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Shoot: Rocketman eCard

I'm gonna shoot video in black and white, and I'm gonna shoot the color in photo. Now, the folks that are going to see up on the TV, they're going to see the change in the photo. But course we're gonna change the size of that when we get there, right? I'm gonna fire up these lights now. These lights are set for a specific color temperature and we're gonna go into color temperature just for a little bit here. Now, we've got the ability to measure color temperature in a couple of different ways. And, Louis, when you get a chance, pulled me out of color meter, if you would, please. Unless there's one just right over there is there is now a collar meter is ah, really, really unusual device. It's a frightfully expensive device, and I'll just leave it right here because I know it'll stand right there for you. Ah, color meter is something that you don't have to buy. In fact, I suggest that you don't buy them because buying them is really kind of a waste of money for a couple reasons. One is, ...

they don't work all that well with L. E. D's think, Wow, that's really kind of weird, because here's Will Crockett, this Mr Super Technical Science guy. Well, that meter there that you see is the current version of sick onyx color meter. But in fact it's been sent back to see Connick in order to be you. So you want to use it for cutter or you want is for please. You drop it in there. Yes, please. But it's also been modified. Bye. See Connick to use some of the information that it needs the algorithms for led lights. So for the most part, color meters are not accurate tools for measuring led lights. All right. With that said, this one has been modified. Is it 100% accurate? Will? No. In fact, it's not when it comes to non l E D lights, when it comes to fluorescent lights or sun or flash or halogen color. Meters are very accurate devices. But as soon as you get into things like, 00 you know those big, bell shaped lights that just see like a Home Depot? Yeah, those air vapor lights those could get into trouble led same trouble. We could get into why, but it really doesn't matter. What does matter is we need to know what the color of the room is that we're working in. Now, when you come into our studio in Chicago, you're gonna notice one thing real quick and that is that we manage the color of our entire environment. Our track lights for incidents are actually color controlled. That's right. They don't have any magenta green shift. Any blue yellow shift whatsoever. And the color temperature is about 5800 k on our track lights. So when you see daylight comes through a window, if it's ah, you know, regular day got no direct sun through there, you're gonna have color temperature between 5000 and maybe 6000 degrees. So the color of my my daylight is a little bit off regular daylight daylight, But most of my working environments right there Well, that's a good thing. Does that means that when you come in and you sit down in my set, you're going to notice that my said is also that same color. So here's what I want to know. I want to know two things. The environment that I'm gonna work in right here because I'm in a TV studio. I want to make sure that I don't have any problems with what we call L B issues. LB issues that stands for light balancing issues. And that is the biggest problem we see today with photographers moving to L. E. D's. Unfortunately, there is a lot of bad information that's issued by led manufacturers and people who have decided their online product reviewers on YouTube that just ignore the fact that some lights have a green shift and some lights have a magenta shift. Well, here's the good news. The good news is that if you were to go and you were to buy one of those low cost L E D lights, and it has a green shift to it, and if you were to set your beautiful camera toe auto white balance, it would pretty much get rid of the green shift of the magenta shifted. Do very good. Well, very good job. Yeah, works much better on lighter skin tones than India's darker skin tones, but it would work just fine. The problem would come when all of a sudden you wanted to put Flash together with that cheapie led that low cost led that has green or has magenta to it. It's gonna mix that with your flash. Say, you wanted to use that 50 50 right? You're gonna find out real quick. Oh, we know my flash is accurate, but now we're gonna find out that my led has got problems. So one of the things that I do is I use a tool that helps me define if there is a light that's got a problem. Of course, they don't have any budget concerns in this joint here. Right? This the creative live folks, man, they have spent rial dollars buying riel equipment