100:00:25,470 --> 00:00:29,449here

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here we are in Oakland California we
have made our way from the park Mary

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shot just beautiful setting this morning
and we're going to do here this

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afternoon is to get this car crashed
into the water they got here and cars

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just perfect woman is perfect

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this beautiful dress and I started
thinking about that story how did you

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get to that water how did you crash what
happened prior to the moment we're

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creating what happens after I have this
key moment that tells my story that I'm

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inspired by but then whenever I create
pictures I ask myself what happens

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before and what happens after it helps
me create a story around it which makes

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for cinematic imagery so in that process
i got really excited about the growth in

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the corner tried to create some moments
there as if she looked out the window

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she saw something got distracted and
that led to that car crash so they went

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through that process I got kind of
excited got some good pictures and we're

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expanding the story a little bit just a
great opportunity to create new and

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better pictures so really happy about
that

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be done afterwards to prepare the car
for the composite showed rejected up to

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get that gravity that I mention that I
wanted to their car feels like it's

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pushing down the girl a consular corps
also hostile gravity sensor have gotten

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some foliage from the location is
morning that be put onto the car this so

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that they can make the impossible I the
easier it took some measurements at

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location putting whitewater behind the
folate such as there have been some of

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that foliage here and it will be easier
to combine the elements had some smoke

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on the water

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some smoke here and hopefully then these
elements will help believe the car into

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that background beautifully let me walk
you through the lighting scenario from

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it in all my work I try to match the
source and the place to the composite

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peace as the background plate so the
most obvious way to do this would be to

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put the car outside now it's sunny
doesn't have that foggy overhead that

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they had this morning so I thought
inside would be quite beautiful cars

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here we have the skylights now that
resource comment over the river and

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there was like coming through them

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casting sort of dappled shade openness
in that green so it kinda stimulates

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what we have here now the skylight above
and a place to car towards the back so

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the fall off from lightly from front to
back just as in the river it was

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brighter in the front where the water
was and then denser and darker in the

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back where the trees where I'm trying to
mimic that fall off of soft light that's

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why the shade of the skylights

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this failed to make an even softer how
about to fall off come in now we did

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stroll the lady SML given highlight so
this is a little bit more pointed than

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what we had at the location but I think
that works fine says we're doing the

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same light set up with a girl giving her
a little bit ok with that strong and you

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have a little kick from that little bit
harder source of the skylight so that's

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the reason for taking that inside and
working with this composite this way so

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before they get going on the shoot will
it take you through the steps to make a

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good composite now we measure the camera
angles to measure the camera high but no

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unless we have we have that in the
metadata all those things are important

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but your photographer visual people and
for me it's not just doing the data on

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this it's really important to do it by
two so we have taken a quick quick on

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the back on that Michelle this morning
how that on the computer and then going

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to stick the car in there will be offset
you can see that they're like quality

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line something really fits in their
perspective twice the hillside comes to

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an angle like this I try to match this
that the car may become more frontal

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maybe a little bit more sybase that
depends on where that hillside that I

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put the car so it's important to explore
this how the background plate first that

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sets the light that system perspective
and I mean much that light and

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perspective on the car on the front
composite piece so just wanna run you

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through that so when you see me work on
the computer afterwards he know that

結果 (中文) 1:

100:00:25，470--> 00:00:29，449我们在这里在加州奥克兰我们以我们的方式从公园玛丽200:00:29，449--> 00:00:33，210射击只是美丽的设置今我们要在这里做这300:00:33，210--> 00:00:40，800下午就是要这辆车撞坏了在他们来这儿的水里车400:00:40，800--> 00:00:43，170只是完美的女人是完美500:00:43，170--> 00:00:47，600这个漂亮的连衣裙和我开始思考这个故事你是怎么600:00:47，600--> 00:00:51，980到达那的水你是如何崩溃的什么发生在我们的那一刻之前700:00:51，980--> 00:00:57，570创建这之后会发生什么告诉我我的故事的关键时刻800:00:57，570--> 00:01:01，820但随后受到启发，每当我创建我问自己，会发生什么的图片900:01:01，820--> 00:01:06，310前和后它可以帮助，会发生什么我创建一个围绕它的故事使1000:01:06，310--> 00:01:10，890为电影意象所以在这一进程我真的很兴奋的增长1100:01:10，890--> 00:01:14，500角落里试图创建一些时刻那里好像她望着窗外1200:01:14，500--> 00:01:19，119她看到的东西就开始分心和导致那场车祸，所以他们就去了1300:01:19，119--> 00:01:22，630通过这一进程，我有种激动了一些不错的照片，我们1400:01:22，630--> 00:01:26，450一点点只扩大故事创建新的好机会，1500:01:26，450--> 00:01:29，380更好的图片，所以真的很高兴那1600:01:29，380--> 00:01:37，340后来做准备的车复合材料表明拒绝达1700:01:37，340--> 00:01:40，580让那地球引力，我提到我想要给他们的车感觉像它有1800:01:40，580--> 00:01:46，659压低女孩领事也取得了敌对的重力传感器1900:01:46，659--> 00:01:51，210一些叶子从位置是早上，被放上了车这所以2000:01:51，210--> 00:01:55，130他们可以使不可能的事我更容易花了一些测量2100:01:55，130--> 00:01:59，610把白水事件背后的位置比如有叶酸过一些2200:01:59，610--> 00:02:04，020这里的树叶和它将更容易要结合的元素有一些烟2300:02:04，020--> 00:02:04，810在水面上2400:02:04，810--> 00:02:09，709一些抽烟并希望在这里然后这些元素将帮助相信进车2500:02:09，709--> 00:02:13，720这种背景下漂亮让我走你通过从照明场景2600:02:13，720--> 00:02:18，379它在我的工作我尝试匹配源和复合材料的地方2700:02:18，379--> 00:02:22，150和平作为背景板等最明显的办法做到这一点会给2800:02:22，150--> 00:02:26，349把车停在外面，现在它是阳光明媚没有那雾的开销，2900:02:26，349--> 00:02:29，670他们今早所以我想里面会很漂亮的车3000:02:29，670--> 00:02:33，990在这里，我们有天窗现在这条河上的资源评论和3100:02:33，990--> 00:02:35，680出现了像通过他们来3200:02:35，680--> 00:02:41，040铸造种的树荫下的开放性在那绿色，所以它有点刺激3300:02:41，040--> 00:02:47，099我们这儿现在上方的天窗和一个地方向后面的车所以3400:02:47，099--> 00:02:51，400轻轻地从前面到从脱落这是回只是在这条河3500:02:51，400--> 00:02:55，239光明在前面在哪里的水是然后密集和深3600:02:55，239--> 00:03:00，639退回哪里哪里我试着树木脱落的柔和的光线的模仿的3700:03:00，639--> 00:03:02，200为什么天窗的树荫下3800:03:02，200--> 00:03:07，019这并没有使变得更柔软的如何要掉进来现在我们没有3900:03:07，019--> 00:03:12，099漫步给夫人 SML 突出这样这是比多一点点尖4000:03:12，099--> 00:03:16，129我们在的位置，但我认为精细的作品说: 我们正在做4100:03:16，129--> 00:03:19，439同一光设置与一个女孩给她有点好强，你4200:03:19，439--> 00:03:23，840有一个小踢从那一点点天光困难来源这样的4300:03:23，840--> 00:03:29，120采取这里面的理由和工作与这种综合这都是如此4400:03:29，120--> 00:03:32，739他们走在拍摄之前将它指导您完成的步骤，使4500:03:32，739--> 00:03:37，519现在我们来衡量相机好复合角度测量相机高但不是4600:03:37，519--> 00:03:41，290除非我们有我们有，所有这些事情是重要的元数据4700:03:41，290--> 00:03:46，900但你摄影师视觉型的人和对我来说它不只做数据上4800:03:46，900--> 00:03:51，090这是真正重要的是要做这件事两个所以我们采取快的快4900:03:51，090--> 00:03:54，829背上的米歇尔今天早上如何，然后在接下来与计算机5000:03:54，829--> 00:03:57，919把这辆车在那里将偏移量你可以看到他们就像质量5100:03:57，919--> 00:04:02，459线的东西真的适合他们两次在山坡上的角度谈到5200:04:02，459--> 00:04:06，959像这样的角度试着以匹配这这辆车可能成为更正面5300:04:06，959--> 00:04:10，579或许有一点更多 sybase，取决于哪里的山坡上，我5400:04:10，579--> 00:04:15，000把车，所以它是重要的是探索这是怎样的背景板第一次，5500:04:15，000--> 00:04:18，479设置光这个系统角度来看我的意思是多那光和5600:04:18，479--> 00:04:23，449车上前面观复合片所以只想运行你5700:04:23，449--> 00:04:26，320通过，所以当你看到我在工作计算机之后他是知道的

結果 (中文) 3:

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这是我们在奥克兰加利福尼亚我们
从玛丽公园

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镜头只是美丽的环境
今天上午我们要在这里做这

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下午把这辆车撞
他们来到这里，汽车

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只是完美的女人是完美的

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这漂亮的衣服，我开始思考，
故事你怎么

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去水你怎么崩溃
发生什么之前，我们暂时

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创建后，我有这个
关键时刻告诉我的故事，我

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灵感但是每当我创造什么
图片我问自己发生了什么

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之前和之后发生什么有助于
我创造一个故事，它让

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00:01:06310——>所以在这一过程中
我真是兴奋

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角落试图创造一些时刻
好像她看着窗外

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：01:19119
她看到的东西分心，
，LED，车祸就去

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通过这个过程我有种
激发了一些好照片，我们

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扩张故事一点点只是一
杰出的机会创建新的和

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更好的照片真的很高兴，


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做之后准备复合车
表明拒绝了

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得到重力，我说我
想他们的车感觉就像是

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推下来的女孩也
领事团敌对的重力传感器已经

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从位置有些树叶是
早上被放上汽车这样的

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可以使不可能的我的
容易把一些测量

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位置把白水在
叶酸如已经有一些

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，叶子在这里就容易
结合元素有烟

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水上

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一些烟这里，希望这些
元素会帮助相信车到

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背景漂亮的让我走
你通过照明场景的

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它在我所有的工作我尝试匹配的
源和地方的复合

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和平为背景板，
最明显的方式，这样做是

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把外面的车现在是阳光明媚的
没有雾的开销，

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他们今天上午我想
里面会很漂亮的汽车

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这里我们现在
有天窗