Behind the Scenes: Shooting a Narrative Commercial
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- Опубликовано: 19 авг 2024
- Back with a behind the scenes of how we shot this narrative commercial Part 1: Day 1 of Saya the Label series.
In this we're covering how we shot this vignette series in 2 days.
If you want to watch the series, you can do that here:
Saya: • Resilience - (A Cinema...
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New Video = Happy Day! Thank You!
Thanks David!
You guys inspire me through the roof. I felt like I was getting a creativity blank and some discouragement, but thanks to you, I’m feeling it again. Keep posting!
Brien! That is so awesome to hear, thanks for supporting us. Means a lot! I hope more of our future videos are helpful in inspiring new projects.
This is so cool to watch! Love learning more about the gimbal and light choices. Also, super interesting how opposite the light and dark shoots were 😊
Thanks Danielle! Glad you enjoyed it
I love this Chanel. You learn so much! The only thing I'd love would be the color grading process of these images. Always love the punchy colors and the contrast.
Also the business side of things would be really helpful :)
Thanks so much for supporting! We’ll definitely get there over time, we’re slammed with a ton of content and projects we’re working on. Thanks for the feedback, it’s really helpful to know what everyone is interested in.
Thanks for your very interesting and motivating videos! Love to see the insights and very informative tips. 🎉 Very inspiring for me as a aspiring DP.
Thanks for watching! Appreciate the support
So much to learn on this channel!
Thanks Vineet! That means a lot
Excellent as always!
Thanks, really appreciate it!
love seeing you putting that Venice to work bro. Such a treat to own.
Thanks Alex! Appreciate it, it's definitely special.
Always excited to see this valuable BTS content!
Thanks Jaymes! More coming out soon
Great work as always! Inspired and learned a lot here.
Thanks JV! Part two is coming out soon, appreciate the support as always!
@@TenfoldProduction Looking forward to it! And if ever in NYC I would love to shadow or assist if possible.
Appreciate that, will hit you if we’re ever in NYC 🙏
Great breakdown guys! For the "slow shutter motion blur shots" I was wondering what is your go-to shutter speed (or angle in your case) for these clips? It still looks super organic so I guess it's not made in post but in-camera right? Also if you don't mind answering another question: you're often at around 4400K wb in camera to push that natural light more into the cools but what about the keylight on your subject: Do you add a warmer light for faces/people to make them stand out naturally or would you recommend to set the keylight also to 4400K in this case and do it in post?
Keep going, great stuff!
Hey Christian! Next week’s video covers this exact topic, I can’t remember the shutter speed off the top of my head, but it is all done in camera. Often times we set the WB at 4400k and still light everything 5600k to match the daylight ambient, and use it as a viewing tool to better match what it might look like in post. It’s pretty situational but if we wanted to have more colour contrast we would push in a 3200k key so we can pull that in post. More slow shutter details soon though.
thanks for the quick reply! looking forward to the video@@TenfoldProduction ✌🏼
Been binging your content since I found your channel. Amazing high value content!! What software do you use to scribble on the frame?
Appreciate you! Just photoshop
Hey thanks for doing it i am going to credit you for my first film for sure 🤓
That’s very kind haha! Thanks for the support
The fx3 and the Venice seem to be transitioning seamlessly between each other! In your opinion, what would be the reason for renting the expensive Venice when you could just rent a couple fx3's?
Most all camera can be seamlessly cut together, it's more of a lensing thing that throws it off.
We own the Venice, so these are just our in-house cameras. There is a big difference in post production when it comes to bigger projects, and where you want to push it too. If there is heavy VFX, you'd most likely want to shoot in 444 or raw. If it's something run and gun and we don't care about the image as much, we can for sure just shoot only on fx3's. It's all project, speed and budget dependant.
@@TenfoldProduction that’s a great explanation. Thank you.
Saw the result and loved it!! Question: Why don't you use haze?
We were moving pretty fast, and the locations couldn't use haze. Wasn't a make or break for us.
Hey we didn't get a good look at your transmitter quick release system what parts where those again?
What was the aperture of the first dark scene?
probably close to 2-2.8
Which exactly nikons do you have?
Vintage Nikon Ais
Where did you get your Kill Bill panel artwork??
Hello, what light would you recommend I buy if I only have a Godox SL60, I am looking at an Amaran 300c or Amaran F22c
Can you describe a bit more about what you shoot? Doc's, commercials, corporate? Do you have budget for other things? Flags, Diffusion, Stands etc?
I am a filmmaker who does a little of everything, what I would use most would be for commercials/interviews/products. And I don't have anything else for lighting, only the sl60w with a softox and a neewer rgb @@TenfoldProduction
Thanks for the information. When we first started, we went for more output first. You can shape bigger lights with book lights, bounces, softboxes. Whereas it can be difficult to bounce an Amaran if there isn't enough output. 300C should give you a ton of variety to work with.
First !
second
Thanks Slam!
🙏