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
Camera Gear:
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
1.
2.
3.
4.
5.
6.
7.
The Spot – Shot by Shot
Shot 1 – The Wide
The Shot
Our featured actress sipping a cup of tea post yoga workout.
The Lighting
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 8×8 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.
The Result
Set Up #2 – Down the Line
The Shot
Floating handheld from directly in front.
The Lighting
This is a continuation of the previous set up.
The Result
The Storyboard
Set Up #3 – The Reach Over
The Shot
Same as above buit a different angle and focal length.
The Lighting
Same as above.
The Result
Set Up #4 – Back in the Middle
The Shot
Our hero gal rolls out the yoga mat.
The Lighting
Same as above.
The Result
Set Up #5 – The Double Up
The Shot
Husband tries to watch tv while wife exercises in front.
The Lighting
See above.
The Result
Shot #6 – The Stretch
The Shots
Our yoga lady shuffles through various moves and poses.
The Lighting
Same as above.
The Result
Shot #7 – Mirror Shot
The Shot
The matching shot of the previous set up. This time on Dad and the kids.
The Lighting
Same as above.
The Result
Shot #8 – The Problem
The Shot
A matching shot between the husband and wife.
The Lighting
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.
The Result
Shot #9 – The Bummer
The Shot
A matching shot for the previous set up.
The Lighting
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.
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: 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 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 Scout – Will It Work
1.
2.
3.
4.
5.
6.
7.
The Spot – Shot by Shot
Shot 1 – The Wide
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
Set Up #2 – Down the Line
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 Reach Over
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 – Back in the Middle
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 #5 – The Double Up
The Shots
The B cam angle of the previous shot.
The Lighting
See shot #4.
The Result
Shot #6 – The Stretch
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
Shot #7 – Mirror Shot
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 Problem
Shot #9 – The Bummer