try like n on and keep that one lot left arm lower than the other arm little bit lower left on lower, lower lower it's very nice I like those shapes going on um now I'm just looking at her face in the shot as well thinking about where I'm happy with that I like the shape of the dress in her arms and shoulder and also um so this time when you pose just uh see posing at this you've got one arm dropped a little bit just drop your face down a little bit, so go into the post that you just did, so we're just going to tweaking this make it as good as we can, so just drop your chin a little bit and just part your lips slightly so there's not yet I just want to see more of her hair like the front of the head then I was seeing in the other shots it's just a bit of a compromise really trying to get one on the other I like how we could see more of the volume of a hair in that shop because that's really? What? We've got so much volume, then. It's a shame to miss it. Um, let's do that again. The head position was great. I just want to tweet your arms to go into that again. Now bring your right arm higher and your left arm, but lower a little bit more lower yet. Then just look up but saturate the shape of your hands as you were doing originally. Yet I like what you had before with hands like, very delicately together like this. Uh, if you want to see the the ring, I could just have her turn it to the camera. Or if you want to keep it like what you asked for. I think she should open the fingers a little bit. Okay, I could go and put her into the pose, tweak it as you see fit. Then I'll tell you how it looks for my right. You do that. If you're going to do what? Natalie, ask youto the slightly open the fingers. But if you're gonna keep it like this, that was a beautiful pose. We can try a couple more times with this as well. Okay, I guess the reason, you know, I love the swan position from the test you but now that she's had a hair and makeup done I feel like there's a danger of losing it when she puts her head back so that's why I think it actually becomes beautiful all of you can I did I did I saw it on screen which charlotte first why don't you slow down for a year tohave to have her her heart but have still hands together yeah yeah because otherwise it looks like she's trying to grow up something but yeah with making really exaggerated you know? Okay that's doing more exaggerated twenty let's do like the first swan position but like, really exaggerated even more you know and hands together like this right? Okay and just to be almost a profile for her taking it step by step I've got setting his competition like and now I'm just trying to get the pose right and then and then we could maybe pump in some folk yeah it's all ready to go mackenzie is pitching toe throw some gin not not just yet. Um matt before we got to far in we would love it if you could briefly explain the lighting set up like which lights are using and what are they contributing to the scene here? Well, the main light is obviously the stroke but the top there that's roughly stop higher than all of it these air just gently filling in not too much um she saw his tweaking earlier what was happening was seen was just to even and she was sort of being enveloped into the scene but now it's there's a lot more contrast there where she's being um yeah there's a lot more contrast there so she's much more separated from the background s o we've got the top like that that's what's doing you can see if she's throwing up the pot's she's leaning up to the light reaching towards the light and obviously that's giving that really beautiful soft light all the way down her body um we haven't really got any light in the background there because obviously we've got quite a lot of ambient there these are just throwing a little bit of light that's bouncing around the room and but this is the main this is the main light and again these these are picking up the jewelry we got ah, like just behind the just out of shot that's picking up the hair uh that's pretty much it obviously anyone's got any questions online? Then throw them out and I'll try my best to answer them. Yeah, I think it be great to hear just like what type of lights they are okay? And then, like, it looks like something you've got a barn doors of u s and filters on we got we got three strobes all of them have got filters in them. This one has got a half cto so it's taking it from halfway from flash to tunks done so it's just giving you a bit of warmth. This one is purely just a cosmetic joe that's just defusing it a little bit and it's giving it more of a flesh colored light which suits suits skin a little bit more on exactly the same movie and these are led for nails and you can see that they're picking up the sparkles of the dress jewelry. And then we got to strobes here that I'm just just giving a little bit of gentle phil and they are, uh, one point two stops lower than the main light at the top is trying to keep kind of this part visible, okay, but you know, you have to bring it up, so I'm not forward that way forward this way this way. Yeah, all right, so I think we're almost ready to pump in some folk ready when whenever you are just went to leo's out of the way girls so you should be born anyone else in the building that we're goingto folk everyone out but this room's quite warm so the fog might not last too long as it should evaporate quite quickly in this you're gonna be pulling pretty much the same poses I might ask you to just do some regular posters in between uh obviously we've got this burst of folk leaning in a particular post you want to see from her in between this one poses as well as this one poses while the folks going I think we should normal poses maybe well I think the fog will working better with balls ok e way let me know when you want to go into e guys okay okay risings yeah okay sorry guys I'm gonna need okay so is that ok am composite him out later this's going with their foremost one poses taylor yeah that fog is rising isn't it well unusual why is that yeah yeah down down down down as possible so I'm just being aware ofthe shots where there's too much I can always bring the moment you step out shop please matthew beautiful yeah I should look at me like you just did there