The age of the Mini LF is upon us and in this podcast we take our first look at the Mini LF in action with anamorphics.

It is a bit of a workaround at the moment to get everything to play nicely together on set but I was really pleased with the results even if I wasn't the biggest fan of the lenses.

Enjoy the behind the scenes look at a recent commercial spot.

Patreon Podcast #136: The Commercial World

This week on Patreon we mix it up and take a look at a commercial shot by Khalid Mohtaseb that i really enjoyed the look of.

Commercials are a great medium for exploring what is new and fresh in the cinematography world so I thought we would break up the feature looks and dive in to something slightly more contemporary.

You can find this week's Patreon content by clicking the link below:

The Wandering DP Patreon Group

If you are a fan of the podcast and want more video content the patreon group is the place to be.  Each and every week I release an exclusive podcast, video, or live stream just for the Patreon members.

Patreon members also get access to the Private Facebook community for the show.  The podcast couldn't exist without the Patreon support and I do my best to take care of the supporters.

Alexa Mini LF & Anamorphics - The Spot

This spot was the brand piece that we shot off the back of two days of retail ads.  We actually shot the retail section on the Cooke Speed Panchros (which we will look at in another breakdown podcast) and the brand piece we then shot in anamorphic.

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 Arri Alexa Mini LF and coupled that camera with the P+S Evolution Kowas.

The Location - The Feature House

The main location for this montage ad was actually the hero house we shot in for 5 days earlier in the year for the feature film I shot.  

Alexa Mini LF - Shot by Shot

Shot 1 - Outside Look

The Shot

This was our first set up of the day and the shot is our hero talent just missing his partner as he returns from his morning run.

The Lighting

The sun was just out of shot frame left and we used the Sun Wrap approach to line up this shot.  We wrapped the sunlight around from the same side as the backlight using a 4x4 bounce.

Because we were moving so quickly we didn't have time to take the edge of the heat from the sun so it ended up being quite a harsh backlight.

Add a 4x4 floppy camera right and that was it.

The Result

Set Up #2 - The Wide Stairs

The Shot

The hero shot of the couple reunited in the hallway.

The Lighting

By the time we entered the house the sun was above the window line which meant the light coming through was sky ambient as opposed to direct sunlight.

We used the natural light of the hallway in combination with haze and neg fill all around and behind camera to help add some contrast.

The Result

Set Up #3 - The Coverage

The Shot

Coverage of our hero moment between the two lead talent.

The Lighting

We walked in a 4x4 floppy frame right for each talent and then repositioned the action to get the best light fall off on the female's face.  It wasn't quite enough level and we were missing an eye light so we used an Arri S-60 Skypanel to help wrap the light to the dark side cheek and to add a little eye light.

The Result

Set Up #4 - His Coverage

The Shots

The reverse.

The Lighting

Same as above but we repositioned everything for his new angle.  We had to lower the S-60 even more than before to deal with the deepness of the eyes.

The Result

Set Up #5 - The Hallway

The Shots

This series of hallway shots required various different looks as we follow the talent down the hallway and out the door.

The Lighting

The lighting here had to be extremely flexible as each outfit change required a lighting change in very little turn around time.  We used the ambient day and controlled it through a T bar of neg fill behind the camera.

Each room had a sky panel s-60 and one room had an M18.  As lighting changes were required we would change color and intensity on the fly to give us a variety of different looks.

The Result

Set Up #6 - The Kitchen

The Shots

A montage of quick kitchen moments was required to sell the business of their lives as well as the passing of time.

The Lighting

We used a combination of an Arri M18 coupled with a Joker 800 for the direct light.  We also added a bunch of haze to this sequence to help lift the blacks and control the harshness of the lamps outside the window.

The Result

Set Ups #7 & #8 - The Bits

The Shots

More of the montage.

The Lighting

Here we used the same lamps as before but swapped them to come from the other side of the window.  Again just for variation and a different look.

The Result

Set Up #9 - Cup of Coffee

The Shots

Our hero talent sips his daily coffee.

The Lighting

Same as before for the baclground outside but now we added a Skypanel through the Octodome as the key.  Frame left we used a T bar Neg to help model the contrast.

