Location scouting

- We're doing one of the very first steps, and a very important step which is location scouting. And identifying the sun's position and the sun's movement. We are here pretty much at the heart of the winery with Sam's block. They have seven sections in the winery. In the main one is the beginning of the winery over there. There's another one, two, three, four, five. There's seven total. And this is the one and only building. The main building. So in terms of sun, the sun's movement, sunrise is over there at about six a.m. In the morning it's going to move this way all the way and it's going to go behind the peaks at about eight p.m. So we have a lot of light. That's good. The not so great part is from 11:30 to 1:30 is going to be just like right above us. And it's going to be very harsh, a lot of light. That's probably the time where we go inside and shoot interviews, or grab a quick bite, or just rest for a little bit. The other important aspect of doing this location scouting is identifying where are we going to shoot what. And from here we can pretty much see that we're going to do some of the pruning shots over there. And some of the packing, like bottling stuff, over here with this beautiful red sand and like bright backgrounds. And then we can go inside to see what the lighting situation is for our interviews. Here we are. Part two of the location scouting. Now we are inside the main building which has many different purposes in this winery. The main one is to store all the wine. As you can see all the background all these bottles full of wines. So this is their cellar. The second thing that happens here is that it's an art gallery. And it's called a latavo gallery and they have paintings and photographs and all that. We have on our script we're going to get some details of those art pieces. The third thing that happens here is as you can see this counter in the background, that's where the tastings happen. So clients can come here and taste their wine and purchase wine. We also want to get a shot of that. And the fourth thing which is also very important is in the back that's where they box their wine and ship it to people who buy it online or on the phone or whatever. So there are four things happening here that we would like to document as part of our story. In terms of lighting, you all know the good old light meter that still works exactly the same. And the reading is not great. We are pushing 800 ISO wide open two point eight, one fiftieth of a second. Since we're shooting these at 24 frames per second, we would like to stick no lower than one thirtieth and ideally one fiftieth. Unlike still photography we cannot drag the shutter and shoot like one eighth or one second and then try to get this like ambient light to help us with our exposure. We can't. So we have the limitation of the shutter speed, we have the limitation of the high ISO, we have the limitation of the very wide aperture that is limiting how much movement and how much action we can get in the frame. In terms of color temperature, another tool that you already know, the color meter is interesting. Because the room has only a few windows in this part of the building. And no windows in the back. So this area that has a mixed lighting situation with sunlight and house lights are very different, in terms of color temperature than the back of the room. So for the boxing, like when they're boxing their wine, I think that we can get away with the light that we have here. But for the interviews we definitely need to set up lights. And in terms of placement, I think that they can set up like an assembly line to put their, to put the wine in the boxes. And we can shoot this way and then get this beautiful background with the paintings in the back. And for the tasting, it happens here so we can shoot from this perspective. And this way and then have this beautiful long background with all the bottles in the background. For the interview we're still not sure. Zach and I walked and like saw different options. We'll have the bring the lights and see what makes more sense. We would like to shape the room with lights. And try to give these bottles more character. Right now the light is extremely flat, and there is no contrast, there is no direction. Probably one interview can happen here looking this way. Or somewhere else over here, but we'll see what happens when we are actually working with the lights. So that's that for the location scouting part two. We have challenges outside, often too much light. And we have challenges inside, not enough light. So part of this course is going to be how to solve those challenges. And at the same time not only technically but creatively. So let's move on to the next segment.