Lessons

Lesson Info

Shoot: Outdoor Rooftop

so I figured we would get into this third segment. I really wanted to talk outside. Most of all of the outside stuff that I do around my studio is done in my own little portrait park world. Everybody who comes to my Putin studio when they walk through my portrait part, they say, Oh, sure, Kirk. Well, if I had a year old tree and awesome shade and all these things that you got, My goodness, I mean, it would be so easy. So here we go. I mean, I have absolutely no greenery, no green trees, Uh, no shade and the sun is out. So there you go. I mean, this is kind of completely dynamically opposite of what I have in the real world. But I'm going to still do it basically the same way I'm going to show you what I dio as I showed you in the first segment. Camera flash literally, directly on top of the camera, as I do things. If I make some sort of adjustment to the flash, I may go to plus or a minus more or whatever. I'll let you know about it with the camera again. it's set up to Mama started a...

t +56 I may go up and down from there because the extra light few things I wanted to point out to you as faras lighting and the where we are right now, the sun is at this angle right here on top of its coming at me this way. So to be able to do this right, I am going to kind of mostly be focusing on this angle now. Couple of things I want to show you if I can send me, um let Cindy Jon Sean comes in. Kind of give you a few ideas. Of what? Some of things. I want you to go practice at home. Put Sean right here, and Sean has good. Thank you, Mr Sun. Perfect timing. So what I want showing to do just because I know it's bright and glaring all the stuff. I want you to go home and what I want you to, dio, because I want you to get your subject in some sort of a position. And I want you to do this. If you concede my eyes. See, I'm squinting, squinting really hard. I want you to squint at the subject. So I'm gonna look at Sean right now, and I'm a squint at him. And when I squint it, Sean, the very first thing that popped out was a little piece of sun streaking down his on his shoulder right here, because when you squint, you increase the contrast on your subject, and by increasing the contrast, you get a better visual of exactly what the camera is going to see. So this streak of sun right here hitting him right here in the neck is a whole lot more distracting than if I would turn him like this. And now I when I squint at him, that piece of streak is not there anymore. So I know it's really bright on him right now, but we don't worry about looking good for the camera. All the stuff I'm just demonstrated. The next thing I do is I look at him. If I hold my finger out like this on a roll my finger here, I'm getting a nice little streak coming down my finger right there. I'm coming right here. Oh, look at that Nice little streak down my finger right there. Coming right here. I got half my finger, Have my fingers let have my fingers and shadows come way over here. It's very flat right here, and the sun's hit might get my link finger here, and it gives me a way to start training myself to literally see the light and see the direction where it's coming from. So that's that's another little thing that I typically do when I go into a strange location or outside in the very first segment. Talked about people who take a meter reading, and they told me to read here, and they'll go right here as if you know two or three feet is gonna make a difference when the sun is 93 million miles away. And I kind of made a joke about it, but I really want to illustrate that right now. If I was to take a meter reading off a Shawn's face right now boot right there, the number that I would get is the exact same number that if we go way over here and we took a meter reading off of that chimney or whatever that is, that piece of brick and I took a meter reading off that brick. It would be the exact same number. If I could slow through the air and go all the way over to that church over there and take a meter reading off the side of the church, I would get exactly the same number that I'm getting off of him way over here. So what that tells me is that if I mean, if I meet her him properly right here, then that little chimney looking thing over there is going to be lit the same. And that church behind him is gonna have the same number. And I'm going to get this incredible shot all the way through. If I put just a little bit more light on him, all of that stuff is gonna go just a little bit darker. And that's kind of what I'm looking to Dio. So let me sort of demonstrate that for you right now. Just for the sake of it. Let's see if we can get shown in kind of a fun pose here. Here's the number one thing, Sean. Number one do not fall off the roof. Okay? Other than that, I don't care what you do. Here's what I want you. I want you to sit. I want you to sit right here and I want you lean right there. Sit on the ground. Thank you. Okay. Good. Then what? I want you to dio Awesome. Keep your keep your right knee up. Let you left would go straight. And I want you to shift more onto your right hip. And I want you to put your elbow on this thing. Let me say OK? What? Your flip flop them legs? Yes. Yes. Awesome. Just like that. Okay, now what? I'm a dio. I'm