A dry lakebed is a great place to shoot. It has an incredible span.
It is the closest thing we have to a Sahara within reach.
I'm thrilled with what we did last time but I would like
to see this one in daylight as well because I think it would look completely different
not using any of the LED lights on it, just blue sky, we will overpower the sun with flash
and darken the sky a bit, just to give it a very rich blue background but the feeling
is daytime. It's very beautiful when it is lit up and we want to get it on the desert
floor so I can get a little bit more off the sides.
Do you like seeing this much left and right, like a little off here and here?
Let's push in a tiny bit. Okay, cool.
I want to get more sky. Lower blue.
Previously with the gas station I was giving a lot of room
because we were shooting the jungle on Maui and for these since we are in a desert location,
we are cropping into it because when you see these images of refineries, they seem to go
on forever, and by cropping into it, it gives that illusion that this futuristic little
city could go on forever by not showing the ends of it. Here I chose the option to have
a little bit of the sides because we are in this big dry lakebed and maybe get some of
the mountains in the background.
Do you think we should try having the light coming from over here to fill in the shadow?
But then if we are exposing for the sun we are not going to get as rich a sky.
Okay. I still can move that light around.
I like that better, John, lower angle. You like the lower one better?
Yeah. Me too.
Go big daddy! Wow, okay, hold on! Go back one.
You're talking to the machine. Why can't it just listen to my voice?
That's on right there.
Look, how great!
Those are architectural drawing tools and I saw one of our model builders using it,
and I said: Oh, I love how that looks! Kind of look like platforms of some sort.
1, 2, 3.
I'm very much into the technique of photography.
I spent 12 years in the darkroom, 6 years printing black and white, 6 years
printing color of my work when I first started out. For me it is the opposite of a snapshot.
These are very much considered in terms of the thought and work that goes into it.
This one is getting lost. Do you want to put two there? They are really cool.
Now we will go to evening. We will turn on all the lights,
and we will get that twilight evening kind of glow.
Two completely different looks because it also looks beautiful in daylight with sun
and bright blue sky but at night they come alive. Little LEDs all over are going to glow
and get that feeling of a refinery at night and it looks like a crazy city.
It is just getting prettier and prettier. Looking really good!
I'd stay with 10 minutes. And then it is killing steak time.
Go a little less with your wave, just a little wiggle. It's the wrist action.
More chopping, less talking.
Everything from the Phase One camera systems to Capture One Pro,
it's all about the flow of how these things get made and get finished and look the way they do.
That's why I leave imperfections in, so you can see the humanity
and see that these are not digitally created or CGI. These are photographs, I'm a photographer
and it would be boring for me to spend my life on a computer sort of illustrating,
that is not my thing. I'm sort of indebted to Phase One and Capture One Pro because it is a very
important part of what I do and how I can do it.
I wouldn't use it if it wasn't the best. I just can't afford to.
Alright, we got it. We did it. Yay!
I'm thrilled. I had a pretty good idea that they were going to be really great
seeing them come to life in the studio, and I think it really helps to be in a dry lakebed.
To be on a mountain where we have been shooting them as opposed to in a studio set.
It just bring these variables you can't recreate.