here. This is no schlock outfit here, right? These guys got real toys upstairs. So this one line over here that's looking that's looking at me. For the most part, I'm just gonna measure that here, typically when we use a color meter, were three feet away. But here's what I know. I know that that light is 6200 k So it's gonna be a little bit on the blue side. All right? I'm not concerned about that. Not really. For me, For them, that's going to be just fine. They're going to set their own color, But I'm not gonna work at 6200 k That's not what I work at here, right in my studio. Remember, we talked about my room. Lighting is typically my track lights are 4700 k Yet when you see the work lights, the fluorescent work lights, they're the ones that measure the are the ones that illuminate that where my print room is. When where I ask my clients, That's up at my white point of 5200 K So the white point in my studio is typically 5200 k No, I like my skin tones just a little warmer than normal. So a lot of times, when you see me shooting, you'll be shoes. See me shooting with adjustable K. You'll see that I'm gonna have my magic point up at 5400 k So I'm gonna set my camera 5400 k and my light is actually 5200 k I'm gonna have 200 k worth a warm, and that's all I'm looking for. Why, that leaves his shirt the white part of his shirt white. Yet it puts just that little bit of of warmth on the skin tone. You already have a very warm skin tones. I wouldn't need to worry about that a whole lot anyway. But I need to first worry about what kind of light is falling on the side of Kris here that I've got to deal with. Fulfill, like, right. Because we see that there's the light on the side of his face. Well, what color is that light? So I'm gonna hide it away from the main line right behind you. Not doing anything funny? No. Someone put a color meter, pined. I'm gonna point it away, I must say, You know what? There's light here. That's 6300 and 60 case. So that's pretty blue. So someone's gonna need to help me here on the crew. If I could, please. I'm gonna have to remove that light. So one way to do it would be to plop up another V card. Another way would be to maybe turn that light down. Or if you got some other suggestions, I'd be wide open to it. If you want me just to crank up the power hair and go over the top of it, I could certainly do that. So if somebody's got a suggestion, let me know. In the meantime, I'm going to keep going and putting the rest of this here together. I'm going to spread this apart just a little bit. Mawr there. Then I'm gonna move this a little closer. All righty. Right. Next. I want my light to come all the way out. This way. Now I'm gonna show you a little bit about my lighting. When we talk about particularly business folks, first thing is gonna have our camera right on our axis. Right? I usually work on one axis. I'm gonna have a table. That table is going to be parallel apart. Sorry. Perpendicular. So it's gonna be 90 degrees off the access, if you would please. Screwed up. So your tummy touches here? Yep. I have my subject. So there tell me. Touches right up against the you know why? Because I've got this little black car. It's always right up next to the edge of the table here. That's right. You got it just like that. I've also got the ability to adjust the height of that stool. But I don't need to There for Christs. Just fine. So? Well, that's terrific. Thank you very much. Okay, the next thing I'm gonna look for is from my, my, my good buddy, Rick Pharaoh, who I learned a little bit of lighting from once upon a time. I used to like things like a commercial guy, right? Everything looked like an ad, and it was really boring. After a while, I want things to look a little more portrait E. So the first thing that in order is when I look at Chris is that I'm not I'm not really emphasizing his features very well. And the reason is that my lights a little too low. Also, I don't have my light forward enough forming. Here's what I see. Keeping that same direction, if you would please. I'm gonna I just use my meter here. Teoh point say if Chris's knows a straight dead into the lens there, The one thing that I noticed is that the light that's coming here isn't giving me enough shadow underneath his chin. I'm not happy with that. Also, I want to see that little Rick fair or triangle. I want to see a little bit of a triangle on this side. here. I'm sure you've seen that before And other creative life classes I subscribe to. That's one of the few things I guess that I do subscribe to when it comes to lighting. So I'm just going to elevate this guy a little bit here. I do. I'm a little tape down here. Just a tad here. I know what we do that for my own safety, but I'm gonna