Today we're breaking a little commercial on the podcast that was shot right on the set of the COVID restrictions here in Western Australia.
The crew had to be kept small, the setups were included and all in all I think the techniques and tips we talk about in the podcast are applicable to a wide variety of filmmakers.
Enjoy a look behind the scenes and if you have any questions about the Patreon Group, go ahead and scroll through.
In this week's Patreon Breakdown video, we analyze Greig Fraser ASC's new Batman trailer.
This is a fantastic looking movie with some high level work in each department. When you break these down, you can see what is possible with modern cinematography tools and techniques.
You can find this week's Patreon content by clicking the link below:
The Greenscreen DP Patreon Group
If you're a fan of the podcast and want more video content, the Patreon group is for you. Every week I publish an exclusive podcast, video or live stream just for Patreon members.
Patreon members also get access to the private Facebook community for the show. The podcast couldn't exist without Patreon's support and I'm doing my best to take care of the supporters.
A small job in one place was shot in a day during COVID restrictions.
We used the Alexa Mini LF with Atlas Anamorphics and shot Prores 444XQ.
The lighting consisted exclusively of household electrical appliances, so nothing bigger than an Arri M18.
Shot 1 – The Wide
Lady is sitting on a bed and is not feeling well.
This was difficult because the orientation of the room relative to the sun and the time of day we had to take photos here made it difficult to find the right levels.
We used the Arri M18 to highlight the surroundings inside so we can keep the exposure in the windows.
For the main light we used an Arri Sky panel that was pushed through a 4×4 with a grille on it.
Left camera We used 2 4×4 disks to control contrast and added haze to give the white walls a more subdued look.
Set Up # 2 – The Angle Change
A slight change in the angle and a change in the lens in the previous setting.
This is a continuation of the previous build where everything has been brought a little closer.
Set Up # 3 – The phone / card shot
We threw the Arri M18 overboard because of the spatial tone and only used two Sky Panels to control the key and background.
The key was the same as before when it was just pushed through a 4×4 frame with a grid on it. Add some neg and we were ready to shoot.
Set Up # 4 – The living room
A young girl doesn't feel so good on the sofa.
We used the same lights as in the previous scene and almost the same configuration.
The M18 acted as the BG room sound level and the Sky Panel through a larger 8×8 diffusion piece as a key to carry the level over the entire foreground.
Set Up # 5 – Down the Line
As above, but closer.
As above, but closer.
Shot # 6 – Vertical for victory
An Instagram ad element captured vertically.
We originally intended to shoot this across the house but ran out of time so we needed a quick fix.
We used an 8×8 from Hi Lite to take the edge off the sun that is framed. Then we added a 4×4 poly in the front to raise the level in the foreground and to wrap the sunlight around the face.
Shot # 7 – Less than ideal
Lady is stung by a bee.
We took this hot as the first shot of the day and it was less than ideal from a lighting standpoint.
The sun was below the horizon and the best aspect of the back yard of this place meant we were looking carefully where the sun would rise.
We tried to keep the sun right behind her head so we could expose it to the sky, and then scanned with the Arri M18 through an 8×8 from the left frame.
Add a little neg fill from the frame to the right and that's it.