How to Shoot Inserts for your Commercial

Summary

This video script offers a detailed guide on enhancing commercials with dynamic inserts and transitions. The speaker discusses overcoming the challenge of creating a seamless narrative flow by capturing contextually relevant transitional shots, emphasizing the importance of understanding the scene's context. Techniques such as using a dedicated day for controlled environment shooting, specific camera settings, and creative lighting for dramatic effect are shared. The script also delves into the technical aspects of shooting, including camera settings on the Sony Venice, lighting setups for distress and isolation scenes, and the use of step printing for smeared frames. The speaker encourages creativity in shooting inserts, suggesting that they don't always have to be captured on set, but can be done separately to achieve better quality.

Takeaways

• 🎥 The importance of adding inserts or textures to make a commercial feel more dynamic is emphasized.
• 🔄 The speaker used to struggle with creating dynamic transitions but found a process that works effectively.
• 📹 A common mistake is quickly 'whipping' the camera around during a shoot, which can be improved with more intentional transitional shots.
• 🗓️ It's recommended to have a dedicated day to shoot inserts in a controlled environment when time on set is limited.
• 🤔 The process starts with context; cinematographers should ask what they are shooting and how to enhance it with transitional shots.
• 📽️ A scene breakdown is provided to illustrate how to implement these techniques, starting with understanding the scene's context and desired mood.
• 💡 Lighting plays a crucial role in setting the mood, with examples given of how to create a distressing and isolating atmosphere.
• 📸 Camera settings such as white balance and lens choice are discussed to achieve a cinematic look.
• 🌟 Creative lighting techniques, like using a top light and diffusion, are used to create specific moods and textures.
• 🎬 The use of multiple light sources, including a trust system with multiple flashes, is described to create a Paparazzi effect.
• 📹 Post-production techniques like step printing and slow shutter speeds are used to add motion blur and smeared frames for artistic effect.
• 🛠️ The speaker advises not to feel constrained to shoot inserts on set, but to be creative and shoot them separately when necessary.

Q & A

What is the main issue discussed in the video script regarding commercial shooting?

The main issue discussed is the feeling of something missing between scenes in commercials, and how to make the project feel more dynamic by using inserts or textures effectively.

What technique did the speaker struggle with and how did they overcome it?

The speaker struggled with shooting transitional shots and inserts effectively. They overcame this by developing a process to capture these elements in a more controlled environment on a dedicated day after the main shoot.

What is the importance of context when shooting transitional shots for commercials?

Context is crucial as it helps the cinematographer understand what they are shooting and how to capture transitional shots that add to the narrative and enhance the overall dynamic feel of the commercial.

Why is it recommended to have a dedicated day for shooting inserts after the main shoot?

A dedicated day allows for a controlled environment and the necessary time to focus on capturing high-quality inserts without the pressure of the main shoot schedule.

What camera settings were used for the camera flash scene in the script?

The Sony Venice camera was used with a 4400 Kelvin white balance, and Zeiss Super Speed lenses, specifically a 25mm lens at an aperture of f/2.8.

What lighting setup was used to create the black void effect in the camera flash scene?

A top light was created using an Aputure 1200d with a 150 soft box set to 20% and a daylight balance of 5600 Kelvin. Two layers of diffusion were used without a grid to allow for spill and a grungy lighting look.

How were the camera flashes achieved in the scene?

The camera flashes were achieved using multiple Aputure 600C lights with Fels on an overhead rig, set to a Paparazzi effect, and handheld camera flashes operated by the production designer.

What is the significance of the final flash in the scene and how was it inspired?

The final flash was significant for its dramatic effect, inspired by the Euphoria season trailer, and was achieved using preset effects in aperture life sources to create a slow draw from the back of the light.

What is Step Printing and how was it used in the video?

Step Printing is a technique where footage is shot at a lower frame rate and then slowed down in post-production to create motion blur and artifacts. It was used to capture the smeared frames of the camera flash inserts.

How did the team ensure the inserts were realistic and not obviously film lights?

The team shot the inserts in a dark room with actual light bulbs on a table, using a dimmer to control exposure, and captured various movements and angles to create a realistic texture.

What advice does the speaker give for shooting inserts and transitions?