trying to get a piece of Sean. Don't worry about looking to me right now. Just keep your eyes closed. Let all of that relax. Let all that glare that you're feeling and experiencing right now. Relax, Okay? Typically, blond headed people got all his glare problem going on. OK, so, yeah, I got a little piece of Sean better. Okay, so if you notice, I assume that's up on the screen right about now, noticed the little brick thing going on behind him. Notice the charge going on behind that. The exposure is the same all the way through all those different areas, and that's what I was talking about. This gives you the ability to keep all of that. But you have to think it through. You have to look through your entire scene. So, Heather, you gonna be my mom or we got a new mom or we got somebody being my mom. Okay, Mom comes here. So toe, add just a little bit more to punch it up a little bit more. One of the things that I like to do, like you to notice, is most of the time. One of the most distracting things is the light coming straight down on him. So is to keep that from happening. I'll use a reflector, and I'll have it like this. Come see. I want you to look at the shadows, see the shadow on the on the ground. I want you to make sure that shadow goes right over him. But I don't want you to take the shadow off of his hair. See how I can I can keep the light on his hair Now. That should feel much better on you right now. Right, John? Uh, so if you could do that for me, Mom, I know. I know you're not Mom, but that's everybody holds the reflectors. Call Mom a little bit closer to me. Mom, I won't get covering up his hair there. See how the lights. You can see the light on his hair, but it's off of his face. All right, all right, but like that keep you guys awesome. Awesome. Did loving it. I would do it on three again, man. Here we go. One to do it again. Good. Like that. Advised Broken. Let it relax. Right? The open, guys. Awesome. Yes. Okay, much better. Now, that's one way. That's a bit of a subtracted lighting. We've taken the light off of his face. Another thing that he really sensitive to the light. What you could do is you could do additive lighting, but of course, that's that's hurting him. But yeah, now that's what the silver side, when the sun pops out like this, are typically do it with the white side, but it's still very painful. Okay? And with someone who has really sensitive eyes like that, that's typically what I'll do. I'll just I'll just not do it. Okay, so here, Mom, hang on to that for a little bit stand back off on Good so that I'm probably also not outside here going to do like, you know, normally I do six shots. I told you that earlier. Six shots and each outfit I'll do all the way through. I'll do all kinds of different cool stuff. Radical, this radical that. But I'm probably not going to do that up here right now, simply because in the real world, I'm walking down the street and I got this doorway and I've got this garage and I've got this park and I got six different things, you know? I mean, right up here, I have a Zara's variety I have. Ah, Well, have the Dish Network or I have Chimney Network or I have air condition event, you know? I mean, that's that's my that's my limit to creativity. So anyway, I'm a parking on the side and send the Lexi for a little while. So a few things I want you to know, And instead of I'm a busy day instead of doing, I'm gonna kind of show you and kind of help you understand that if I wanted to do an image of her where I caught all this sky. I'm a show. You have explained to you the expensive way of doing it, and then I'm going to do the the inexpensive the budget way. I'm actually do the budget way instead of doing the expensive way. But here's here's the expensive way of doing it. You take your meter, let me grab my meter and we grab. I'm not gonna Graham is gonna leave it over here, take my meter in the spot mode, and I take a meter reading of that sky right over there underneath the sun and right this very moment, it's all just white ish. Um, I don't know, probably can't do it with the camera, but over there is a little piece of blue over there is a little piece of blue, but, you know, Yeah, that ain't gonna work. None of this could work. Really, really perfectly. But if if pretending, this is no noble clouds out right now, boom. We take a meter reading of that blue sky. Very typically, it follows the sunny 16 rules. Now, the Sunday 16 rule is an old film thing. And basically, this is how the whole Sunday 16 rule used the work you would take whatever I s o the film Waas Let's say its I s 0 100 and you would find a shutter speed that is closest to 100. In this case, 1 25 is the closest shutter speed to 100. You put your camera on 1 25 put your camera on F and you take the picture and you get a perfectly exposed image if it's lit by the sun in the middle of the day. Well, if we didn't have all these clouds right now and if that was just this perfect little piece of blue sky what is lighting up that blue sky right now is, in fact, the sun. So if I was to take this image, click at 1 25th of a second at I s 0 100 at F 16 I would get this perfectly lit blue sky, perfectly lit blue sky. But now, with Lexie standing here in front of it and with the sun right directly behind her, whenever