This week on the podcast we are breaking down a small sample size of spots shot as part of a wider campaign. AS we have seen with other recent breakdowns the trend here is more for less.
More spots with less time. A DP with no time is a usually not the happiest but we have to learn to adapt or we will end up replaced by somebody who has.
So let's take a look at how they all came together so that you can use some of these techniques on your own shoots.
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: Top Boy
Top Boy is the subject of this week's Patreon Breakdown.
This show has a number of elements we've seen in other content but there are a few subtly differences that add up over time to create something fairly unique. I hadn't taken the time to check this series out but I think breaking down the elements are beneficial whether you are a fan or not.
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 World Order - Shoot More, Earn Same
Just a disclaimer here for all of our new listeners are up and coming DPs. This is just a small sample of what is going on in the commercial world that I live in at the moment.
More and more jobs are shooting shorter and shorter content with a primary focus on socials which can lead to compressed schedules and sacrifices along the way. I mention that not to say whether it is good or bad, simply to state the reality of the industry from my vantage point.
If you can't work quick you probably won't be working.
So let's look at ways we can work quicker and still be happy with the end result.
The Spot - Shot by Shot
Shot 1 - Personal Favorite
Son grabs a phone off the kitchen bench to take a photos of his parents.
We used a soft ambient LED overhead rig in a China Ball configuration. We knew we had to light both ways for this set up and it was the quickest option for getting ambient.
For the key we had a Creamsource Vortex through an 8x8 Magic Cloth to wrap as much light as we could. There is another Vortex providing just a hint of edge light camera left on the talent.
In the foreground it is Astera Tubes placed above the camera pushing the ambient blue wash from the window. In the deep BG we replaced all the practicals with LED bulbs from Astera so we had full control of all the fixtures via the iPad.
Set Up #2 - Going In
Same as before but we pause on our talent during his moment of realization.
This is a continuation of the previous set up. We just dialled in the levels to exactly what we were after.
Set Up #3 - The Trouble with Reverses
The wide reverse where the super ended up going on top.
We kept the overhead ambient which now turned into a soft toppy key then outside we had our practicals above the window adding a little bit of night time level to the background.
Camera right we have a 2 foot Astera Helios to do the work of a kitchen practical to make things slightly more interesting.
Set Up #4 - The Wrap
Our hero talent looks herself over while standing in front of a full length mirror.
We wanted an early day sun feel and used a mix of Arri HMIs outside to make it happen. We have an Arri M90 paired with an M40 outside the window doing the hard light slash and the ambient push respectively.
The sheers and curtains act as in shot cutters and diffusion with the majority of contrast work being down by all the negative fill in the room. Big lights and white walls quickly kill contrast but the negative fill helps us maintain some sense of shape.
Set Up #5 - The Dreaded Mirror Over
Over the shoulder into the mirror for the same action as before.
Same as above but with some positional changes of sheers/diffusion.
Shot #6 - Out the Door
Out the door we have our wide shot for the super and logo.
This is now just the two HMIs with nothing in the room except for the negative fill on the two camera right walls not in shot.