On the show this week we are looking at a recent spot I shot and breaking down the approach, the lighting, and a whole lot more.
This was a fun one as the script called for multiple looks inside a very cramped location.
Enjoy the behind the scenes look!
Advanced Cinematography: Location Lighting
The latest course is now live and the positive feeddback has been awesome.
This course tackles lighting lon location and I break down my entire workflow for commercial productions working on location.
WE go over everything from the prep, to the location scout, the tech scout, drafting the schedule, and then of course the actual shoot day.
Leveraging modern technology you are able to step on to the virtual sets as we light and frame every shot along the way. If you’ve ever wanted to come on set with me this is your chance.
If so than please check out the latest course from the Wandering DP:
Patreon Podcast: The Mosquito Coast
This week on the Patreon Breakdown we are taking a look at The Mosquito Coast shot by our very own Wandering DP alumni Alex Disenhof.
Some beautiful work in the series and we go over all the choices, framing, lighting, and more.
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.
Same Spot, Different Lighting – The Spot
Shot 1 – The Slide Intro
The Shot
The camera tracks from left to wipe to reveal a mom and son packing for a trip.
The Lighting
We used the 12k HMI pushed through a loosely hung 12×12 for the key and rolled it up to let the bottom go slightly hotter to give the window effect.
In the foreground we had another HMI from outside doing the slash on the wall and then out the back we had a smaller Joker 800w adding some punch to the bathroom curtain.
Inside was Neg wrapped all around camera right.
The Result
Storyboard
Set Up #2 – The Medium Reveal
The Shot
This is the extension of the previous shot.
The Lighting
The yard was quite small we were working in and access was limited. This meant everything had to be from the ground.
We had a 8×8 Ultra Bounce in the air camera right with an M18 bouncing into it for a key light. In the background we had a Litemat 4 in the neighbor’s yard to add a backlight. We used an Aputure 120d frame left to rake along the exterior wall.
Finally there was a Helios above frame to carry the practical that was in the tent a little bit further.
The Result
The Storyboard
Set Up #3 – The Tilt Up
The Shot
This shot cut in from Shot #2 as the camera tilts up to reveal the next location.
The Lighting
Same as above but closer.
The Result
Set Up #4 – The Kitchen
The Shot
There was a series of looks we needed in this kitchen. It was all of these three talent cooking some sort of meal.
The Lighting
We knew we had to get a bunch of different looks in a very small window so we pre-rigged for all the looks and then turned things on or off based on our goals.
We had the Arri 1k HMI out the window for the daylight key. Overhead was a Litemat 4 for a top light. Inside the room frame right was another Litemat 4 to help wrap the key around.
For the Background we had a few Helios to either backlight the talent or add some accents to the BG.
The Result
The Storyboard
Set Up #5 – The Kitchen #2
The Shot
See Shot #4.
The Lighting
See shot #4.
The Result
Shot #6 – The Kitchen #3
The Shot
See Shot #4.
The Lighting
See Shot #4.
The Result
Shot #7 – The Kitchen #4
The Shot
See Shot #4.
The Lighting
See Shot #4.
The Result
Shot #8 – The Kitchen #5
The Shot
See Shot #4.
The Lighting
See Shot #4.
The Result
Shot #9 – The Look In
The Shot
In this shot the talent grabs the ticket out of her pocket and places it above the oven for safe keeping.
The Lighting
We bumped everything out and used a Titan tube to create the wash of light on the outside of the window.
Inside we used the Litemat 4 to help push the key in combination with an M18 through Full Grid for the rest of the room.
We hung some Neg up camera right and let the flour hanging in the air sort out the room tone.
The Result
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: The Mosquito Coast
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.
The Result
Shot #8 – 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.
The Result
Shot #9 – The Exit