We are making up for lost time this week on the podcast.

This week we are breaking down a crazy commercial that involved shooting 3 different ads in a 12 hour day.  We had kids, sports, cars, and more.

41 shots spread across 4 locations in 11 hours.  Can we pull it off?

Patreon Podcast: Assasin's Creed to Side Light

This week on our Film Breakdown we are taking a closer look at Assasin's Creed shot by Adam Arkapaw.

If you aren't familiar with Adam's work definitely check him out.  He is one of my personal favorites.

You can find this week's Patreon content by clicking the link below:

The Wandering DP Patreon Group

If you are a fan of the podcast and want more video content the patreon group is the place to be.  Each and every week I release an exclusive podcast, video, or live stream just for the Patreon members.

Patreon members also get access to the Private Facebook community for the show.  The podcast couldn't exist without the Patreon support and I do my best to take care of the supporters.

The Schedule - The Spot

This was a crazy schedule with 3 ads shooting the same day.  To pull this off we needed locations that worked with our limited flexibility, a fast and nimble crew, and gear that wouldn't hold us back.

Camera Gear:

Check out the gear I use on all of my commercial shoots by clicking the link below:

Wandering DP Commercial Cinematography Gear

We used the Arri Alexa Mini on the DJI Ronin 2 for all of the sequences in this ad.

The only kit not listed on that page is the set of Atlas Anamorphics we used on this one.

We stuck with a small kit of HMIs (nothing bigger than a 4k) and the normal arsenal of LED staples.  Astera Titan Tubes, Skypanels, and Litegear Litemats.

The Location(s) - A Blistering Pace

To make this schedule achievable it all came down to finding locations that worked at the exact time we needed them to work.  The challenge was finding all 4 spots close enough that the move wouldn't kill us.

We needed a football field, a bus route, a home, and a studio.

No easy task.

The Football Field

The Spot - Shot by Shot

Shot 1 - The Field

The Shot

The first ad opens on a AFL field.  Kids are chasing after a ball as it is kicked across the screen.

The Lighting

For our schedule to work we had to run completely bare for this scene.  No lights, no helping hands, just the location and the time of day we chose.

We were able to re-position the action in each shot to make the angles slightly more favorable but apart from that we were at the mercy of the sun and the time of day.

The Result

Set Up #2 - In Closer

The Shot

The camera follows the action in a mid shot moving left to right in the frame.

The Lighting

This is a continuation of the previous set up.

The Result

The Storyboard

Set Up #3 - The Shift

The Shot

We cut to a shot of the feet running at full pace.  These textural shots are nice to keep the speed and pace up in the edit.  The camera is on the Ronin 2 and being carried as low as possible to the ground to get a sense of speed.

The Lighting

We moved all the action and extras to now face south rather than west as they were in the previous set up.

This meant the sun was in a more forgiving spot in the background and help to backlight the action.

The Result

Set Up #4 - The Runner

The Shots

Same as above to match the feet but now we were looking at our talent.

The Lighting

Same as above.

The Result

Set Up #5 - The Crowd Shot

The Shot

We moved the camera in the same direction as before as the action passes across the screen from left to right. The focus is now on the crowd as the players fly by the lens in the foreground.  

The Lighting

Same as above.

The Result

The Storyboard

Shot #6 - The Track

The Shot

We are back in our original location and leading our talent as he runs full speed up the field towards the camera.

The Lighting

We tried to squeeze a 4x4 poly in the mix but the talent was too fast for the gaffer.

The Result

Shot #7 - The Injury

The Shot

The talent offloads the ball and is injured in the process.  The camera pushes in as he reacts.

The Lighting

This was the first time we were able to shape things a little as the action was fairly contained.

We used two floppies on frame right. and a 4x4 poly frame left.

The Result

Shot #8 - The Match (Part #1)

The Shot

This shot will be matched inside the doctor's office.  We needed a focal length and a lighting direction that we could match in the studio set up later in the day.

The Lighting

See previous shot.  

The Result

Shot #9 - On the Move

The Shot

In this ad we are in a bus with a guy who isn't feeling the best.  We need a few bits of coverage and had about an hour to make it all work.

The Lighting

We mapped on the route the bus would loop and then had a floppy on stand by and a 4 bank of Astera Titans if we needed any quick directional fill.

The Result

The Storyboard

Shot #10 - The Hands

The Shot

See previous shot.

The Lighting

See previous shot.

The Result

Shot #11 - The Fall

The Shots

The Same but closer.

The Lighting

Titan Tubes plus a floppy.

The Result

The Storyboard

Shot #12 - The Wide Push

The Shot

We were about an hour behind when we rolled up on the 3rd location of the day.  This was important as time of day was so crucial to our lighting here.

We started with the wide as we push in to a mid shot outside the house while the talent prunes some roses.

The Lighting

We had the sun as our backlight, wrapped with an 8x8 ultra bounce then added some contrast with a 8x8 of Neg frame left.

The Result

The Location:

Shot #13 - The Cut Detail

The Shot

We cut in tight to reveal that she is about to cut her hand.

The Lighting

Same as above but now the shade is starting to creep in to our key area.  Not ideal by any means.

The Result

Shot #14 - The Moving Cut

The Shot

This is another angle on the opening shot of the pruning.

The Lighting

The shade is now completely covering our main area.  This means we lose the contrast and the key in the bounce that we were using to shape this scene.

The Result

Shot #15 - The Call

The Shot

After the woman cuts her hand she calls for help.

The Lighting

We didn't want to have this shot all flat and ugly so we moved the action around the corner of the house and in to the sun so we could use it as a back light to help pull the phone away from the background.

WE used a 4x4 frame and some neg behind camera to further enhance the contrast.

The Result

Shot #16 - The Match (Part #2)

The Shot

This is the frame match wioth the shot from the morning on the field.  The curtain is pulled and we see the same person, the same angle, in a different location.

The Lighting

We used a Joker 800 outside through a small window to add some rome tone and get an ambient level we liked.

Inside we had a Litemat 2L through a 4x4 of diffusion for the key from frame left.  Coupled with some Neg frame right and a titan tube in a grid we were able to create the necessary shape.

The Result

Shot #17 - Office Version 1

The Shot

We cut out to the wide to reveal the entire office space.

The Lighting

See above frame plus we added a Sky Panel S-60 in an Octodome to add to the ambient levels.

The Result

Shot #18 -Office Version 2

The Shot

This is the wide alternative for the second commercial.  Same space with a slightly different angle.

The Lighting

We used all the same equipment as the previous set up but rearranged the fixtures on the ground.  

The Result

Shot #19 - The Doc Example

The Shot

In each scenario at the office location we shot singles of the doctors and the patients.  This is one of those singles.

The Lighting

We made sure to use the same fixtures throughout each of these but varied position and angle slightly to try and achieve something a bit different.

This example the key is from the Titan tube rig and the BG is being lit with the Skypanel and the Joker 800 outside.

The Result