undo that just a little bit there. Next, I'm gonna elevate that guy just a little taller. Looks like we're pretty good there. Oops. I unplugged that Luke getting hand. There were. There we are. Don't need to go up much more than that. Terrific. Next I'm gonna re point that microphone, right? Remember, these microphones are very, very sensitive. Remember we talked yesterday about sweet spot on microphones. Remember that. So we want to make sure that the sweet spot of this microphone is met and who remembers what that was? Remember what that was. You got it. Three feet is as close as we want it. Six feet. Isas faras. We want how we're looking right there were actually right on the edge of that. Three feet aren't we? Yes. I'm gonna pull that back just a little bit. I don't wanna have any troubles. I don't have any poppy distortions whatsoever. Now, I don't have to worry about any sort of sound problems here being reflected back. Remember, we talked about reflection to we could easily one of the nice parts about this light smarter bar is it has another bracket that actually comes with the top here that allows me to put a microphone bracket up here. Or I could put my own bracket. I guess if I wanted to up here and I could have my microphone up here and then it would point downwards this way. Right then. That means that that microphone would be coming down this way, but I would have, in order to be three feet away, I would have to have a really tall bracket would night. And even though I'm in a beautiful space here and I've got tons of height, I don't have that in most spaces. I do have it in my studio. I won't have it in most locations. Spot one of things. We gotta remember us, Chris. We're going to start shooting some of these things on locations one way or another, right? It's going to be right. Next notice How close I've got my light Ho. I like my light. Nice and close. I sure do. I'm now starting to see that I'm getting the coverage on Christmas face that I like. And when I look careful, guess what I got a little trying will start to pop up right on the side. There. Now, do I need to feel like I need a fill light on this one? I'm gonna bring it over just a little bit. Mawr There we go. I'm gonna bust it in just that little bit closer. Look at that. Now, I did notice that since I did the moving did readjust one of these lights. Just a hair will come back and we'll talk about how those air position back there, but 00 I'm getting to be happy, boy. Yeah, I'm getting to be a happy, happy, happy boy. I'm gonna pop that up on the camera and I'm going to get a chance to look. It's gonna connect up real quick here. I'm gonna spend my computer on because one of the things that I'm going to do is I'm going to use my computer in order to ah, Teoh get some images zipping around where they should be. Okay, so we're But we're looking good there. That's pretty terrific. Okay, we're not using this ring light. It also don't worry about that being in the shot whatsoever. But those of you that would like to see my position on where I'm at, I'm right dead center on my lens axis and you'll see that's how close I've got my light, right? That's pretty close. Sure. Okay. And we're not really not going to shoot that way. Now, I could zoom in if I wanted to. With a longer lens. I am using a to 35 which is the same thing of Nikon and Canon shooters as your 28 to 70 millimeter F 28 lens. That's pretty much the same coverage there. Right? Well, we don't really want to quite use that air. We wanna I like to have a shorter lens. You know why? It allows me to get in here and get a little closer to my customer. Now I've got a guy here, handsome man. I want to make sure that my cameras up a little taller than that. So I'm going to do it off the back of my camera just cause I want to make sure that you're okay on your urine there might tilt that camera down a little bit. Hey, Toe have rules because, you know, there's only one rule about lighting, right? One ruler brought lighting is no rules about lighting, right? None. So I'm also thinking that this is still a little bit too low, so I'm gonna have to elevate this just a little bit. I'm sorry I'm so fussy about my darn light, but I certainly am. So I'm gonna need Teoh elevate this because I'm a the top of that. There we go there. Alrighty. And I am looking pretty darn good here. I also have the ability if I need to, That I can change the diffuser size and shape if I want to. Right. Pretty good there. I'm gonna just leave that right where it's at. Nice microphone looking good. Looking good, buddy. Okay. My first shot is right there. I noticed that I've got my light from left, right. It's looking really good. You also know my background. Excuse me in my background, because