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Oh, the glamor of the commercial manufacturing world.
Join me later this week as we delve into what you can do with a few titanium tubes, some good people, and 10 hours in the shower.
Enjoy a look behind the scenes!
I can't believe it took so many feature breakdowns to finally make it The tree of life shot by Chivo ASC. The goat before the goat was the goat.
This is a film that had a huge impact on cinematography. In the breakdown, we discuss how you can take advantage of Chivo and Team in your own work, regardless of your level.
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Camera equipment:
Check out the equipment that I use for all of my commercial recordings by clicking the link below:
Greenscreen DP Commercial Cinematography Gear
We used the Alexa Mini LF together with Sigma Cine Primes. The 14mm was a lifesaver in such tight spaces.
For the lighting, we used a single Arri S-60 Skypanel and titanium tubes for the interior.
Almost anywhere in the world this would have been a studio job, but here in Western Australia, where studio space is hard to come by and set builds are like unicorns, we managed to shoot an entire spot in a residential bathroom.
No false walls, no studio grid and no air conditioning in the middle of the Australian summer.
Shot 1 – The Push Start
The shots
Our main talent enters from the left image as the camera slides down the floor to expose the bathroom.
The lighting
We built our artificial lighting grid with a combination of Wall Bustern and Astera Titan Tubes. This rig became the basis for everything we did in the bathroom.
Outside the room frame was a kind of small LED panel that exerted a little pressure through the door when the talent entered the room.
The result
Location
Set Up # 2 – Down the Line
The shot
A slow crawl over the target of our two main characters.
The lighting
Same base as above, but we adjusted the levels in the tubes and added a 4×4 diffusion frame to soften the light and get a little more winding from the top.
The result
The storyboard
Set Up # 3 – The Texture
The shot
The hardest shot for talent and focus puller. The hand entering the frame shot. This is always easiest in reverse order and then in reverse order.
The lighting
The same as above.
The result
The storyboard
Set Up # 4 – The Creep
The shot
The camera crabs from left to right as we use the door as the foreground to hide what is happening and to add some tension to the spot.
The lighting
Like our original width, but we played with the LED panel in the foreground to get a little more shape out of the door frame.
The result
Set Up # 5 – The Reverse
The shot
We're looking away now. The two talents lean forward as the camera approaches them.
The lighting
Exactly the same setup as the other angles, but we added a single titanium tube frame to wrap the light from above and forgive the talent.
The result
The storyboard
Set Up # 6 – The Lean
The shot
The continuation of the above recording.
The lighting
See above and we added a little poly when the camera was coupled in.
The result
Shot No. 7 – The Opening SIngle
The shot
The shower curtain opens and shows our talent. He reaches for the tap and we cut.
The lighting
As above, but the angle and lens change means that we can now see the reflection in the talent's eyes.
The result
The storyboard
Shot No. 8 – The extreme angle
The shots
A shot of the talent examining the upcoming VFX tip.
The lighting
A single titanium tube on the original Wallbuster rig combined with some 2×1 poly from the camera side.
The result
The storyboard
Shot No. 9 – New Tap Who Dis & # 39;
The shots
The director had to be pushed in slowly when the tap was touched for the first time. It just wasn't possible in the room, so we moved the tap for the last shot.
The lighting
The outer Skypanel became the key through the 4×4 window diffusion, and then a single titanium tube helped wrap the light a bit more and keep the shape we were looking for.
The result
The storyboard