great yet hold it for a sec I'm just going to check that it's quite nice and also I'm just aware that because I've got a lot of shots of her standing in that one position I can bring back some of the dress that might be obscured by the fog okay going to some poses again taylor whatever you could do for us very planted position yeah it's been a bit too much but it is going to dissipate really quickly so just keep an eye on it yeah um I'd rather have it to my dream the effects in the okay so so mckenzie jonah just raise that up please you can feel the chill you're spying for it just to calm down a bit around her dress no problem no problem I'm looking at the plane okay look at those it's gonna start fading really quickly okay a couple more seconds yeah so no addresses coming back there like that and then look up again and then put more exaggerated hands yet and then just kind of close your eyes as you do it okay shot a coach blacks women it how is that looking it's perfect e I love going to pose again while it's separating out a little bit here I mean straight out camera I don't want to say really his last few shots yet it's just going to go now yeah we can do you want to just dig in and then dip it out no no no don't don't anymore yet okay okay this's actually how we work being incredibly polite to each other just give it ten seven ten second dip you want to do a couple more poses lynette are you happy with the way it's going to be a couple I honestly don't know going right for the handsome soldiers I mean her hips but um maybe like the first time we're talking about like almost like opera which is what I got straight issue you know just kind of like this you know lying there just looking straight at you okay just like you want to try to handle him so much for going out with let's let's let's let's crank great theo this shot you wantto about the boom arm shot gonna go central or do you want to try something from that angle which might be a bit problematic I mean there I say I think we've got it um I think I'm going to speak to see well now we'll have options so their strokes imposes now it's quite nice effect so don't go for your gun go for a few different poses because we've got loads of swan ones in the back there but yeah yeah I do but is this what we're doing on the test sheet where you're putting your arm behind you like this that nice curve beautiful yet nice detail it was conscious about the lights in your hand out like yeah sure that's beautiful doing it better than I directed this the dress here on the right hand saw and carry on I can go for the other way but this is this is really beautiful here but just on the right hand side it's no so just just make it go that way yeah yeah no soy otherwise otherwise yeah way really bring it out as much as we can just just a mirror this side really do you love the wisps of fog? Yeah. So, mackenzie, you're ready to go? I'm just ten seconds. Well, out, out, you know, I think you're right. This is not relax. Shooting is not how it usually is. Okay, is that? I'll convince you always nice stain. Another reason we've used the fog is obviously early one you get the carpets very dark. So, uh, this is helping toe light everything up a little bit makes it more interesting, another little dip. The good thing about having my camera clump down is that, you know, I could take bits and pieces from different shots quite easily, even easier than it would be normally because every frame is the same in his particular scene. That's nice dubs that was the great thing is having is controlled way that I can pull always different poses from taylor and it doesn't become too problematic. Six would be changing the composition each time as well. So tell you, you've seen what we're getting your you're happy being represented. What while we're in this spot, can we have taylor just swiveled a little bit even more that way so that we're getting a bit of a scarlet some kind of is the biggest kind, not too good for a picture, okay, I'm thinking of the sun like that unless you can show that you're just a tourist with all of the other way then if you're if you're more interested in the front detail we'll look and see how it looks let's let's give her even more of a profile and then you tell me how it looks it just this part here you know that's fine yeah should be all right basically I want to get as much as I can post wise in this frame before I change it uh I'm just thinking you know, while she's there maybe we could throw the shays in and do something with that uh from from from the iron while it's all set up no sure I mean once you start sitting on it then we kind of lose the nice triangular shape off rex uh let's try a few more like this first wait wait wait okay, well don't try now actually to do a couple of swan poses before we change you so a couple of arms up that nice shape that we've got you shouldn't bring your arms like more like this so that yeah a little bit not too much yeah that's how it was before so it's trying to emulate that nice like you drop your lips aboutthe another one please did you do a blank shot now on that before we forget no I will not forget it's someone mind everybody keeping another try but if he tries to move it push me over. Is that my phone? Okay, um, I have one more kill us. One shot. So really exaggerate the it's like curve of the wrists. I don't know why I said, what do we call this one shot? Because it looks like a smaller. So let's, get the more of a swan. Yeah, wait moment is perfect. Okay, what about you? Give us a ten second burst. I'm, uh okay, no more burst until I change a pose, some thinking right? And because I might end up stitching here, which I probably will let's turn around so she's facing into the space this time that she was gonna have to her letters swisher completely to the other side. Yeah, just swivel her swivel. Taylor. So because I want to create the impression that she's, like, not running but moving into that space lifted up around and half her face this way. Uh, just face not just facing this way. So just instead of facing their she's just facing there but the beginning, they rotate her environment. Face no, alec partner, try and I'm texting. Step forward that way because the tail of the dresses yet that's. Good.