I used my little black cutter card that my background looks like the lights going The opposite direction, doesn't it? Sure. We call that the Crockett swirl. We like a lot in a lot of my images to have the background go have the light in the foreground. Go this sweat in the light in the background. So that way we can emphasize that more if we put a little more space between there. But let me get this all set up here. Here we go. If you can see on camera, I'm assuming, Right? What shows up on this television is what is what? People couldn't see you, right? Yeah. OK, terrific. Okay. Here comes our first test shot here, sir. Holy guacamole. That thing is dark. Well, you know why I got a shot of speed of 640 of a second. We don't need to have that now, do we? Of course not. Here we are. We are I s 0 Sorry, I s 0 1600 which gives me a little bit more than I need. Louis, can I get ah, light meter, please, sir. On exposure. Peter. Sorry. So we going? Yep. Louise gone. No problem. I grab one. We want to find out what are exactly exposure schooling to be. And, of course, once we get it set, we can get it set. Now, if you're much more comfortable using the blink, ease right. If you're much more comfortable turning on your highlight and doing it that way Go, go right ahead. Right. Much mawr of an exposure meter guy. So what I'm gonna do is I'm going to tell my beautiful light meter that my my I s o is 1600 and I'm gonna tell it that I'm gonna work it 1/60 of a second shutter speed. And it's going to say There you go. Will set that bad boy it f 28 and 9/10. Well, f 9/10 doesn't quite exist in this world. Maybe in a different world, that will. But that means 125th of a second at F 28 So let me scoot that back up we go take our shot. There you go. What do you know? Our meter was right. We've got a beautiful exposure. Now. I'm a screen over there because the screens really not, You know the camera. There is a little bit of a difference there now for me. When it comes to shooting, I'm typically gonna have a stool. That would be here because I don't want you to look at me. I want you to look actually through the camera. So if you don't mind, I'm actually just gonna hop through here, and I'm gonna talk this way. You okay? So now I noticed that someone has bumped the finder. All right, so here's we're gonna do. First thing we're gonna do is we're going to do the photo portion of what we're gonna do. Then we're going to do the video, and we're gonna do the video, what we call offset. But right now, we're just gonna do photo instead of shooting it square. Right? I'm just gonna leave it right here so that the TV folks are okay with it, but ultimately, we're gonna be shooting it square. So my next thing I'm going to do is especially folks who you look at it watching at home. You're going to see me change my, my, uh uh, color values to monochrome. You'll see contrast there. Now I do have the ability to adjust The contrast. My light is a little bit on the flat side here today just cause I'm working in a television studio. But you know what? I'm not gonna mess. With contrast, I'm gonna leave it normal. The s there. That's my sharpness. Now I'm gonna leave that an A plus one just because I like the way that looks now tent wise. Here's here's an opportunity for me to show you what tint looks like, right. I content this over in the positive direction and I could get kind of a bluish look. Or I contend this in a negative direction. I could get a warmish look, but I do have to tell you that it's got a little bit of agreeing cast to it. I'm not really find of the green cast is much, but, you know, you get what you get, so let's do a little pre processing. So instead of post processing, let's do a little pre processing. Let's realize that we're gonna shoot color video, but black and White Photo and I'm gonna put a little tent on there. I'm gonna do it just little bit that way. So we're gonna do with you. Ready, pal? Here you go. Here you go. There gonna be a will Crockett photo session. You like? Totally like nervous or you like impressed. Do you, like, Embarrassed? Which way? All of it. All in one. Ok, what? I want you to do. What? I want you to rotate to your left. That's right. Now I want you to bring me this elbow. That's right. I want you to lean it to me a little more from your hips. Brother, I want you to lean into me, right? Not Don't arch your back, but just from your hips. Want you Lean over into me. There you go. That's right. I want you to overlap your hands a little bit. Even though we're not seeing I want you to overlap those hands a little bit for me. That's right. Okay. Now, I want you to rotate even further case we're gonna get you in that little group. We're gonna get you in that group, you