The speaker advises not to feel pressured to get inserts on set and to be creative by shooting them later in a more controlled environment, emphasizing the importance of planning and creativity.

Outlines

00:00

🎥 Enhancing Commercials with Insert Cuts and Transitions

The speaker discusses the importance of adding inserts or textures to commercials to make them feel more dynamic. They share their journey of learning this technique and emphasize the need to understand the context of the scene being shot. The speaker explains the process of shooting transitional shots and suggests having a dedicated day to capture these in a controlled environment. They also delve into the specifics of a project where they had to depict distress and isolation, detailing the camera settings, lighting techniques, and the use of a Sony Venice camera with Zeiss super speeds lenses.

05:00

💡 Creating a Distressed Lighting Setup for a Commercial

This paragraph describes the lighting setup for a scene where the actress is meant to appear distressed and isolated. The speaker uses a top light with a soft box and a daylight balance light to create a blue tone and soft highlights. They explain the use of a trust system with multiple aperture 600 C's and Fels to create a Paparazzi effect, with additional handheld flashes for added realism. The focus is on creating a black void with the actress and the floor being the only visible elements, enhancing the sense of isolation. The speaker also discusses the process of achieving a final flash effect inspired by the TV show Euphoria, using preset effects in aperture life sources.

10:03

📸 Shooting Insert Cuts for Commercial Textures

The speaker shifts focus to shooting insert cuts, explaining the need to understand the cause of actions within a scene to create meaningful transitions. They discuss shooting close-ups of light bulbs to capture textures that can be used to tie scenes together. The process involves using a macro lens, adjusting the camera's white balance, and experimenting with different shutter speeds to create motion blur. The technique of step printing is also mentioned, where the camera is shot at a slower frame rate and then slowed down in post-production for a smeared effect. The speaker encourages creativity in shooting inserts and emphasizes the value of capturing these textures separately from the main shoot.

15:03

🌟 Embracing Creativity in Post-Production Inserts

In the final paragraph, the speaker encourages filmmakers to be creative when shooting inserts and transitional scenes, suggesting that they don't always have to be captured on set. They share an example of shooting various clocks and stopwatches for a commercial based on the theme of time. The speaker advises filmmakers to feel free to shoot these inserts later and send them to the editor, highlighting the flexibility and creativity that can be employed in post-production to enhance the final product.

Keywords

💡Commercial

A commercial refers to a short film made for the purpose of advertising a product, service, or idea. In the video, the theme revolves around enhancing the dynamic feel of commercials through various techniques. The script mentions creating a dynamic feel for the project, indicating the importance of making commercials engaging and memorable.

💡Inserts

Inserts are additional shots or scenes that are interspersed within the main footage to provide extra information, context, or to enhance the storytelling. The script discusses the use of inserts to make the commercial feel more dynamic, suggesting that they are crucial for adding depth to the narrative.

💡Transitional Shots

Transitional shots are used to bridge different scenes or parts of a film, creating a smooth flow between them. The script emphasizes the importance of shooting transitional shots to add to the context of what is being filmed, indicating their role in maintaining narrative continuity.

💡Context

Context refers to the setting or environment in which a scene takes place, which influences the mood and interpretation of the visuals. The script repeatedly mentions asking 'what are you shooting' to understand the context, highlighting its significance in shaping the cinematography and lighting decisions.

💡Cinematographer

A cinematographer is responsible for capturing the film's visual aspects, including framing, lighting, and camera movement. The script describes the role of the cinematographer in creating a specific look and feel for the commercial, such as achieving a 'blue tone' or 'black void' effect.

💡Sony Venice

The Sony Venice is a professional digital motion picture camera used for high-end film production. The script mentions using the Sony Venice for shooting, indicating the use of high-quality equipment to achieve the desired visual aesthetics.

💡Zeiss Super Speeds

Zeiss Super Speeds are a series of high-speed lenses known for their ability to produce a vintage look with soft focus and shallow depth of field. The script references using these lenses to achieve a vintage and cinematic look for the commercial.

💡Lighting Techniques

Lighting techniques involve the use of various light sources and modifiers to create specific moods and atmospheres in a scene. The script describes creating a 'black void' with a top light and using multiple flashes to simulate a paparazzi effect, demonstrating the role of lighting in setting the scene's tone.

