SPECIAL: Evening Light Painting Session
Hello internet welcome to the beginning of ben wilmers light painting workshop here on creative live we are here from a very special on location setting so that we can actually bring you and show you ben will more working in the dark and the near dark, which is what we have right now and so we're just excited we're going to start this workshop right now and then the full day it's tomorrow starting at nine a m pacific in back in the studio but this is really exciting to be here so ben, wherever you are we're excited to have you I'm not sure he is over there I'm not sure if you guys can see the backdrop at all but we are waiting for it to be completely dark before we start light painting, I'd like to give a quick shout out to wolfsburg motor works and jack has loaned us a nineteen sixty two vw rag top sunroof bug it's very cool when I say that, right? So we have we have kate and we have todd and sue who are back home in the chat rooms and answering questions for you and we will try to do...
a q and a at the end so but your questions in there on chat away will also be saving those questions for tomorrow too, so so so so I think we'll pass it overto ben then are you ready to do this? Here he comes. Ok, ok. Wow. Always. When you were talking about? Yeah, just wondering why you couldn't say what I wass it's awfully bright in front these lights, which would be interesting because it'll mess with my night vision. So feeling go are we is a light about right now are so yeah, it was great. No, what happens is pretty much the sun goes down and right after the sun goes down, everything around you is being still lit. And even though the sun is down it's lighting the the atmosphere, it would be way too bright the light paint about a half hour after sun set. Then the sun could no longer like the atmosphere that's appear the clouds and things, and then instead you get a nicely, almost intensely blue sky and you don't usually see it quite as much with your eyes unless you're looking directly the direction the sun went down. But if you do an exposure that's a little brighter than what your eyes would see, you really get the blue coming out and we're at that point now. But there's a point when it's just too much light coming in and where I think we're just about passin that point right now. And so we'll talk about that tomorrow mawr because there's different kinds of twilight when the sun goes down six degrees each six degrees changes the way things look and so there's a certain time you want to shoot to get a blue sky and there's a completely different time you want to shoot to get stars, and so we're starting out for the blue sky. Now the blue sky does present one challenge and that is if I like paint where I don't have a blue sky instead of go out at midnight there's nothing up there then I can walk right into the scene and walk around as much as I want is long as the light for my flashlight never falls on me. I never show up, but here, if I stand next to the car and I'm painting it and I'm in the frame, what I'm doing is I'm blocking the camera's view of the blue sky, so I will show up is a dark like silhouetted, blurry things and moving around so that's one of the challenges so you never have photos that you show up in them ever your don't make a mistake where your arm isn't at your head well, it's, not that my armor hand. Usually shows up it's that I show up is a silhouette. I blocked the camera's view the sky it's rare for part of my body to show up, because in order to have that happen, let's say I'm I'm like painting you and turn a flashlight on. I come in and I'm painting light on you and if you look at the direction lights going in, it's this way, it's completely black out here in orderto have it happen? I'd have to accidentally do that. What's more common is that when I'm painting light somewhere, I might point the flashlight such that it goes at a certain angle and the camera sees the edge of it. And then when I'm moving out, you see a little streak of white light and you run into that. So that's why? This is a modified flashlight. All right, so can we talk about that? Because I can only imagine the internet is saying tell us about this flashlight. Oh, well, this is my favorite flashlight, and this is an expensive nice flashlight, but you don't need this. You need just a flashlight, and that could be the seven dollars variety. You can have the hardware store, I would suggest, starting with the flash light has one bulb in it. And you will find that traditional flashlights put out extremely yellow light and so sometimes that could be a little bit of an issue more modern led bulbs put out more of a white or slightly blue light and it's I find I like it a little more and I can compensate for it can push it warmer but it's not like it's going to dominate the color isn't gonna dominate what I'm painting, but this flashlight is my favorite this is an led lens er seven are and what I like about it is it's extremely bright so I can start painting a little earlier because otherwise dimmer flashlight wouldn't quite do it or I can paint things further away and you can push or pull the front of it and it changes the focus the beam really so it could be nice and I don't know that you'd see it here on you, but yeah do you know how far away you can paint it all depends on darkness. Yeah sure try to get the trees over there. I think I can see something over there that's so cool! I had no idea that there were three four hundred dollars flashlights I didn't know this wasn't three or four hundred dollars that's more no, this was less in that, but this is an expensive flashlight this is might be eighty bucks or something like that don't start with one of these on ly start with this when you become addicted, then you know it's a lot cheaper than a lens and other things which ben is addicted to like painting? Yes, I am so so in honor of justice at any time. Once you're ready, tio