watch, and it's gonna happen in two seconds. Right. Alright. How much a point? Your nose more into the light for me. Adam boy. Chin down a little bit. That's it. The more nose into the light. Keep going. That's it. That's it. Lean into me more. Bring me Mawr. This elbow. Don't be afraid. Now it's gonna feel a little uncomfortable, But you're gonna begin. Are you feeling uncomfortable yet? Okay, good. I like to you feel uncomfortable You much the way I do my work. My best works in my client's uncomfortable No. Was back into that light over there. There you go. Now you can do will head tilt this way for me. You're gonna bring that chin down a little bit. There you go. Good. Remember, you're going to be selling me my whole different career package. Chin down even further. Okay? Are right now what I want you to do is I want you to smile, but only with your eyes. No teeth. Smile with your eyes. Very good. Next to watch, put your arms just out like this. Okay, Okay. Okay. All right. Now Yep. In front of the bar in front of the bar. Now, what I want you to do is I want you fall until one of them and I don't want you to think about it. Fall onto it. That's right. That's right. That's exactly right. No one should stay right there. Okay, buddy, stay right there. That's right. Knows gently into the light. Just gently. There you go. Now with that hand, gently push it back a little bit more there. Yeah. Good. Give me a little more smile. A little worse. Smile. That's it. Had killed a little more that way. That's right. There you go. Nice job now. But instead of that hand being open like that, pull it back, closed a little bit. Here you go. Close it all the way. Close it all the way. Don't be afraid. That's right. Good. All right. Don't really got me now. You're starting a blink. I mean, you know what happens if you blink on the right? Yep, yep, yep, yep. Oh, you know, the worst thing that ever happens is when you blink. Then I come over and I bite your real hard in the forehead. Yep. That doesn't work. That just makes it worse. You can you get a really horrible looking picture. Okay. Keep your body in the same position, but dropped the hand bunk. Barrett is okay. chin down a little bit more. That's right. Nose into the light. A little bit more. That's my guy. He may better smile. Come on. You okay? No smile. No smile. No smile. No smile. Okay. Give me. Give me a regular business. Look. Yep. But with no smile. Turned out a little more. Just smile with your eyes. That look in the lens now. Goodland with both eyes. Come on. There you go. There you go. 10 down a little more head. Feels a little more this way. That's right. That's right. That's right. That's right. Well done. Well done, young man. Well done. Okay, We're going to save those. Here's where we would then move toe. Louis, Here's how it would happen in the studio. At this point, I would call the Louis because I shot more than I thought it was gonna have to shoot, right. And I would say, Okay, Lou, I need you to pull those over there, and we would do either two things. He would pull those images over, or he would take the cards and he would run. Where is Luke? You're here. Do you want to edit these here? What would you want to Do you want to send it down? Let him deal with the whole thing? Or do you want to tell you when I do the select? Yeah. If you want, I could pull those. Or if you're gonna shoot video for him. Yeah, I'll take that to where you just get on one. Okay, let me keep it all in one. All right? I'm going to switch this over to ah, to video, and I'm also going to switch it over to color now for color for you, buddy. I'm not going to use vivid color. It's going to sound kind of crazy, but I'm gonna use natural color. Natural color. I know it sounds crazy, but in this camera, remember, that's the color that I'm going with now. It's on a plus five. I'm not sure why it's on a plus five. I don't need that much. Now you've got a food. You cameras. No way. I'm taking the Fuji camera and I'm going to shoot. Portrait's on Vivid like, unless I want Superman looking. Portrait's right, because Fuji cameras, they love color man, right? They amplify color better than anything I've ever seen. So here's what we're going to do. We're going to shoot some video with you. I need to make sure that I've got audio that I'm happy with. And I want to make sure that I know where we're at. No, Chris. There we go. Good. It looks to me like I've got a little bit of an exposure issue built in here. I'm gonna flip over to movie mode, and it confirms that I'm fine. Because in movie mode, it allows me to have on exposure adjustment, exposure, compensation, adjustment, which I don't have, which is really nice. All right, so I want you to lean towards me some