with the sun lighting here behind all of this, her is going to come out silhouetted. So if I was to photograph her boom like this beautiful sky but silhouette subject. But now I know that I've got F 16 coming into the sky. Take my meter. Take my flash. Which is that a cute 600 b r? Put it right here. Take poof and fire that flash until I get F 16 on the subject. And when the flash fires and I get F 16 off the flash on the subway. Sorry on the subject. Go back to my camera. Take the picture at F 16 1 20 of a second. I s 0 100 The flashes lighting the subject at f 16. The sun is lighting the sky at F 16 and you get a perfect balance between the two fall. The people out there who think Wow, that's wicked Cool, Kirk, I'm going get one. Great. You're gonna love the effect. It's a fantastic thing. However, it's couple 1000 bucks a lot. Most of the time. If I know the Internet world right now, they got Holy cow. How much money does this guy by own equipment? Ah, lot. Okay, but now what if you want to do that, But you like I don't have $2000 I really want to do that thing. How could I pull that off? Heather, go get me. Will Sunglasses, please. Here's how it could happen. One of the reasons why you're not going to turn the subject over here and point them in this direction is because of the sun. And they're going to get all squinty eyes. Thank you very much. Wow, man, he's a very nice will promise not to lose them. Whoa. Digging it. You go back. Hang on that for me. Just a minute. Don't scratch him. Okay? Just easy. All right. So here's how it could be done. By the way, just as a side note for the rial Techie peeps in the world. How do you photograph the moon? What do you think? The number. It's a formula, by the way. Interestingly, it's the sunny 16 rule. Okay, I know you think. And I just went off Topic not. I'm still on topic here. If you're a night middle of the night and the moon is out what is lighting the moon? The sun The sun is lighting the moon Now the sun is being the most gives me is being lit by full exposed, son. So if you want a perfect shot of the moon, you lose the sunny 16 rule. Which states I s 0 100 f stop. 16 shutter speed 1 25 Take a picture of the moon. You will get a perfectly exposed moon every time. The pizza. But the problem is the camera does not have a brain. If you just put your camera on automatic automatic and pull the trigger, the camera sees all the darkness around the moon. Assumes you want to like that. Darkness lights the darkness over exposes the moon. Okay, You're gonna get a big white dot with zero detail. So if you're having that problem trying to photograph the moon, remember the sunny 16 rule? Okay, so I know you all thought I was off topic there, but it's still on topic. So here's what I want you to do. I want you to go here. Number one rule. Do not walk off the roof. Okay. Do not go past that thing. I just want you. Yes, Glasses on. Right there. Awesome. Facing may let me say beatiful. Okay. So now because she has glasses on, you cannot tell that she squinty eyed. Okay, so, again, this doesn't work for a lot of shots, but it works. The one or two good shots. So watch, watch. I'm gonna get this beautiful blue sky because the amount of the sun again 93 million miles away is lighting that blue sky behind her. The exact same son is lighting her. So all I have to do is expose for her and I get her and the sun. Cool. Here's what I want you to do. Just retreat like this. Exelon, Put your hands in the back pocket. Hips going on this way. Great elbows kind of fallen. Awesome. Let me try. This hand is awesome. This hand thumb in the back pocket. Okay. Back to the two z rule. Did you catch what I did? I just made that hands at a different plane. Let this show to kick in like that. Bring you face a little more. Don't matter. That hare. Just let it do what it's doing. Roll your face like that. Awesome. Keep doing that. And that's fun. Chin down Just a little bit. Excellent love. And it, In fact, I need to sugar just like that. Great. Let me get you in focus. Chin down below that. Down, down, down, down. Look up here in May. That right there. Perfect one to write a lot. Shoot, man, I could do this for living. All right, So while I got you there, I got the sun blowing. All wonderful. Sorry. Sorry about that audio guy. Uh, what? I want you to let me see what happens if you let the glass to come down your nose. Awesome. Like that guy. Let me see some, uh, Now hold him. Uh, like this. Come back to me. Slow down a little bit. I need a mom with a reflector. Uh huh. Like that Mom felt Throw me a little reflector right here. Let me show you. Mom, don't you walk off the roof either. Right there. Awesome. Yeah. Beautiful. You see, she has brown eyes way, way, way not a sensitive to the sun. So we're gonna take advantage of that cool bay. Love it right there. Here we go. 12 Trey. Beautiful. Relax, huh? So, while I have you here, let me steal his glasses back past them off to one of yo thank you Have that back. He's like dying over there. Okay. And what I want you to dio since your eyes appear to be less sensitive, here's what I want you to do. What happens if you go here? Do the exact similar posed a Sean didn't want you sitting right here with an elbow here, but facing me Sit behind you right there. Not not into whatever