okay, let's, go so a tte this point the sky has got a nice blue color to it and it's not overly bright thing here with the lights on, and I think we're going to be good to go in general, my camera, I'm setting it in manual mode to begin with and my general camera settings you gotta start somewhere. He is also one hundred that's. Give me the lowest noise I'm going to do. Ah, f eleven with a wide angle lens. F eleven usually gives you enough depth the field as long as you are subject matter is not really close to the lens tomorrow when we do tabletop stuff and we got the camera really close to the table, I might have to shoot that f sixteen of twenty two or something else, but with a wide angle lens in the car a little bit way f eleven it's nice lets a lot of light, so emmanuelle modi also one hundred f eleven and then will vary the shutter speed we'll just do tests and see what do we need to get the blue sky toe look appropriate and we'll just go with that, and then in about a half hour were just under half hour, the sky will start going black, and then we won't have to worry about the blueness of the sky, and we could do whatever length exposures we want in general, and that then I might switch to a mod called bulb mode, which will talk about tomorrow to where I can use a shutter release in just press it to open it and press it again to close the shutter, and then you're just out there paying as long as you want. When you're done, you want back to the cameron? Close it. Where is at the beginning? You'll find me fumbling because I won't remember how long twenty or thirty seconds is, and I will end up either not finishing my painting or it will just be standing next to the camera wait for close well, he helps all of us to see you fumble so that's all we can ask you one more question, did you modify that? I did modify this? The only thing I did is I took black gaffer's tape and I took a piece of I usually use those little cards that fall out of magazines for subscribing and what I did is, I just took one of those cards I put black after state on one side, and I wrapped it around here and then I used gaffer's tape on the outside, wrap around to tape it on there, we'll do one of those tomorrow, but it just makes it so the end of the flashlight is recessed and that's, so if I'm paying light onto something, the camera won't see the edge of the flashlight is easily I have to turn it quite a distance before it sees it. Well, I think we're ready to paint, all right? Let's do it. Your exposure right now actually is so one hundred awesome, okay, these lights are putting in just a little bit, I think on the left side, you can see them spilling out there, so if we could either tell them or turn those off, that would help. So see what? Our camera settings are also one hundred eleven and we're just going to try a ten second exposure, and all I'm doing is seen how dark is the car gonna be in? How bright as the sky. So right now, I'm getting a nice blue sky in the blue skies, fading down to more of a whitish color on the horizon, and the car doesn't look all that lip there's a little highlight on the side that might be from the light hitting the from the horizon or some of our video lighting but I think it's mainly from the horizon so this car is just waiting to be like painted the main thing is I'm trying to get the car in shadow so that the sun or other objects are not lighting it and now I'm going to do a test with this flashlight to see how bright of a result so I get when I like pain so I'm just gonna open the shutter turn on my flash light and walk into the scene in light the car just a little bit to see what does it look like with this amount of light? I'll probably show up blocking blue sky I just want to see how brights my flashlight on the car and if you look at it it looks almost like the reflection on from a pool of water and that's because my flashlight was being held very close to the car so you can see what each little paint stroke of light was and if you like that look of um kind of a pool of water you khun b that close if you want a softer look we can open the shutter and I could light from outside the frame I'm standing just to the left of the camera and sent him further away it should be softer life where you can't see the actual little bar strokes doesn't look like a reflection from a pool of water and so depends on what style you want to go with with this kind of classic car and that would be nice to keep it nice and clean now when it comes to objects like this it can look overly boring if I light it straight from where the cameras so right now open the shutter I'm gonna light it from right here I'm just gonna paint some light across the whole car I'm standing right behind the camera what's gonna happen though is you don't get all that much shade it looks like you have a flash on the front of your camera and it can be a bit on the boring side I find that three dimensional objects look much better when they're side lit when you get the light source away from the camera so let's see john you mind being my shutter person and I'm sorry for going in there and what I'm going to do now is I'm gonna walk out of the frame and I am to the right of the car and what I'm doing this when I move I'm looking at the left side of the car where the fender is and I'm walking towards the right over towards the driver's door until I can't see that fender and so from right here I don't know if you can see where I am at all but I am to the right of the car and I can't see the passenger side fender so from here if you want open the shutter if I like I know this light is not going to get on that side of the car right after that I could run to the other side if I have enough time in my exposure like the other side less I'm guessing left side will be rather dark and just a hint on the right so if I look at the right side of the car I can see that I've put in just a little bit of light on and you'll see that