The Result

Set Up#10 -The Stir

The Shot

Same as before but in tight on the process.

The Lighting

Same as above.

The Result

Shot #11 - In the Car

The Shot

We shot a whole series in the car in a variety of outfits and talent combinations.

The Lighting

We chose to shoot these in the afternoon when the sun would be low enough to get some light inside the car but not low enough to actually enter the frame.  This kept the contrast manageable without needed lots of lighting or rigging.

We picked a path that was backlight and drove in a loop to get all the coverage we needed.  No light or bounce just some neg behind and to the side of camera.

The Result

Set Up #12 - The Bedroom

The Shots

In the bedroom we needed a number of different set ups with the couple.  The challenge was the bedroom was on the second floor and we had to shoot during the day and the room was floor to ceiling glass on one side.

The Lighting

We blacked out all the windows, added a few titan tubes above the bed from frame left to act as the practical carry, put the pracs in shot on dimmers and set the level very low.  

Then on the hero talents computer I placed and Aputure MX to help dial in the coolness of the monitor we needed to contrast the warmth of the practicals.

Frame left we used the door to leak in just a tiny bit of ambient daylight from the hallway.

The Result

Set Up #13 - Sawing Logs

The Shot

A single of our hero lady in bed asleep.

The Lighting

We kept everything in place from the previous shot but added some Titan tubes on the shadow side of the camera to add just a hint of level to pull her out of the darkness.

In the BG you can see a leak of daylight coming from our black out job.  Would have been great to get it patched up but we ran out of time.

The Result

Set Up #14 - Sleep In

The Shot

The morning look inside the bedroom.

The Lighting

This was our last look inside the bedroom and as the G&E team worked to breakdown everything and move to the next set up we snuck in this morning look.

WE kept the neg in place from the previous shot and opened up the lens and exposed for the blinds in the BG.  This shot is all natural daylight coming in from outside the sheers.

The Result

Set Up #15 - Morning Run

The Shot

In this series we see the female talent running on the treadmill.  Lots of fast cuts and points of coverage in what was a fairly bland white room.

The Lighting

We used an Arri M40 from outside through a series of frames for ambient room levels and for her soft key.  Then we used the Joker 800 to add the sun slash on the wall.  

In the background for the window we added a 4x4 frame outside to block off the view and then we finished it off with quite a bit of haze in the room.

The Result

Set Up #16 - TV Time

The Shot

This is the start of a series of shots in front of the TV late at night.

The Lighting

We built up the ambient outside with a combination of the Joker 800 and the Arri M18 with the CRLS Reflectors.

Inside we had the practicals on dimmers coupled with two skypanels on the ground to key the middle ground and the foreground.

Don't forget the haze.

The Result

Set Up #17 - Her Turn

The Shot

Close up of the female talent watching tv with the male in the BG.

The Lighting

Same as before but we shot this at dusk so there is a bit more level outside.  

The Result

Set Up #18 - Stir Fry

The Shot

Late night dinner prep scene.

The Lighting

We used a series of Titan tubes for the key from frame right then added neg frame eft.  In the background on the windows was a net material to take down the daylight we were actually shooting this scene in.  

For the light above the stove we used a Astera Helios.

Add haze to taste.

The Result

Set Up #19 - Warm Glow

The Shot

Our talent is ironing his shirt as he watches the tv.

The Lighting

Here we used the same set up as the other night scenes in the tv room.

We were able to add a bit more control and contrast to the scene by walking all the fixtures closer.  That control allowed us to have a bit more shape here than in the previous wide shot.

The Result

Set Up #20 - Solo Dinner

The Shot

Our final shot for the day.  Our talent eats a meal at the dinner table by herself.

The Lighting

By this point everyone was packing up the gear from the previous scene so we used the bare minimum amount of fixtures to do the job and still make the day.

We had a Titan tube outside for level in the BG then inside we had a Titan tube rig above the kitchen counter inside as well.

We used an Arri S-60 from both frame right and left to act as key and edge light.  Then of course haze to round it out.

The Result

About The Author

Wandering DP

Cinematographer and host of The Wandering DP Podcast. You can see select examples of work at my personal site or follow me on instagram.

Related Posts