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On this week's show, we're going to look at a recent spot I shot and break down the approach, lighting, and more.
This was fun as the script required multiple glances in a very cramped space.
Enjoy the look behind the scenes!
The latest course is now live and the positive feedback has been great.
This course is about on-site lighting and I split my entire workflow into on-site commercial productions.
WE go through everything from the preparation to the location scout, the tech scout, the creation of the schedule and then of course the actual day of shooting.
Thanks to modern technology, you can enter the virtual sets while we light and frame each shot along the way. If you've always wanted to come to the set with me, this is your chance.
Then please take a look at the latest Greenscreen DP course:
Advanced Cinematography – Location Lighting
This week we're looking at the Patreon Breakdown The mosquito coast photographed by our own Greenscreen DP alumni Alex Disenhof.
Some nice work on the show and we go through all of the choices, frames, lighting and more.
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The Greenscreen DP Patreon Group
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Recording 1 – The slide intro
The shot
The camera pans left to left to reveal a mother and son packing for a trip.
The lighting
We slid the 12k HMI through a loosely hung 12×12 for the key and rolled it up to make the bottom a little hotter to create the window effect.
In the foreground we had another HMI from the outside that made the slot on the wall, and in the back we had a smaller Joker 800w that adds some punch to the bathroom curtain.
Inside, Neg was wrapped around the camera.
The result
Storyboard
Set-Up # 2 – The Middle Reveal
The shot
This is an extension of the previous recording.
The lighting
The yard we worked in was quite small and access was limited. This meant that everything had to be from the ground.
We had an 8×8 ultra bounce in the aerial camera right with an M18 jumping in for a key light. In the background we had a Litemat 4 in the neighboring yard to add backlighting. We used an Aputure 120d frame on the left to rake along the outside wall.
Finally there was a Helios upper frame to carry the practical things that were in the tent a little further.
The result
The storyboard
Set-Up # 3 – The Tilt-Up
The shot
This shot is interrupted by shot # 2 as the camera tilts up to reveal the next position.
The lighting
As above, but closer.
The result
Facility # 4 – The Kitchen
The shot
In this kitchen we needed a number of looks. It was all of these three talents who made any kind of meal.
The lighting
We knew we had to get a ton of different looks in a very small window, so we pre-rigged all of the looks and then turned things on or off based on our goals.
We had the Arri 1k HMI out of the window for the daylight button. Above was a Litemat 4 as a skylight. In the space frame on the right there was another Litemat 4 to wrap the key around.
For the background we had a couple of Helios to either backlight the talent or to give the BG some accents.
The result
The storyboard
Facility # 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 No. 9 – The view in
The shot
In this setting, the Talent takes the ticket out of his pocket and places it over the oven for safe storage.
The lighting
We threw it all out and used a titanium tube to create the flood of light on the outside of the window.
Inside we used the Litemat 4 to push the key in combination with an M18 through full grid for the rest of the room.
We hung a neg camera on the right and let the flour hanging in the air sort the room tone.
The result