none of the light falls on to the left side that could also be useful if you use color gels if I hold the color gel in front of the flashlight I could make it so just that part of the car becomes green or red or some other color by holding a color gel. The challenge right now is to have enough time to paint both sides the car but if you currently look at the sky disguise get a little dark so I think we can start to extend our exposure and let that skye get brighter which will give us more time to paint so this is a ten second exposure half eleven I'm gonna go in the camera you try to twenty second exposure half eleven, so I'm going to get ready and what I want to try to do right now is just paint the two sides of the car different amounts so they have more of a difference in contrast and try to make it so my angle is quite different from where the cameras so right now, if you want to open the shutter john and then I'm gonna run right behind the car to the other side as long as I do it quickly, I don't show up and I like this side a little bit less I think only the hood is visible in there and we'll see what we get to see if our sky it's too bright in the sky looks nice starting to get the car and I just need to be a little bit weren't even I think the top of the hood in the top of the car itself would be nice to get, but in general right now I'm staying outside of the camera's view in general or if I am in it barely in it because I'm worried about standing next to the car and creating a shadow where the sky is, so I'll do that on purpose, though, and let's see what happens I walked to the other side, covered the flashlight with my hand when I went to the other side and let's see if we got a big shadow where the skies yeah if I come in here I don't know if you guys can see the zoom up or not but there's a big shadowy thing right here also I can see the edge of my flashlight is a little white streak there and possibly over closer to the car because I wasn't being careful I was closer to the car so you get more the look of that reflected water so see where sky look like sky's nice and dark so I think we could extend our exposure even longer at this time is when you can the light's changing rapidly and once I get to what I have right now, which is thirty seconds at eleven you have a good amount of time to paint light and so now I can come in and be a little more careful with this and let's see what I can come up with ready go ahead I didn't hear it opened on one thing started so quickly I didn't even think about, but usually I'm thinking about not used to having a whole crew doing this is focus. What happens with focus is if you leave it on auto focus your camera's not going to take a picture because in this darkness it's going to search for focus because it's so dark you won't be able to see anything and so at this point, if your lens is not already set too manual focus, you can run into issues. There we go. So if you look at that, the cars relatively evenly, lip a little bit, let him aground and I move fast enough if I was in there that I didn't create a big problem with the sky there's a chance I can see a tiniest bit of me in the upper left above a tree, but I won't know until I get on my big screen. S o that's not looking bad, so let's say it's this dark out and you need to focus here's what I would do, we're on manual focus right now, and I would do one of two things either look through the viewfinder in point like flashlight right at the car and then manually focus sometimes that can be hard to see, though through a little bit of viewfinder, so the alternative is on the back of some cameras. I'm not sure if we have going on this one there's a button where you can hit and it turns on live you. This is not my camera, so I'm not sure I get in there quick look, I don't think so because it's not usually get me there that's really not setting the menu, okay? Right now, it doesn't look like live use available, but ifl ivy is available, you would see that live you through the camera back screen and you consume up to ten times zoom so you gotta really zoomed in. Look on the image, then if you put your flashlight on the the image into your focus, you get very precise with it. All right, so now we're going to do thirty seconds in half, eleven let's see if we can get a nice, even one open running across the camera right in front of it. I'm gonna try to get some of the interior. Not sure how much of the interior is visible, though yeah, it's just not all that even on the door and on the hood in tears, a little extra bright now you can do multiple exposures and combine them, which is something I like to do. I find I have the most control then, so looking at this image, I find that the middle of the hood is a problematic area, so sometimes when I'll end up doing after getting one image that looks okay is ill end up lighting on lee those problem areas to make sure I haven't nicely lit, so usually I'll end up doing that if I'm doing the same scene once the sky turns black, if it happens to when the sky turns black then we can do is long of exposure so you want to shoot all sorts of things I'm gonna do a couple more of these see if we get one by itself okay, open and I can focus my flashlight here make sure that the middle of that hood if I have any extra time I might do something fancy like she light under the car to get some of the graph. Okay. Yes, the light coming out under the car's interesting still getting the blue sky and its main in the middle of that door that I never seen the light evenly and it's not that everything should be even issues that should be pleasant and so I think it looks nice with the wheels in the general paint that's there. So now I just try different varieties now in this case the headlights are turned off and it could look really interesting if you get them on if you have access to the inside of the car and you know you could turn them on at the beginning of the light paint