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Male 1: After I've spoken to the creatives, like say the director or whoever is helping to make those decisions we'll decide on how we want it to look. And then I'll take a look at the practical room itself with practical lighting, whatever's set in place. And if it's something that we want to completely obliterate and start over from scratch because we've discussed that, we will go through the process of eliminating all of the natural light or practical light or stray light in the room and start from scratch. Or we'll decide that we like the field, and when we've, maybe we've chosen that location because of the quality of the light coming off the painted walls or the ways the windows are bringing in light.
And we'll augment, we'll just, we'll just make our portraiture for our subjects, make them look nice, or we'll light the room and let the, our performers or our subjects walk through something we've prepared as a grander palette, so to speak, canvas. Try to go through a checklist that comes from lots of experience. There's always something new or something you've missed. But you, along the way, have a checklist of things you want to check. You want to, first of all, make sure your performers or your subjects are, are looking the way you want them to look, it, which is usually pleasing.
Or suggesting some kind of emotion, like darkness, or, or whatever, whatever it needs to be, that you're achieving that portraiture that you want for your subjects. And second of all, you know, the mood of the room, the, the, the ambiance of the room. If it's,if it's supposed to be moody and dramatic and high contrast, or if you're in a department store it's supposed to be very low contrast and, and on, on the flatter side, well, whatever you're trying to achieve. I usually generally have two main objectives. Good portraiture on our subjects.
And, having a suitable environment in terms of emotion, mood, that's needs, needs to be established by the story.
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