foreign [Music] the look that we're going to try and Achieve right we've looked at those five key areas we've decided this is the way we want to go with the framing this is the way we want to go with the composition this is the way we want to go with the lighting all of those things in my in our minds we're starting to create this image we're starting to get the idea of what this thing is going to look like that is done now that we have a vague idea no matter how vague it is
it doesn't matter as long as we have some sort of idea of how we're going to approach this thing then we can get into the next step which is deciding just a very rough outline in your head again you don't have to sit down and do this every single job because once you do it 10 20 times you're basically going to know what you need right we're just walking through it for your purposes here to see how the the mental path to get to the tech Scout works right so the next thing is going to
be well what do I need to achieve the look I just decided on right we know the Fincher style sort of True Detective look where it's desaturated played down in the shadows a little bit of harshness in the lighting a little bit of harshness in the wides and we're going to soften it up as we go in it's going to be be anamorphic it's going to be very shallow depth of field when we get in there what are the elements that we need to produce those results and again it's not like we're not going through
and itemizing we need this and this and this it's just a big picture idea so that when we get to the text gown we're talking to the team if they're missing something or if they think about a different way of solving a problem we can say well that might work to solve this one problem but we have four of these shots on the day and for the other three shots having a 12 by 20 is better than having just a 12 by 12 or whatever it is right you you want the solutions before you ask
the questions and if someone does answer a question with a better solution well then you you're able to articulate well that's actually better it helps us here here and here so let's go with that idea right you're now thinking about managing a team of Highly skilled individuals that bring their own unique set of skills to the project and we want to take advantage of all of their knowledge so we're going to leave the door as wide open for them to make us look good right that's the the whole idea here so let's walk through we'll
just look at the agency boards again low looking for major red flags and then identifying equipment here we know we're going to want the sun here this is going to be our hardest shot it's the widest coupled with the last shot of the commercial which is the sort of resolution of the ad which is also a wide we're going to want the sun behind and we know if our road is facing east to west that we are going to want to be facing in this situation we're going to be one Facing East so this is
probably going to be first shot of the day sun gets out of the frame we don't want the sun in the frame for this shot so that eliminates us having like a 6 30 a.m start to want to be rolling when the sun is down here we're not going for magic hour we could try problem with going for magic hour in a shot light in a setup like this is we have what eight shots to get through seven shots to get through by the end of it we're canceling a few of these interior car shots
Andre said nope he wants to play everything outside of the car so we are not going to have those interior shots which makes things a lot easier for us in time and equipment so if we go now to this wide again Sun up here out of the frame so we'll remember that when we talked to the first ad about scheduling we want little tiny edges on the car on the hood maybe there's a little something but really it's edges on the two people that are going to be standing out of the car because there's going
to be another person over here right but for our purposes Sun out of the sky now what else are we going to do well that's really probably it if we end up this wide but knowing that we might not end up this wide we might end up on a longer focal length further away we don't know still we haven't been there with the whole team we haven't decided on the lenses we haven't been there with Andre and sat through well this is the field that we're going for this is the way that we're going to
play this just in my mind I would say we're going to need as much neg as the production can get us because I'm going to want to run it all along here and all along behind the camera because I want as much Shadow I don't want any Sky coming back in here and bouncing it up because it's going to flatten off our image we're so wide that we're going to need as much an egg basically as production can can order however much can fit in the grip truck that's how much neg we're going to want
then I know that maybe we end up on a 135 right and we can really compress this space so we can get the bounces close enough well I know it's either going to be ultra bounce like a 12 by 20 or two 12x12s if those are easier to move depending on crew numbers or just one single 12 by 12 if that's all you have or if that's all you can do with the crew and with the sandbags or the shop bags that you have maybe you don't have enough and it's going to be windy whatever
it is I know I'm going to want to bounce this direction so I'm going to know okay at a minimum I need a 12 by 12 of ultra or of unbleached muslin something like that probably unbleached muslin in the desert just to give it a little tiny bit of that warmth so for this shot easy neg and um 12x12 of some sort of Bounce the other thing here thinking about camera movement is really it's all David finchery which is just like that very static camera camera doesn't move except for a very specific purpose but even
