It isn’t always rainbows and lollipops on set and in today’s breakdown episode we look at the inevitable discussion that every director, dp, and first AD are bound to have during a project, “Which shots can we do during the middle of the day?”.
The art of sacrifice is real and it is a delicate dance routine between director and production to decide what has the best chance at saying something and what has less potential. Never easy but that is why it is fun.
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:
Advanced Cinematography – On Set Training
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: Reacher
This week for our Patreon Breakdown we are looking at the new series Reacher. The latest round of series from the big streaming services are pushing the boundaries on a number of different visual levels and we examine how they achieve their looks.
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 Art of Sacrifice – The Spot
Camera Gear:
We shot on the Arri Mini LF paired with Sigma Primes and a Black Pro Mist filter for any amount of non-cleanliness we could get.
It wasn’t much but it was better than the alternative.
The Location – One House to Rule Them All
We shot a ton of set ups in this house so it was important it worked for all angles and directions. It didn’t really tick any one box in particular but it had enough variety, was large enough, and was willing to have a film crew in it for 12 hours so our job as to make it work.
The Spot – Shot by Shot
Shot 1 – The Build
The Shot
Father and Daughter sit at the living room table making a toy car.
The Lighting
We knew the lighting was going to have to be generic enough to work for all the of the set ups throughout the day so we kept it very simple.
An Arri M90 outside for a bit of kick coupled with Arri M40s near the talent window and then inside we have a Creamsource Cortex camera left through a 6×6 diffusion and another Vortex frame right to add some fill to the girl.
The Result
Full Frame
Set Up #2 – The Push Finish
The Shot
A Push in and a lens change from the previous set up.
The Lighting
See above but added more fill to suit the action. Never add more fill. Always regret.
The Result
Full Frame
Set Up #3 – The Easel
The Shot
This was a one off shot for one of the 6 second ads and it was a simple push in on the easy rig as our talent put the finishing touches on her painting.
The Lighting
We swung the 9k around camera left and then added some Neg camera right to help contain some of the ambient light. The level was dropping fairly quickly at this point so it became a balancing act of taking heat out the M90 while still getting some contrast in.
The Result
Set Up #4 – The Dog Shot
The Shot
Our hero talent relaxes with his feet in the pool as his trusty dog waits at his side.
The Lighting
We went straight into this set up after shots 1 and 2 and that meant the 9k played from the corner of the yard then we wrapped a vortex nearer to camera to help even out the light.
Camera right is neg to take some of the ambient away and add contrast.
The Result
Full Frame
Set Up #5 – The Laugh
The Shot
Most of the ads were two simple shots with the wide and the close up. This was the reactio shot to the man’s wife making him laugh.
The Lighting
We couldn’t really look another direction so we changed lenses to a little bit longer and came around camera left. Everything else is as above in Shot #4.
The Result
Full Frame
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!
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:
Advanced Cinematography – On Set Training
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: 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:
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.
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 12×12 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 4×4 frame of highlight to cut the sun on the talent. Then we used a 12×12 of Ultra bounce to wrap the sun on his key side.
Finally we had two 4×4 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 12×12 Neg camera left and a 12×12 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 12×12 Ultra from frame right and a 12×12 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 – The Exit
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.