you could just turn them on for maybe two seconds and then close it up and then go about painting the car and it's okay, if you open the door and close it as long as the interior light doesn't turn on for too long in catch whoever's doing that but let's say that instead you have a car that is in a junkyard see if I can find a special light I have a little bitty light they can see anything on a stick it's a light that I can bend in various ways but it doesn't need to be one like this all it needs to be is really small like the kind of light you would have on your key chain I've put a little piece of black tape around the edge of it so that you wouldn't see the actual bald itself and I can use that to light up the headlights so I'm gonna try one where I do that so before I do let's just see what it looks like on this car what happens is in the back of the headlines as a reflector and that reflector will take the light that I put in here and it will reflect it all the way around and it can come out the opposite side so if I'm lighting the top it might be coming out the bottom and so I can go around in a circle like this lighting it and I just mainly need to try to keep my hand out of the way like that but this could just as well in my hand right in the photo like this just try to keep it off to the side you don't have to have the one that son of flexible stock so let's, see what it looks like if I try that light both headlights and we'll see so open and then I'll use my normal flashlight. Go to the other side of that car. Might have stood still for too long for that sky let's see what we have it's? Hard to say when it comes to headlights because different styles looked different. So if you have access to the control of the car great. Go ahead, turn him on. But oftentimes I'm finding cars that were parked on the street that just look interesting. And I want to shoot in other times they're in a junk yard where I have no access. And so that's, how I might go about lighting the headlights. Now, at this point, if I still want a blue sky, I'm gonna have to adjust my exposure. And this is about the point when I can start doing longer exposures and let's, see if I have somewhere around here. Do you know where the, uh, over here? I have some accessories here that I like to use one of them. Uh, yeah. Slide down and hook it up. What I have is a wireless trigger. A wireless trigger is the device you can buy. That plugs into the same port that your cable release would plug into and that's what he's doing pushing and right now and if he turns that on and I turned my end on have a little remote in my hand I can trigger the camera myself and when this is in bald mode I control the exact length of the exposure if I have in my hand right now I'm just gonna hit the button and I just couldn't let go and I heard the shutter open and close, but if I press it and I set this thing to bold mode there's a little beyond it now if I press it once it'll open and I could be around paying the car right now and then I compress it a second time close so right now I still have a semi blues guy and because I can start using bold mode reason I'm using bold modus because we can go beyond thirty seconds now and still get our exposure without the car showing up too much. So now let's try a few things I'll do one that trust that looks a little bit watery by lighting closer and I'm just gonna have to move very quickly so I don't block the sky so I'm up closer, maybe two feet away two and a half feet and I'll open the shutter actually this one's not gonna look watery because my flashlight zoomed way out so it's a really wide beam to the other side. Sometimes you can get the headlights by just trying to bounce a little light on them, and then I could just hit the shutter release myself, and then I determine the length of the exposure. I'm guessing this guy will be a little dark. My headlights look a little bit lit up because I just popped a little bit of light in but my sky still on the dark side, so it tells me I should slow down and just get comfortable now, because I don't have to be limited with really short exposures. So my flashlight that I use one of the reasons why I like this one is if I turn it on, I can control the beam from a relatively sharp point to a really wide one, and it puts out a good amount of light, but you can use a standard household flashlight if you need a wide being, you have to be further away, and if you need a narrow beam, you'd have to be closer, so let's, try to do one that looks a little watery. I'm pointing my flashlight straight up just so it isn't hitting part of the car, and I'm getting ready to open the shutter, so here goes just kind of doing little swirls to make it look watery. A small enough beam where should be ableto work hoping I'm not going to show up too much by blocking the sky going to the other side of the car and I might try to like the interior little bit I can come in that if you want to get the headlights he's gonna try to pop a little bit of light from a little distance blinded myself at that came right back at me and then I could start doing other things because I couldn't go a longer exposure to get the sky and so in this case I want to see if I get the ground look interesting so I'm gonna light it from underneath behind the car by the back tire turn my flashlight on and I'm just trying to spill light beyond the car onto the ground and then I'll close the shutter although it's been at least thirty seconds so let's see what we got we got a more watery looking painterly thing that's because I was much closer with my flashlight and you notice it was much even when I was further away and we got some light on the ground I'm missing light on the wheels though s o that's one thing I could consider that I was ignoring and the interior is pretty dark but let's compare that to some of the others I don't know if you guys are seeing a live view of this or what you're switching between. But