that is. Uh, shift onto this hip, let you let this left foot curl underneath your right foot and put your elbow of here. Uh, good shift. Even harder. He going? They're good. Good, good. Now the foot on the bottom Let it been more good. The one on the top that your toe point that way. Awesome. Lean into it like this cool role you face a little bit more that way. Living more. Let the more loving more stop Stay looking down the line So I don't know if you'll notice are catching all this, but I try to get the pose right. When I get the pose right, I then try to get the light right. When I get the light right, I try to get the expression right. Come see Mom then modified a little bit with little bit of mom. Get everything where I want it and shoot it a little bit of a little bit of right in there. Yes, thanks. That's right. Into the hair. Love it. They love that smile. You beautiful right there. Great man. Living that and limit of that and awesome. Want to write beautiful, awesome products. It's a little weird, you know, with the telephone pole lines and stuff coming out of her head. But it adds to the artistic expression of it all. Okay, so next when I want to Dio is let's say we really were on the top of this roof and she really did want me to do something up here. Let's see. Let's get one kind of radical in weird. Here's what I want you to do. Bay. I want you to sit. You're but slat on that book thing right here. What's your feet going that way. But see? Uh huh. Okay. Keeping you left me a little watch. Just take the dirt a little bit off that left leg. Thanks. Sorry. No extra charge for the dirt. Look, a lot of the doctor is charged for the dirt. Not May. It's all part of the gig. Leaning back both hands. 11 more good being Not me. A little bit harder. Limit harder. Living harder. Good. Now keep the right toe pointing. Left Togo up on you told keeping healed. Nice. Uh, let your face kind of roll into here. That all your hair fly back. Good. Here's the other thing. I want you to stay sucked up right here. Don't get offended by that. I tell it to everybody Stay sucked up, like right here. Bring your face. Sort of ended. I show the great Do this without getting my feet in the in the dirt. I would be awesome. Yeah, Just keep the eyes closed for second day. Keeping close, keeping closed. Keep em closed. I'm hurrying. No, I don't feel like I'm hurrying, but I am. Uh we're getting all kinds of sun now. Isn't that special? Yeah. Just keep your eyes closed. Looking good day. And I want you to open them all at the last second. Get ready. Hold on. Open. Awesome. Do it again. Just cause I like you, uh, open. Awesome. And it's amazing with that open, close, open. Close thing How How neat How neat you can get it. OK, it's from there. To be honest with you, it's basically that's what I do. I mean, if I am outside, for example and if you look at my website and other things, you may see some images in the middle of a street, OK? And it's like, Oh, he must block traffic. And, you know, No, I don't I mean, I do try to find the street that is not busy. And so here's how it would would happen. Let's say this line right here is the middle of the street. Okay, let's just pretend and I will be on the edge of the cars going Zoom on the zoom. Somebody's home zones only zones himself. Somebody zone on the edge. I'll show how the hip not Heather Lexi Who? Where did that come from? What I want you to do in just a minute, we're gonna move over to the middle of the street. See that yellow line right there? We're gonna go jump on the outline. I want you to put one foot on one side, the line, another foot on the other sideline. So pretend in the military, right now do that for me right there. No, no, no. Face me. Face me like that. Good. Then what? I want you to know that your hips go like this Good. And I'm what? You can do this with your hair. Just kind of living leg lifted up just kind of year that you elbows kind of fly out good. Just like that's what that feels like. That's what we're gonna dio. But we're gonna do it in the middle of the street you follow. Okay. So specifically, we're pretending that the middle of the street is right here way. Unfortunately, have the cone of silence in the middle of our street that we're gonna pretend is not there. So right here is the middle of the street. So what? I will dio you show her the exact spot. See this spot on the yellow line right here. This is where I'm gonna want you. Okay, So the cars the steel zoom zoom, zoom, zoom, zoom And I'm on the edge And I am I am going to be on the side Obviously not in the middle of street And I'm gonna get my spot. I will make sure that it is going to be able to be photographed them. Get my numbers, right? Yep. Got my numbers right. Get everything the way. I want to get my flash in the right spot for this when I'm gonna increase my flash to probably a 1.5 1 of the 1.7 over exposure. Okay. And then I'm gonna say OK, you remember how we proposed? Okay. After this car, you go to your spot. I'm going to the spot to Okay, Ready? All right. The cars going Go, go, go, go, go, go, go, go, go, go, go, go, go, go. Uh huh. Just like that. Awesome. Do you think like that day? Good. Here we go. By Awesome. On three. Perfect. One day, right? Excellent. Okay. To back to side. Back to decide