Photo Coverage on Set
And the final slide I'm gonna show you right now is coverage. And again, I feel like this is one of those no duh, of course you know to do this. People are not doing this. Coverage. You shoot them tight, you shoot them at three-quarter, you shoot them full frame, and you put alternative backgrounds. Do opposite colors. You're gonna want it. You know you are. And how hard is it to rig a seamless and drop another color down for just a few shots? It's nothing. Seamless paper's cheap. It's not cheap to strip and recolor and then relight 'cause the lighting is gonna, the bounced light and reflective light on her is gonna look different when she's on a light background than when she's on a dark background. And if you have to strip her in and change it, then you have to change all the edging as well. Costs more money. $12 paper, $100 worth of paper. A lot less money. Now, the other thing that drives me bonkos, you seem to be a little less irritated than I. How many times do we get a shot like...
this? Oh, you've got that story. The Jamie Foxx movie.
Yeah. No, it happens to me all the time, so I'm just kind of used to it. It was like, "Okay, it's one of these." But it was a great big Hollywood movie. Jamie Foxx, one of the bigger draws as an actor, I get in and they're like, "This is the shot we want." So they did the full photo shoot. Set up the lights perfect. Great cameras, and then the piece that they ended up using was a unit shot. He's coming back with a cup of coffee from the catering truck, talking to someone. There's trucks going behind him and that's the shot they use. He's this big in a horizontal shot, and they want to just crop right into him here and blow him up the size of building. And that's all I got to use.
So imagine this. For a moment, imagine this. Jamie Foxx, it's a little bit of a stretch, but imagine. And that much of him is on the side of the Sunset wall. The side of the whole building on the Sunset. Well, I don't know if you're familiar with that building. It's huge. And that's all the frame? What is that, 1/8 of the frame?
Mm-hmm. A 35 millimeter frame, on top of that. Nightmare; happens all the time. You want a plate, you shoot one shot of that, you get a plate, and then that's it. You don't ever do that again. You don't need it. When I say you shoot one shot of that and you've got a plate, I mean, you have no model there, you shoot the scene, and then you shoot your model full frame. Not a lot of head space, not a lot of feet space. It's all dead, you don't need it.
Create your own retouching business from the ground up. In this class, one of Hollywood¹s hottest retouchers reveals the secrets to designing your own business. Lisa Carney walks through the steps needed to start and run a smooth business while keeping your clients engaged and happy. Whether you’re looking to work with photographers, agencies or even bill for post production - you’re bound to find valuable insight into the world of photo retouching.
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