This week on the podcast we take a look at a recent commercial we shot and discuss scheduling and how to make your locations work for you rather than against you.
Every cinematographer dreams of pulling off a Nomadland style job with magic hour shots left, right, and center but in the commercial world where the dollar rules all those chances are few and far between.
As a cinematographer you have to have the ability to adjust to the schedule and get the best looking images you can given the circumstances.
In this episode we take a look at what that meant on a recent spot shot here in sunny Western Australia.
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: Goliath
On the Patreon Breakdown series this week we look at a great looking set up from the Amazon Prime show Goliath.
I hadn't seen the show before but someone in the Discord group shouted out this specific episode and I am happy they did.
We look at a beautiful sequence shot inside a casino and then go outside to see what it takes to make realistic moonlight in a wide open landscape. Lots to learn from this one.
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.
Donut Days - The Spots
These spots were filmed in one day and they were 2 15 second spots consisting of the same gag in each. A ball flies out of nowhere and hits one of the guys on the head. They fall, you laugh.
That is all she wrote.
Camera Gear:
We shot this on the Alexa Mini LF and the Cooke Speed Panchros.
Everything was shot at 800 ISO except for the wide scenes (they were 1280). We shot open gate for reframe options and used Prores 4444 XQ.
The Spot - Shot by Shot
Shot 1 - The Lurker
The Shot
Wide opening shot to establish the scene layout.
The Lighting
We had a 20x20 of 1.4 grid overhead to cut the harsh sun. It was more to cut the shadown from the awning but once it was up we left it for continuity.
Then we used a 12x12 Ultra Bounce to bounce from frame left and then had Black Neg wrapped and tied to the overhead everywhere else to cut any stray return light/fill.
The Result
Set Up #2 - The Punch In
The Shot
Man in focus gets hit by a ball in the back of the head and falls out of shot.
The Lighting
See above. The only thing we did was move everything closer so we could control the levels better. We also added a mirror bounce to the background to help get some level.
The Result
Set Up #3 - The Texture
The Shot
A continuation of the previous shot with a rack focus to this character.
The Lighting
See above.
The Result
Set Up #4 - The CC Shot
The Shot
Over the shoulder product reveal on the phone.
The Lighting
We blacked off some areas of the overhead to get the grass a bit darker behind the hand.
We brought in a smaller 4x4 diffusion frame which was very thick to help wrap the top light diffusion even further around the hand.
We also moved in all the neg to soak up any stray light bouncing around.
The Result
Set Up #5 - The Close
The Shot
We cut out to reveal the reaction of the BBQ guy.
The Lighting
Same as Shot #2.
The Result
Shot #6 - The Wide Jetty
The Shot
We are wide as the guy frame right casts his line of the jetty.
The Lighting
There was no space to bounce any light from as we only had the one small camera boat. This meant all the lighting came down to orientation to sun and time of day.
The Result
Shot #7 - The Back of the Head
The Shot
Guy checks phone, gets hit with a ball in the back of the head, and falls into the water out of shot.
The Lighting
We moved the talent away from the edge of the jetty and used an 8x8 of bleached muslin to bounce some of the sun back as a key wrap.
Frame left we have two 4x4 floppies adding contrast by taking light away from the near side.
The Result
Shot #8 - The Rack
The Shot
A continuation of the previous shot.
The Lighting
See above.
The Result
Shot #9 - The CC Part 2
The Shot
The classic credit card/phone shot.
The Lighting
WE had a 4x4 frame over the top of the hand and then neg all around the body of the talent and camera right.
The Result
Shot #10 - The Stare
The Shot
Reaction shot once this guy sees the talent hit the water.
The Lighting
Here we used the same set up as the other shot with the bounce and neg but because we were able to come on more of an angle towards the sun we could get way more contrast in the scene.
The Result
Shot #11 - The Finale
The Shot
Main talent in water basking in his victory.
The Lighting
Donuts.
The Result