the difference in style is quite dramatic so then if I'm going to do multiple exposures when I'm in bald mode I could do a really short exposures and just do a sequence of them so I can come in here and say I forgot to light the wheels so I'll figure out right now I'm not taking exposure we'll figure out what size light what I need I don't want a painterly look I wouldn't even want it could light it like this and just open the shutter lighted a little neither turn off the light the flashlight or turn off the shutter steve it's too bright but that I'll be able to easily put in my image then I can go to the next wheel trying to get where I don't over spray onto the body like that and then I open the shutter move it a little bit closer so I know I have those wheels covered and I can put him into any one of those shots especially if the rest of the image it is almost black now there's this dark I can do all sorts of things I can get weird light sources let's see if I have any here and let's see what shakes her space we have around the car on the left side there is some empty space over by the tree and let's see if we can put something over there what I have is a dog uh what you call this leash a dog leash and on the end of the dog leash I have some very small key chain led lights if I turn those on various colors don't even put a thick one that changes color and I have all those things I can create a weird foreign looking object in there and that's what I'm going to try to dio I'm not going to get the cartilage just right because I can use the other exposures we already have. If I do this a lot with the dog leash, I will end up putting on a glove because otherwise this dog leash khun shafe my hands, but what I'm going to be doing is I'm gonna take the leash and just hold it in my hand and then I'm going to start to swing it around like this and then not just swing around like this, but I'm going to rotate my body around and if I go all the way around without hitting me like that, then I can create what looks like a big globe of light. All these different colors of light it's what's known as an orb the only problem with it is when you rotate your body around you don't want to just turn in place what you want to do instead is put an object on the ground that you can see make it a small object I'm just going to put put that roll of gaffer tape in what you want teo is you'll be spinning this light source start spinnin mind you want to keep the light source above whatever that object has he put on the ground so you're not rotating perfectly around where you're standing instead you're walking around in a kind of a circle around whatever that reference point is to try to keep it where your light source his directly above it. I'm going to stop that before I end up hitting the camera without knowing it, but you need a little thing on the ground something like a diamond quarters nice that shiny so you can see the reflection and it's easy to retouch out uh, roller gaffer's tape you might see, so I'm gonna walk back behind the car so I'm not gonna hit the car going to see if I'm in the camera's view junkies seeing the camera come teo into the scene just about a half a foot now my orb dope in it is going to be you've got give actually could good bit of safety on the side there, okay, so I'm gonna make sure I put my gaffer's tape roll on the ground there that's what I'm going to be paying attention to I'm gonna be looking down the entire time and the first time we do this we might find out it's too dark and then I'll just either up my eyes so setting or I'll open up my aperture so I still have that uh remote trigger in my hand so I can actually open and close the shutter let's see what we can get I'm going to first start spending this to get consistent consistent speed consistent height and make sure I'm right over the gaffer's tape roll then I have my remote trigger in my hand if I didn't I would just yell the john I'd say open and he'd be there to press the shutter and I'm going to press it right now once I press it I'm going to start walking around very slowly in a circle around that roll of gaffer's tape and I will attempt to keep my lights aligned directly above the role of gaffer's tape think one of my lights went out and you only have to go around halfway to get a full orb but if you need it to be brighter you can go all the way around the only challenge we're going all the way around is it's much easier to screw up where you might bump something and so going halfway around makes it a little bit sure of success so I think I made it all the way around close the shutter on ly after I've closed the shutter do I stop spinning wait anything oh, yeah, yeah it's an orb and I see some little light on the right. I'm not sure what that was. Um if I consume up, I can see my shadow in there no that's not my shadow that some trees I thought my shadow might have been blocking the sun, but I did like something over on the right. I'm not sure what a day the rear window might be a reflection on the back of the car and that could actually look cool. It will prove that the orb was created next to the car as opposed to be being just put in now if you look at the orb, I can tell that I didn't do it perfect. The bottom of the orb looks pretty good that's where I was looking the whole time I was looking at that roll of gaffer tape on the ground, but the top of the orb seems to have kind of two rotation points that sells no is most likely spinning at an angle, and it wasn't spinning straight up and down, so when it was above my head, he was either a little bit behind me a little bit in front of me so let's, try another one so ben, we have about less less than fifteen minutes left and we're wondering if you would like to do a person person sure that'd be great I think there's a lot of people in the chat room that would love to see that okay, well we're going to do people a lot more in the studio when we're not we don't