though the camera isn't moving even though it's going to be static I would never suggest just saying oh yeah we can put it on head and legs just on a tripod it's like that is so inefficient for time and this is a great example of explaining to production why spending money is going to save them money because you figure oh we can just put on head and legs like there's no Dolly moves in here why do we possibly need a dolly well it's those last little one percent two percent move that you're trying to increase
the amount of production value you're getting out of a shot happens right at the last second where you're sitting there lined up and if you're on head and legs and you're like man it'd be great if we were two inches that way and then just you know two inches down well to do that ends up taking three minutes because the grips have got to come over they got to lift the thing up they gotta readjust re-bubble uh and then you get over there and you're like well it's not actually it's good and then you got
to go back to where you were and it takes the other two minutes to do it well if you've got eight shots for the day and you know you're going to be doing that uh you know sort of three times every single shot in an Ideal World in a real in a real world if you have head and legs you know you do it on the first shot and then you realize well we just chewed up 10 minutes and we're not gonna be able to do that every single shot so every single shot from here
on out gets worse because we're not able to experiment so I would say definitely Dolly always on the dolly right we just want to wheel this thing around and have complete Freedom you can use you know the pneumatic up and down to go really really quickly you can put a little slider on there I would also say every time you get a dolly on a shot where it's going to be static every time you get a dolly also get a little three foot slider on there because just that one six inches to the left and
six inches to the right where you don't need anyone else to do those tricks to do those setups on the day you can just unlock the head slide light over the dolly lock it off and you know you don't have to call the whole crew over to help move things the more efficient you can be with moving the camera tiny tiny increments the better you're going to be so I would say of course everything here is going to be on the dolly right and that's going to cost money and you're probably going to get questions
why is it on the dolly when there's no Dolly moves and you lead with well I'm trying to save you money right there's 30 people standing around for 10 minutes every single shot there's eight shots that's 80 minutes 30 people standing around doing nothing or you could rent the dolly for 500 a day right you decide because I'm happy to have them move it all around it's just going to eat up time and in a commercial where we're shooting Exteriors and we're dependent on the Sun the lighting could get very expensive if we don't take
advantage of what the sun is giving us so that's how you sort of just find a way to make it easier on Productions to spend money early by having those ideas already in place like this is why we need this piece of gear because it's actually going to save you money I'm helping I'm not you know just spending money for nothing okay here I know in this situation we're probably going to go depending on the angle of the sun we're going to have some sort of overhead rig and I know judging by the size of
this shot we're probably never going to go wider than this but always good to give yourself a few feet either side so I would just say for safety's sake a 12 by overhead is going to do it something like a highlight or a half soft Frost something where you still get the bite in the the sun like in the direct sun up here you still get the bite of the Sun so it's not too soft like a quarter grid um but and there's enough level coming through but it's just softened off enough then I know
underneath we're going to bounce some level this way so we'll use the same bounce that we used here and then I know we're gonna and then we're probably gonna have like a little mirror bounce over here or a four by piece of diffusion for a four by bounce for our backlight over here our little Edge if we need a little bit extra so again that's easy 12 by overhead bounce that we already talked about neg that we already talked about probably smaller neg so like two four by floppies because those are easier to maneuver on
a shot of this size you don't need 24 feet of neg for something like this you can get away with probably just two floppies in the end and then yeah that bounce back there okay so very um basic gear list I'm running through my head here nothing that we haven't already described these are the same shots as before there's nothing else that that isn't in this very first close-up so we're still at a really basic gear list uh same shot here we're not doing in the car stuff that's been canceled because it takes too much
time and then we're back out to our wides right so very very simple kit list that I would put together just in my own mind in my own head to say okay if we get out there and I don't hear anybody mention the two 12x12s of ultrabounce or two 12x12s of bleach muslin or unbleached muslin I know that we're in trouble so I'm reminding myself to say something when we get in these situations this is the kind of stuff that I'm thinking and then if someone has a better idea please let me know
