Listen to the Podcast
On today's show we go behind the scenes of a television commercial to look at how circumstances outside of our control shaped the direction of the final photography.
In today's world of commercial cinematography there is often a choice between time on set or time in post and we explore a very specific example of that situation in this episode.
Patreon Podcast: Patreon Breakdowns
This week over on Patreon we take an extensive look at the lighting and lensing of some user submitted projects. This type of breakdown struck a chord last week and I think we may have found ourselves a new format.
Basically we are breaking down projects submitted by listeners and discussing the good and the bad. By branching out and looking at a wide range of projects and budgets we can start to see the common ideas that are working.
The video went a bit long (it is over 40 minutes of breakdown) but I think there was some good stuff in there.
To view the video simply click on the link below:
- Arri Amira: 25fps, 180 degree shutter, 3.2k Prores, ISO 800
- Arri Master Primes: 25mm, 32mm, 40mm
The Spot - Sky Replacements
Shot #1 - The Wide
The wide shot establishing the characters and their physical relation to one another.
Using the sun as the back light and timing the schedule meant we could bounce back enough fill to keep things consistent with the closer shots.
Shot #2 - Punching In
Our first punch in with talent speaking directly to camera.
The sun is still in a position to add some backlight and to shape things we used a 12x12 Neg on camera left and a 12x12 Ultra bounce on camera left to lift his key side level.
Shot #3 - The Open
This is our opening shot in the ad and sets the look for the entire piece.
The sun had disappeared and the clouds had set in by this time. We used even more 12x12 Negs to shape the foreground and let the background fall where it did.
Behind the Scenes
An on set still taken with my Leica.
Shot #4 - The Close Up
This is where our talent delivers the money line.
The sun was completely gone so we used the same set up as before and shaped accordingly as we could now move the camera closer to talent.