have ah sky to deal with in other things but we can do that the other thing I could do is to show you a couple other things in here I'm going to say do do whatever you want given that we have the car here in this guy yeah so other things I can do is if I want some weird unusual looking stuff hiss I have a different light source here that is known as e l wire that stands for electro luminescent wire and you know, wires just in here there are two double a batteries and if I press this little button will turn it on and you can't tell with this light falling but this is glowing now like neon would in this if I turn off my flashlight you can see it glowing is some cool stuff ah lot of people use this to create outfit look, if you ever see anybody fair or something in their outfit has some design on it glows it's often made out of this because you can sew it in your fabric and stuff so what if I want a more interesting surrounding around the car instead of having just normal grass I would like something that might look like water but we're not gonna let me float his car right? So what I'm going to dio has just take this wire and I'm gonna make sure I never let it stand still instead I'll constantly be moving it and if I just look at it with my eyes when it's moving it looks like it's a thicker filament or something and if I do enough of that this could look a bit like water so I'm going to walk around the car and I'm just going to hide the red light that's on them on off the battery pack with my thumb or I put a piece of gaffer's tape over it and let's see what we can do um I think I still have the wireless trigger I can take care of it okay but you know what? It is that's in your pocket and sure yeah or it might be right here there it is okay the top button not the bottom and so let's see what we can do open I'm not sure how much of the scene is in here so I'm not sure how wide to go usually I would take about two tries with this to know how much of the ground to cover go back a second time if you need to a little bit more in front in case there's space if I wanted the same photograph have the car I'll just drop that after the side and I use my flashlight come in like the car car could potentially look like its floating in blue stuff. I'm not sure it will be bright enough yet though I might have to re do it quick palm polite in the headlights and then we can close let's see if it's pride or anything I got just little hints let's make it so it's pronounced so it didn't show up all that much. That means I'm gonna go s o two hundred and eight that should make it a bit brighter see my glowing wire off scythe we really make it show up don't bring this on myself a little further four hundred just a moment open and if you have any onlookers, they always think you're really weird they have no idea what you're doing now I could take the car, but if I d'oh, we're much more sensitive delight put a little bit light in the car since we're so sensitive delight in close see the ground so that can look like water if he is blue eo wire, but he'll wire comes in all sorts of colors, so if you want it to look like fire, get ready all where the car is a little little bit, but I could take any of the previous light pains and overlay on this to make it look as if that car is sitting there with all those blue also I can take the orb that we made earlier and add it to this because that camera hasn't moved as long as that hammer hasn't moved we can have this sea of blue and or behind it and then all the light paints we had of the car any of them and blue sky out of anyone of other other shots so that is yellow wire and unfortunately the button on it doesn't just go on and off it goes flashy usually longer flashy and then off so you can easily turn it on other things that all commonly use like here if I want to see those trees to show up I can do a separate exposure for the trees it might need to get a little bit closer to them so my flashlight has got reach and then let's see if we get any light in them uh open open this is a powerful flashlight so I can do this if you have a household flashlight you have to be standing right next to those trees I'm standing about a car length and a half behind the volkswagen and I just thought tio get down on my knees so I don't block the camera's view of what I'm lighting all right close how's it look way didn't get all that much I didn't okay well I probably either have to get closer to the trees do a longer exposure or grab an even brighter flashlight so let's see what we got all right, well let me just one more because then we could make a really final image when we get these all together tomorrow I'm gonna walk closer to the trees and we'll just do a longer exposure open open just sitting on my knees here so I hopefully don't create a silhouette against these I might still usually try to make sure that I'm lined up behind the car so the car is really what um blocking your view of me hopefully this will be enough last path close closed how's it got a little bit on this side over here with the big trees coming across to the other side of the bugs not quite so late. All right, you get the idea so I just realized that all these explosions were done without moving the camera and therefore every one of these exposures can be combined together in photo shop and so if I forgot to light the wheels and one grab the wheels off of another oh that's right thirty nights I'll just look like this, right? Yeah. All right, ben that was amazing. I heard from the folks who are watching at home that this looks just awesome we've never done anything like this so thank you so much and the final word I can't wait to see what it looks like on video, because I have no clue there. You know, I'm used to just seeing the end result. And just keep in mind that if you don't move your tripod, we're going to so be able to refine that result tomorrow. That it's ridiculous. Make a really pristine looking image.