After one of the most popular, informative, and entertaining episodes in the history of the show we pause from the interviews to take a look at how a recent commercial I shot was put together.
This time on the podcast we break down a horse racing spot and talk lighting, lenses, schedule, and more.
Enjoy the behind the scenes look!
Patreon Podcast: Bad Times at the Backlot
Over on Patreon this week for the Feature Film Breakdown we are going over Bad Times at the El Royale.
A very unique looking film with lots to talk about. We go over cinematographer Seamus McGarvey's studio approach and how he was able to blend style in to the story.
You can find this week's Patreon content by clicking the link below:
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High Contrast Exteriors - The Spot
We shot two cameras for this job because time with the horses was limited. This was also the final S35 tvc for a while now I would imagine.
Camera Gear:
Check out the gear I use on all of my commercial shoots by clicking the link below:
Wandering DP Commercial Cinematography Gear
We used the Alexa XT and an Alexa mini for the gimbal. The gimbal was the Ronin 2. We shot Prores 444.
The only kit not listed on that page is the set of Vintage Cooke Panchros we used on this one.
No lights on this one but we did make heavy use of 12x12 Ultra Bounces, Neg, and Highlight frames.
The Location - Schedule is Everything
The entire spot plays outside on a racecourse. We had a single day and had to move quickly to get the sun in the spot it needed to be for all of the set ups.
The treatment called for high contrast imagery and we need a strong backlight (the sun) to make that happen.
Below is a diagram of the location. We moved 3 times on the day and those moves are also highlighted on the map.
The Spot - Shot by Shot
Shot 1 - The Push Start
The Shots
The ad ends with a slow push in on a jockey as he eye balls the camera.
The Lighting
This was the hero shot of the ad so we made the best use of the location and the light and scheduled this shot as the first of the day.
We oriented the action so that the camera was facing North and used a 4x4 frame of highlight to cut the sun on the talent. Then we used a 12x12 of Ultra bounce to wrap the sun on his key side.
Finally we had two 4x4 floppies camera right to create the contrast we were after.
The Result
Shoot Location
Set Up #2 - The Push Finish
The Shot
Final position on the push in.
The Lighting
This is a continuation of the previous set up.
The Result
The Storyboard
Set Up #3 - The Texture
The Shot
This shot wasn't storyboarded but because we had two cameras rolling the entire shoot we were able to pick up extra textural moments as A cam was focused on the storyboard essentials.
The Lighting
We were now on the West side of the track looking East. The sun is starting to rise in the sky which meant our subject would be backlight if we shot towards the East.
We have a 12x12 Neg camera left and a 12x12 Ultra Bounce camera right.
The sun was ducking in and out of clouds so the effect of the bounce and neg is more or less impactful depending on the moment.
The Result
Set Up #4 - The Grand Wide
The Shots
This was the hero shot of the riders preparing to enter the starting gate.
The Lighting
We used the sun to backlight the rider then bounced a 12x12 Ultra from frame right and a 12x12 Neg was camera left to add some shape.
The Result
Set Up Location
The Storyboard
Set Up #5 - The Take Off
The Shots
The B cam angle of the previous shot.
The Lighting
See shot #4.
The Result
The Storyboard
Shot #6 - The Fly By
The Shots
We moved back to the East side of the track to start the final sequence of the day. We needed shots of the riders and horses entering the gate. B cam was able to get this shot while A cam was frame right getting a profile of the riders in the gates.
The Lighting
Donuts.
The Result
Set Up Location
Shot #7 & 8 - The Entrance
The Shots
The super shot.
The Lighting
All the lighting remained from the previous set ups as we hunted for various angles to lay the super over. They ended up choosing a frame with some dirty foreground window elements which always helps to create depth.
The Result
The Storyboard
Shot #9 - Steady...
The Shots
We needed shots of the horse getting ready to exit the starting block. The B cam was able to grab these shots as the A cam got Shots 10 - 11.
The Lighting
See previous shot.
The Result
The Storyboard
Shot #10 - In the Gates
The Shot
This shot kicks off a series of shots from inside the starting gates. We just roamed from frame to frame as soon as the horses entered the starting gate. We were low on time here so we hosed it down with coverage.
The Lighting
We blacked all around the camera so that the only light coming through was the direct backlight from the sun.
The Result
The Storyboard
Shot #11 - The Same but Closer
The Shot
See previous shot.
The Lighting
See previous shot.
The Result
Shot #12 - The Dolly Zoom
The Shots
This shot was a dolly zoom as the gates opened to give the viewer an odd sense of the movement at the start of a race.
The Lighting
Donuts.
The Result
The Storyboard
Shot #13 - Off to the Races
The Shot
Now the jockey raises up and makes a motion like the gates have opened. From there we cut to the gates of an actual race opening up.
The Lighting
See shots 10 & 11.
The Result