back. Decide. Okay. And that's how that's how we would do it. And it's just a fast Is that that you could shoot something like that in the middle of the street kind of thing. Anyway, that gives you a bit of an idea how I do some of those different sorts of scenarios beyond that. Do you have a question for me? first question and this came up before our last break and I told you was going to bring it up during this section. And it was, How do you handle, like, having to approach models and actually touch them. So if you're touching their hair, needing to fuss with their jewelry or clothing, how is that approach normally done tactfully in a student? Yes. Showing anybody. It's totally different with a boy versus a girl. Okay, so I'll show you, first of all with a boy with a boy. Don't go nowhere with a boy. I will. Honestly, I'll see. And I'll grab in okay. And I will absolutely touch a guy. So I will come at a guy like this. I will come at him like this, OK? And not not a quote unquote sexual manner. I will approach him just as a just like a quick, hard, fast boom. I will do that with a guy with a girl Is super different. Go over there with a girl. What I do is I never, never, never come out a girl like this. It's too creepy, man. Too creepy. I will always if I have to move something on her hair. I first of all come out of with my hands backwards. The next thing I'll use my little fingers. I will sit there. If I have to move her head. I never grab ahead. Well, I will say, Okay, this is what I need you to do something like like that or I'll sit here and I'll do this. Okay, I'll do that. Another thing that I will do is if you like a piece of hair. I'll sit there and I'll move a piece of hair. It's not uncommon for a shirt to be sticking out or something. I see a bra strap or something like that, or if there's something that she could do to make it right. And the biggest biggest advantage I have with high school senior girls is almost 90 99% of the time, Mom is there. And if it's something that needs to be moved in a delicate area, I will say, Mom, Mom, come see, see, not see that piece of hair right here by the by. The lion knows I need you to move that out the way, okay, and she'll fluff it up. So that's a couple of things. So when it comes, two senior girls never never go at him like this. Another thing is how you look at people. I mean, there's a way to look at someone, and then there's a way to look at someone up and down. Never do that with a high school senior boy. Our girl. It doesn't matter. You don't look at him up now. Obviously, you need to see their all their whole outfit. But there's a way to look at people and as a way to look at him like I can see the cameraman up and down. Right now, I can see the kind of shoes he's got on. I could see what pans he got on. I could see what color hair. He's got to see him all the way up, nine down the other. But I'm not even looking at him, but I'm looking at it. Does that make sense? So there's all sorts of little things like that that you can do when it comes to high school seniors. Does that answer it? That's awesome. Huge. We had one other question from Paul would, and he says, to use image stabilization on your while your lenses mounted to the tripod. That's a very good question to Joan. Notice how wiggly I waas when I was shooting with this camera, Did you notice that? You know, I set it down and I was flipping the camera around and I move this and I move this house that Do you like the airplane effect I brought in the all catching that That's very good effects. So because I am so wiggly, Yes, I do leave the image stability on. And I never had a problem with it on the older lens. Yeah, you would get a little bit of issue on the New Orleans. I've never had an issue theme. Older lens in the instruction manual says if you on a tripod, turn it off If I recall on the new lands it did not say to do that, but I never turned it off. I always just leave it on and do not have a problem. You're using it with flash to someone said, image stabilised. Image stabilization with flash. Yes! Yeah, Flash. Our friend Joanne Leboeuf is not missing a beat. She is paying attention to everything you're doing, Kirk, and change all my T two blocks from my studio. She's wondering why you up to the exposure on the flash for that last shot. Okay, The last shot I was so far away. Remember, the sun was behind the subject, and what I needed was I was gonna need just a little bit more exposure on her. I just knew that because of the shot that I did of Sean when he was sitting on that edge right there. So it was just It was just something I kind of picked up. So I cranked up the exposure, living on the flash to compensate for that. And plus, I just It was gonna be so far away that it was gonna be a little bit flatter. And here's a bit of a lighting trick, if you will. The lighting on a human needs to be more accurate. The closer you are to the subject. So I must say that one more time. So the closer you are, let's say you're so close. All you're getting his eyes, nose and mouth. Not even a chin you're lighting better be dead on now when you back way up and you got a bride and groom on the edge of a hill, and there's this big in the picture and it's nothing but a big months to seen the lighting on that human is not nearly