This shoot sums up my 2020 and I think it points to a new direction for commercial work going forward.
It might not be the most interesting action or subject matter but it was a fun challenge all the same.
I hope you are able to pull something away from this breakdown and go out and make some great images.
Enjoy the behind the scenes look!
Advanced Cinematography: On Set Training
Are you interested in coming on set with me and seeing how I work on a typical commercial? Do you want to see the Framework in action and follow along as the various pieces are added to see the before and after differences?
If so than please check out the latest course from the Wandering DP:
This course follows a project from start to finish and you get to come on a virtual set and see how all the shots are designed. The positive feedback from students has been overwhelming and the new technology that runs the course and allows you to see lighting and framing decisions in real time has changed the way cinematographers will learn forever.
Patreon Podcast: Don't Look Up
Over on Patreon this week for the Feature Film Breakdown we are going over Don't Look Up shot by Linus Sandgren FSF ASC.
This film has a strong unique look throughout it and we break down what Linus is doing to achieve the end results.
You can find this week's Patreon content by clicking the link below:
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.
The New Reality - One Day, 12 Spots
The world of commercial cinematography is twisting and turning into a brand new beast with every passing shoot. This job sums up what I expect to see more of in the future. It might not be the best thing but the writing is on the wall for where the industry is heading.
We shot this on the Alexa Mini LF paired with Sigma primes and a 1/8 BPM filter.
The Location - One House, 12 Spots
We had a ton of spots to get through in one day which meant we needed a plan, a halfway decent location, and a whole lot of speed to make it happen.
The Spot - Shot by Shot
Shot 1 -Dog Walk
The ad starts with a Dad and daughter constructing a cubby house. The dog enters camera right and takes over the house.
We had an M90 outside to bring in as much directional level as possible. It is softened for the talent through a series of diffusion but left raw for the background. I can't remember if we had to net it down in level for the background but there was definitely no diffusion for the lamp on the wall.
Inside we had an Arri Skypanel for wrap pushing through an 8x8 of diffusion on camera right.
Everywhere the camera wasn't looking we had blacks to soak up the ambient bounced light.
For a back edge we had a Joker 800 throwing into a 1x1 CRLS Reflector to compete with the M90 level.
Set Up #2 -The Float
Handheld floaty close up to help complete the coverage.
This is a continuation of the previous set up.
Set Up #3 - The Find
Same as above but around the front for the moment the dog enters the cubby house.
Same as above.
Set Up #4 - Day for Night
Our main talent is scrolling through her laptop as her partner joins her from the kitchen.
This was shot in the middle of the day because of the way the scheduled needed to be structured. We blacked out all the windows then keyed with a Vortex through a 4x4 frame camera right.
Camera left the blue edge is another vortex dialed into 5600k.
Out the back we opened up the black out to allow a little bit of the daylight to leak through and add some depth.
In the background the practicals were our bulbs in combination with an Astera Tube to help get a little bit of level in the BG.
Set Up #5 - Day for Night Together
Previous shot cont'd.
See set up #4.
Shot #6 - End of Day
We track in behind our hero talent as she is greeted by her partner outside their house.
This was supposed to have an end of day feel but we couldn't shoot it at sunset as we had a more important set up that needed to be done at magic hour.
We shot with the sun at our backs, put up Neg all around the camera, and dialled in the practicals in the background right before we rolled.
Shot #7 - Fire Pit
Our hero couple exchange a few lines in front of the fire pit.
This was the big magic hour shot. We used the Vortexes in the foreground for both key and edge lights.
In the background we had an Arri Skypanel inside for ambient as well as our own bulbs in all the practicals to set the inside mood right were we wanted it.
We put 4x4 floppies camera right to help create a little bit more contrast in the relatively soft magic hour light.