Today on the podcast we are taking a last look at our series of commercials set in locker rooms, light with all LED lights, and shot on the Alexa LF with Arri Signature Primes. I know many of you will be happy to see this series of breakdowns come to an end so let’s go out with a bang.
The brief for this ad was a smokey back alley poker game style with a bit of humor thrown in for good mix. Let’s take a look at what went in to making this look a reality.
Enjoy the episode!
Patreon: Extensive Breakdowns of Your Work
If you enjoy these breakdown episodes and want more of them then Patreon is the place for you. We are breaking down listener submitted projects and talking about all things lighting and camera.
This week we extend our look at a recent Spec ad shot by one of our Patreon members and go over the good and the bad.
To get your work featured on the show simply leave a link with a description in the comments section over on the Patreon home page.
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.
Full Frame + LED Lighting – Don’t Fight the Funk
This commercial was all about the gear. A relatively straight forward comedy spot but we tried to lift the level of the images by going with the Alexa LF and the Signature Primes.
Camera Gear:
Check out the gear I use on all of my commercial shoots by clicking the link below:
Wandering DP Commercial Cinematography Gear
The only kit not listed on that page is the set of Signature Primes and the Alexa LF.
For lighting we went all Kino LED.
The Spot – LED Lighting
Set Up #1 – The Moving Master
The Shots
The spot opens on 4 rugby players at a poker table in a dimly lit locker room..
The Lighting
The wide sets up our entire lighting approach for this spot. The location dictated the fixtures we ended up using because of the lack of space as well as the layout of the locker room.
We needed low profile fixtures that were easily color tuneable. Enter the Kino Flo LEDs. Light(ish) fixtures with enough output to get us to where we needed to be.
We used one Kino 850 over the top as our main light for the table then in the background we used some generic LED tubes as in shot practicals. It would have been way easier to use the Astera Titan tubes but we shot this before those were out.
For the foreground element we added a smaller 450 Kino to help bring out the table.
Add a bunch of haze and that was it for the wides.
The Result
Behind the Scenes
Alexa LF – Full Frame
Set Up #2 – The 4 Shot
The Shots
We swap sides and punch in for a tighter 4 shot.
The Lighting
The overall lighting is the same with the addition of some smaller Kino 450 LEDs to edge out the players and create some depth plus some flags to keep the practical LEDs from ruining our contrast levels.
The Result
Behind the Scenes
Alexa LF – Full Frame
Set Up #3 – In Tight
The Shot
The singles is where the DOF on the Alexa LF really starts to stand out.
The Lighting
We adjusted the existing fixtures from the previous set up and added another LED to act as a ctach light in the eyes.
The Result
Alexa LF – Full Frame
Set Up #4 – Another Single
The Shots
Matching the previous set up.
The Lighting
Same fixtures as above adjusted for the new camera position.
The Result
Alexa LF – Full Frame
Set Up #5 – The Last Single
The Shots
Matching the previous set up.
The Lighting
Same fixtures as above adjusted for the new camera position.
The Result
Shot #6 – The Coach Enters
The Shots
Matching the previous set up.
The Lighting
Same fixtures as above adjusted for the new camera position.
The Result
Shot #7 – In Close
Shot #8 – The Table
The Arri Alexa LF and Signature Primes make for a fun combination. In today’s episode we take an extended look at a recent TV spot shot on the Alexa LF and we break down the lighting, the choices behind choosing the LF, and the framing.
It is always fun testing out new gear and even better when you are getting paid to do it. The Alexa LF is an incredible image capture system and I am looking forward to continuing to use it on jobs in the future. All of the Full frame cameras make it a very exciting time to be a cinematographer.
Enjoy the episode!
Patreon: Feature Film – The Final Countdown
Over in feature film land we are officially on to our very last week. After making our way through the outback we are Sydney bound for the last few pieces of the film.
Be sure to head over to the Patreon site to hear all the latest with the film, listen to the BTS of the day to day activities and more.
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 LF & Signature Primes – The Future?
This commercial was all about the gear. A relatively straight forward comedy spot but we tried to lift the level of the images by going with the Alexa LF and the Signature Primes.
Camera Gear:
Check out the gear I use on all of my commercial shoots by clicking the link below:
Wandering DP Commercial Cinematography Gear
The only kit not listed on that page is the set of Signature Primes and the Alexa LF.
For lighting we went all LED except for the two Arri M18 HMI.
Alexa LF – Large Format Cinematography
Set Up #1 – The Windowless Wide
The Shots
The spot opens on an empty locker room. Players enter frame right and sit on the bench.
The Lighting
The main issue this entire spot was just how bad the location was from a lighting and production design stand point. It really had zero going for it but it had to fit in to the schedule and we needed it close to the other two locker rooms we were using the other days.
To get around the low ceiling and lack of a window we boxed an Arri M18 in the camera right corner of the room and aimed it at the floor.
Then we used Kino Celebs of all shapes and sizes to help carry the key were we needed it to go.
We wanted to keep the shape so it was all about selective use of lights and smaller fitxures closer to their intended target.
The Result
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Alexa LF – Full Frame
Set Up #2 – The Mid Shot
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Set Up #3 – The Roadside Pick Up
The Shots
The best part of shooting on the LF apart from the full frame goodness was our ability to reframe after the fact. In the mid we had a few different takes on who was speaking first and what the action was so the director could then later focus the framing on exactly what version they went with.
The Lighting
The negative of this location quickly became the positive as it was essentially shooting in a studio. All the lights were ours so we just moved things closer and dialed back level to make it look consistently richer as we went in.
The Result
Set Up #4 – Canter’s Deli
The Shots
This is where the fun really was with the Alexa LF and Signature Primes. I actually found it too distracting on the longer lenses to shoot wide open. It was so sharp and the fall off so crazy that it looked like the people where just floating in a blob of space.
The Lighting
The wide lens in tight really made these shots in the end. Nothing crazy with the lighting and we followed the same formula of moving the fixtures closer and then reducing level to match the wide. Not added fixtures just slight adjustments on each player to hone the look.
The Result
Set Up #5 – Switching Sides
The Shots
The reverse of all the lighting in the spots so far. The coach pops in with some tea to offer the players.
The Lighting
This is the angle that requires the biggest cheat. We could play the angles of the light the same as in the other shots but it wouldn’t look great. We keep the direction but change the output and key lights. By swapping them with one another we end up with something pleasing to the eye and it isn’t a huge stretch in reality either.
The Result
Set Up #6 – Switching Sides
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