as critical. So the closer you are, the more critical that needs to become. The farther you are, the last critical it becomes. That was another thing about that last shot. I knew I was going to be a full length. I knew the lighting was going to be less critical, so I just made a judgment. Call up the exposure, and I think it looks good. I assume they're not saying it looks bad. I mean, look good on the back of camera, So I assume it looks good inside. I do know that out here, I typically use a little Goodman thing on the back of my camera to see clearer and it Israel glare e up here. Right now, I don't know if you all we're seeing that in the Internet world or not, but it is really glaring, and it's kind of hard to see the back of my camera, but I think it's good, all right. The Internet is wondering Kobe and others. Kobe 12345 Specifically, can you dio one photo with the flash and one without? Yes, I will do that. Cool. Now the thing. Or do that now. We can do that now and keep moving on with content. Let's do it. Great. Thanks. Sorry about that. Keep hydrated. So I guess I'm going, Teoh, I'm a pick on showing again. No, I'm not big on Heather. God that. Where is that coming from? Black Sea. Don't walk off the roof. Lean up against that Burke thing right there. Just walk. Both put you honey right into it. Uh, lean back in such a way that your back is touching, but you're but is not touching. Good. Been your left knee instead of your right knee. I let you need fall over that way and let you tokic way out over here. Cool. Or you kind of grabbing that brick because I was digging that good. Roll your face into this shoulder right here. Chin down just a wee bit good. And I'm going to sort of a 3/4 effect and I'm a turn the flash off, and then I'm going to turn turn the flash back on again and do another one. Let's see. No, this is smelling horizontal to me. Loving it. Yeah, baby. Good, good, good. Okay. Love it. Keep that face. You looking fabulous right there. Let me do that again without without blinking. That 12 Great. Good. Okay, then I'm a turn on the flash, and I'm going to go minus one and 1/3 and I'm going to do another one right there. 123 Good. All right. So I think you're seeing a little bit of a difference between those two. I'm assuming I just need a thumbs up that we're seeing a little bit of difference between those two. I think so. Yes. Okay, so there you go. You kind of saw the difference. I'll try to make a point tomorrow of bringing those two up again in Photoshopped to give you a little bit clear idea of how those look did that help. Okay, whenever I'm in, kind of, Ah, one crazy area like this always do like to do something that's a bit radical, you know, we did. We did the way on the roof. I had her laying down on the thing. Sean already said I could do this. I'm done with you. Lexie Villa. While John said I could do this, he was okay with it. So come see. But Mom, I'm a movie to this side. Sugar showing him a put you over there right near that silver thing. So yes, What? I want to get what I wanted to dio little bit back a little bit back. Love it back a little bit. Awesome. We got one shot at this, right? And what I want, what I'm gonna want you to dio is I'm gonna want you toe trick. The trick is to hit the water at the right moment, and I need from you. I need the right face, so I don't want you just okay? That's not old boy, man. I bet I bet everybody inside love that bounce. Okay? What? I'm a lot from you is maybe maybe more of a mayor of a more of like a Okay, Some. Yeah. Yeah. Okay. You make a noise and always look better if you make the noise. Okay. Now, if you can hit both feet at the same time, it's gonna be better. And so we're gonna try to make this cool splash. You're gonna make it look good. Now, don't do it till I might tell you. Okay? Don't do it to We're ready. Uh, like that. Okay, Don't do it. I say go. My money. I money Joe on this one. Let me show you what I want, though. So what I'm looking to do is I'm looking to get everything is right as possible before I pull this trigger. So I'm a crank up my flash. Let me see. Do look, it may uh Yeah. Okay, so that looks good. Let me get my mom and position. So I did a little test to make sure that was gonna look as good as possible. Mom, basically, you playing pool? The light is coming here. Bounce from here. Going over to their Okay. Look at him. See him. See the difference on off on off. Okay, now, of course, he's not gonna be there. We got a kind of guess that he's gonna be about there, so let's try to hang on to that right there. Good. All right. Hang on. Showing. Let me get more. More tests. This one. No, Cal, given that facing the vice okay. Digging it. Okay, so I'm gonna try to time this. Hit the water all at the right moment. Hang on. All right, and all right, go. Okay. Get off. Okay. Are we doing it again? You didn't get hardly dirty at all. Wait, wait, wait. All right, I'm ready. Go. That is not going to sell, By the way, you do know that I hope you'll realize that I obey, right? Picking up on that. The odds of someone buying that isn't zip. But what's gonna happen is he's gonna run the school. He's gonna talk about ways on the room jumping we made. It explains I got the mom all wet, and you know, that's what it's all about. Just creating buzz.