more. Can't want you to get into that spot right now. I'm gonna put you on an offset. Now, I have a decided the decision. Those for that can folks that can watch on TV, they're going to see what I'm gonna do. I got be a decision here that I could put in an offset off toe one side, and that means the bright side over there, remember? I will put text up there. I'm gonna put his logo up there. I'm gonna put his name up there. I'm gonna put whatever catch line he wants to up there. Right? So I can either go to the bright side or I can go over to the dark side. Now, it does depend on kind of how I feel and what I what I think that he needs to do. Now, if I go to the dark side, I am gonna have to change that V board. But that logo, that's your logo. Do you want your logo to pop up in this piece? Yeah. Is your logo brighter? Dark? How you want to put you a transparent? What would you prefer? Wait, wait. Box, maybe dark background. So darker background. You've got it. Good choice here is I'm gonna do I'm gonna pull this cutter card. Remember? We call this a cutter card, I'm gonna pull it back just a little bit, and then I'm going to do my shift. I'm gonna shift that over a little bit to the left. There we go. If I could see where the end of it is and I'm in great shape now, you need to lean into me some more number. Overlap those hands. That's exactly right. That's right. Okay, That's exactly right. how I'm gonna frame you up just a little taller here. So we're gonna use know typically when I do Ah, on offset shot. It's Ah, it's 2/3. So I'm gonna take my I did my my shot with you. They're just gonna dump square. You're right in the middle. Writes it's 50 50. Now you're going to be 1/3. 2/ right? All right, so you're gonna look in the camera. Now, here's where the coaching part comes in, right? First thing that says I'm gonna have toe. I need to do a quick little test here, so sit tight. If you would please and allow me to get a test in there, and my test is gonna be all right. I'd like you to say hi. This is Chris from creative Live in creativelive. Terrific. I'm actually gonna play that back. Just think super duper. Sure, because nothing would be more embarrassing than being on creative life and not having the ability to hear what just got hurt. Hi, this is Chris from creative life. I love you guys up there, wherever you are. Thank you. They make me look so good. And if you look like I don't want to do it. This is so great. So great. Okay. All right, Mr Chris, this is going to be for real. Okay, buddy? Yep. Just second. I'm gonna take us out of program mode, and I'm gonna put us back into manual exposure mode because I am a manual exposure mode kind of guy. I'm also gonna go into white balance here, boy. My white balances up all high. I'm going to leave it there. Exits looking really nice, right? Okay, buddy. So remember, this is where we're going to do two pieces of video. This first piece of video is gonna be a piece of cake, and it's gonna be Hi, I'm Chris Adams. I'm Chris Adams from Rocketman. Creative. Right. And then you're just gonna let that be right. So here's how it's gonna work. You're gonna when I give you the 32 you're just gonna give it one beat of time, Okay? You could look into that lens. You're gonna keep in mind now that you're not talking to me, you're talking to a customer. This customer wants to understand why he's gonna hire you for a job or she is gonna hire you for job. So I want you to look in that camera and say hi. I'm Chris Adams from Rocket Man in 32 Hi. I'm Chris Adams from Rocketman. Creative. Nicely done. Let's do it again. I want you to have your chin down just a little bit, sir. Okay? And I want you to start off with a smile. Good smile. And I want you. I know it sucks, doesn't it? You gotta get vote. What's a good smile? Will and then end with a good smile. Ready? I'm Chris from Rocketman. Creative in 32 Hi. Chris Adams from Rocketman. Creative. Excellent. We're gonna do one more take and its gonna be able just a little more happy in a little more. Smiley. Ready? You can do it. I know. I'm Chris Adams. Rocketman creative in 32 Hi. I'm Chris Adams from Rocketman Creative. I slid on Louis. You choose which one you want. It's either two or three is totally fine. Sit tight. I didn't shoot the other one yet. Day. Now for the second shot, we're going to say what you specialize in, right? Okay, so I'm going to keep this offset in the same way. But I'm going to rotate you a little bit. So now what I want to do is rotate into the light. So bring me this elbow a little bit more their year. That's right. That's right. Right. Knows towards me. Now you go head tilt a little. This way. That's right. Chin down a little baby bit. That's right. That's where you're gonna