We are back on the breakdowns this week and we are trying a slightly modified approach to looking at the work.
In this episode we start by discussing the tech scout stills and build out a plan of attack from there then follow up on the day with the exact lighting plan, schedule, and all the other details that go into making a successful shoot.
Enjoy the behind the scenes look!
Advanced Cinematography: Location Lighting
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: Concrete Cowboys
Over on Patreon this week for the Feature Film Breakdown we are going over Concrete Cowboy shot by Minka Farthing-Cole.
This is a very unique looking film that leans into the modern aesthetic quite heavily. It also presents a wonderful opportunity to demonstrate how the same lighting set up can be used time and time again all while feeling different and unique throughout a movie.
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.
Inside the House - The Spot
For camera we shot on the Alexa Mini LF paired with Cooke S7 lenses. A beautiful combination but certainly not the lightest configuration possible.
All of the movement throughout the spot was a loosehead operated on the end of a big comfy dolly.
For lighting equipment we used almost everything on the truck. An Arri M90, 2 M40s, an M18, a Joker 800 and a Skypanel S60 did the heavy lifting.
The Scout - Will It Work
The Spot - Shot by Shot
Shot 1 - The Wide
Our featured actress sipping a cup of tea post yoga workout.
This was the main set up for the majority of the day.
The Arri M90 is doing the heavy lifting in the foreground with a Sofhob for her and a less diffused section for the sofa itself.
To help wrap the light around her face on the key side inside the room we used an Arri Skypanel set up through an 8x8 of diffusion to boost the levels.
Neg fill is all over the walls to the left and right of the camera to try and kill the flat ambient light. In the mid ground an M40 is setting level and in the background on the kitchen wall an M18 is doing the hard slash across the top.
Set Up #2 - Down the Line
Floating handheld from directly in front.
This is a continuation of the previous set up.
Set Up #3 - The Reach Over
Same as above buit a different angle and focal length.
Same as above.
Set Up #4 - Back in the Middle
Our hero gal rolls out the yoga mat.
Same as above.
Set Up #5 - The Double Up
Husband tries to watch tv while wife exercises in front.
Shot #6 - The Stretch
Our yoga lady shuffles through various moves and poses.
Same as above.
Shot #7 - Mirror Shot
The matching shot of the previous set up. This time on Dad and the kids.
Same as above.
Shot #8 - The Problem
A matching shot between the husband and wife.
The tricky bit here is it is a complete re-light as we are looking into the area where all of our sources were before this.
In the interest of speed and ease of change over we used an M90 from frame left in combination with the Skypanel set up for the 3/4 back light and then added an M40 off camera right to help etch him from the dull background.
Shot #9 - The Bummer
A matching shot for the previous set up.
This is the worst angle in this room because we are looking into a flat white wall with not a whole lot of opportunities to shape the light.
We used cutters either side to try and get some shape on the walls for interest then softened the blistering front light to a level that looked right. In the background we shuffled in a Joker 800 to try and highlight some depth.