be, brother. Okay, let me make the make sure that I get you super focused up here. I can use auto focus on this. Actually, I prefer to use manual focus just to make sure, because our on an offset that I don't have something funny that I don't know about. And there we go. So this is going to be I specialize in whatever you specialize in in 32 I specialize in helping small businesses elevate their brand identity. Accelerate success. You don't we call that the world of Crockett, right? We call it a one and done one and done there'd buddy boy. Let's take some questions. Perfect chair. Sounds great. Now this is from film. One of our regulars. Yeah, I see. Or using vivid picture style is that the manufacturers vivid setting or you dialing in a few tweets. All right, thank you. It's both. It's the vivid picture style and don't have the ability at some point. Just let me know if I could pop that up and actually show what that is and show where I do the tweaks, if you can. That's okay. Let me let me talk about that. We It depends on which camera we have. We've got the ability to have these happen to be called photo styles, as you see up there now, natural is one that I do use a lot, of course, but you'll see that we'll go over to I do use vivid a ton. Hang on. There's portrait. There's a custom one. Their standard, and there's vivid, bright and vivid is going to allow me toe have those tweaks So vivid actually comes from the manufacturer. All zeroed out like that, right? So I have the ability to go through and adjust contrast in this issue. But I typically don't like to adjust contrast in the camera. I prefer to adjust contrast in my lighting set up right. That's more of a lighting thing for me, But I do have the ability to go to the next one, which is sharpness, and rarely will I pull that sharpness down into a negative area. I will kick that up to a more positive area. Reason why is we're looking on screens a lot. Remember, I'm selling war two screens that I am to Prince. It's also easier for me to pull sharpness back when I'm going to make a big family portrait print than it is toe. Add some sharpness, so rarely do I need to pull sharpness down. The only time that I actually have a big problem with that is when we have a big file and we need to reduce it to a small file and off it goes right there, something I can do better than finally on the bottom here. The other tweak that I'd like to do and you can see is the saturation, and you can see if I want to get crazy with saturation hole. I could get crazy with saturation. So do I do those tweaks? Yes, I do, and one of the really cool things is on. This camera is on the lower right button. You'll see there. That set button. If I tap back Boom. Now, all of a sudden, that's now saved in that camera. Next, if I want to say that that tweak even further, I can then push that into one of the custom settings. The C one C two C three. That's on the exposure down. What can you tell? I know that camera inside. Now about it. How about it? I could do that with the Fuji cameras, too. Like it efficient. Very various issues. OK, we have one more question. A little question. Yesterday you showed us the dead cat dead. Yeah. And see, who is it that's wondering. Cayenne Cayenne is wondering why you're not using the dead kitten on the on the shotgun. Did kid instead of the dead cat? Well, today we didn't We didn't want to use a shotgun Mike up here, but I'm assuming she means down here on this This microphone. Yeah, he I'm sorry he does. On the larger microphones in the studio, we don't really have a wind problem. And you remember yesterday we talked about PLO sieves. We talked particularly about the word P. We also talked about how those microphones actually get affected by wind and why we use the dead kitten or the dead cat on their well, because it's three feet away, at least from our our subject and the fact that it's out of the range of what a PLO sieve is, there's no need to have it on there. And to be honest with you, it's kind of ugly looking, really right, and it's kind of weird to have that there. Part of the part of the reason for us using led lights, for instance, is that it allows us to put the microphone in the light source right when we used to use soft boxes before we use the light smarter used to use soft boxes, and we would actually put the microphone inside the soft box and if sometimes it still had to reach out further, we would just put a one inch hole in the front diffusion of the soft box, and then we would have that microphone extend back out. Reason why is people don't notice it, and if they don't notice that they don't get the opportunity to get nervous about it. So that's the easiest way to go. Don't need one on this one. All right. Very cool. Well, I think it's time we play the video and see what we traded earlier. Excited. So excited. This is a beautiful, moving portrait of Zoe the Dancer. First of all, it's the Oliver right there, if you would. Please. We've got a gorgeous background look at that beautiful graphic that Dan pulled up for us. Thank you so much for that, Dan. Now, there is no enhancement on this. And, of course, we did do this in a hurry. So the pre processing on this could have been changed a little bit. Well, talked a little bit more about pre processing here. This light here that you see, it's kind of like a kicker light on our subject there. That's the house lights up here, right? That's the house lights. And I probably wouldn't put it there, but you know what I got no problem with in it at all. Look at that big, beautiful catch light that's in her eyes. She's missing a tooth. She's adorable. As the day is long. She's got those cute little freckles. And would you mind? Can we play that one more time, please? Right from the beginning, we got a transition, a black and white photo. It's so easy to look at that and back out. By the way, you did an outstanding job on standing. You got it. The only thing that I would have changed is I would have wanted her to speak just a little bit more, that's all. I would want her to say something a little bit. Also, if we were doing that in a full size version, if we were gonna go say more than two pieces of video in two pieces of photo, I would really like to doom or close up shots. We had that 11 idea, her spinning and having a little too to doing the flow that could make a really cool like half a shot like you've got the background that's out of focus. And then all of a sudden, you see this swirl come through in focus. That could be really kind of cool to and then having her a little tight on there, saying, How old were you when you first decided to dance? Or what's your favorite part about dancing or our shoes? Uncomfortable. Find something that would be that would would be given giving her something that mom would really love to have their overall body. Your first shot at that. You did. Outstanding, man. You knocked it out of the park. He did a nice job. Nice job. Okay, how about the next one? Who? Way to go? Let's look at that again, and then we'll pause if you don't mind. Let's go to the first image and then we'll pause. There we are. This was using super shallow it up the field here, right? This didn't mean to jump in and grab a shot. I just wanted to show you Sometimes when you've got big, bold colors and you've got you've got interest there somewhere, there's something about that kid that that was really intriguing to me. And I think ized tell a really cool story. Also, when we have ah, catch light like that, we've got that little bitty doughnut, right? We've got that led ring light there that we've got bright colors over this way. Got our night square shock. Of course you could see that crazy fall off there. And what else does this tell you? This tells you that with a camera that you're comfortable with and your food you will do the same. Thing is you're able to have confidence to know that you can shoot on the fly and controlled up the field on an F 18 lens shot wide open and have perfect perfect focus on that. I right. Can we go ahead forward a little bit more? With that, please get to the center. There we go. Right there. Could you hold, please? Look at that. You've got him offset. That gives him plenty of room to stuff all over the place. I love the idea of having that brick background there. We've got a little bit of spray going on in there. He's looking back into the camera. He's not afraid. He's making the movements. Now let's imagine this kid when he's 20 years old. He decides, Dad, I'm gonna take after you and I'm going in the Marine Corps and the guy goes off to Marine Corps and he comes back married. And at that wedding, Dad decides. You know what? We've got to show you this really cool piece and they pulled this little video out of Levi and they play that piece and Then go. Bam! There it issue got him. You got his interests. You've got some beautiful photography. Thanks you six to you very much. And of course, you've got his voice inside there, which is perfect when we finish playing that I'm ready for beach mind bad. Dude, If that was your son, come on round a round of applause for Chris. You know? Well, I can really, really see the potential of the e business card. I think so many different businesses. So I think it's something that from a financial standpoint, I can see how you're successful at it. And I just want to thank you for taking us through that process. Step by step. It was just just just fantastic. So thank you. Good. Thank you.