💡Macro Lens

A macro lens is designed for close-up photography, allowing for a greater magnification ratio and a high level of detail. The script mentions using a 90mm macro lens to capture detailed textures of light bulbs, showing the application of macro lenses in capturing inserts.

💡Step Printing

Step printing is a technique where frames are shot at a slower frame rate and then slowed down in post-production to create a smeared or blurred effect. The script describes using step printing to achieve motion blur in inserts, illustrating a post-production technique to enhance visual dynamics.

💡Post-Production

Post-production refers to the process of editing and refining the footage after it has been shot. The script mentions slowing down step-printed footage in post-production, indicating the importance of this stage in finalizing the commercial's visual effects.

Highlights

The importance of inserts and textures in making a commercial feel more dynamic.

A process for shooting insert cuts or transitions between scenes to enhance the project.

Avoiding the common mistake of quickly 'whipping the camera around' on set for transitions.

The value of context in shooting transitional shots and how it impacts the cinematography.

The strategy of dedicating a separate day for shooting inserts in a controlled environment.

Techniques for creating a sense of distress and isolation through lighting and camera settings.

Using a Sony Venice camera for shooting with specific Kelvin settings for dramatic effect.

The choice of Zeiss Super Speed lenses for vintage look and specific T-stops for scene isolation.

Creating a black void effect with top light and diffusion for scenes of isolation.

Utilizing a trust system with multiple Aputure 600 C's for Paparazzi-like camera flash effects.

The role of actor blocking in conveying distress and the importance of director-cinematographer communication.

Inspiration from 'Euphoria' for creating a final flash effect using preset effects in aperture life sources.

The technique of shooting inserts separately to add realism and texture to the commercial.

Using a macro lens for detailed insert shots of light bulbs to capture intricate textures.

The method of Step Printing for creating smeared frames and motion blur in slow-motion shots.

Experimenting with different camera movements and shutter speeds for dynamic insert shots.

The creative process of shooting vintage camera flashes for a realistic paparazzi feel.

Emphasizing the flexibility of shooting inserts off-set and the benefits of separate focus on textures.

Encouraging creativity in shooting inserts and the practice of sending them to the editor for integration.

Transcripts

expectations defy

them have you ever shot a commercial

project and felt like there was

something missing between scenes any

successful commercial has some sort of

inserts or textures to make the project

feel more Dynamic this is something I

struggled with for the longest time

until I started using this process in my

work make sure you stick around to the

end of the video as I will be sharing

things that work and don't work when

using this technique specifically we are

going to be exploring how to shoot

insert Cuts or transitions between

scenes but the main thing I see people

doing and this is something I used to be

guilty of is just whipping the camera

around on set this works to some degree

but there's a much better way to do this

and it all starts with context basically

asking yourself what are you shooting

and how can I shoot transitional shots

to add to that sometimes these are

really easy to capture on set but most

of the time the situation you'll be

finding is that you don't have enough

time the main secret is to have a dedic

dedicated day after you shoot them in a

controlled environment on your own time

we're going to be breaking down a scene

from one of our recent projects to show

you how you can start implementing these

techniques in your work like I said at

the beginning of this video what you

have to do is basically ask yourself the

question of what you're shooting this is

something that we preach on tenfold

whenever we're shooting anything or

teaching when it comes to being a

cinematographer a director involved in

the creative space and always ask

yourself what are you shooting what is

my context in this scene specifically

this is a camera flashing scene where

she is in distress so let's just write

some of these notes here so this is

camera flash and the main thing that

we're trying to feel here is distress

and isolation so myself as a

cinematographer of this project I am

going to have a conversation with the

director and he's going to give me those

key wordss and I need the lighting to

feel like that we are in this black void

and we're going to show you exactly how

we did this but the first thing I kind

want to go over is the camera settings

that we were kind of shooting this on so

this was the Sony Venice and then for

this we are shooting at 4,400 Kelvin and

the reason why I do this is so that the

highlights as you can see in the bottom

of the image here these were daylight

balance lights which we're going to get

into next but this gives you kind of a

blue tone for your general lights and

the skin tone is kind of pushed into

that as well we really like this look

for the commercials that we do for these

dramatic and like uh cinematic

commercials that you can say but this is

something I do all the time and we were

shooting on the Zeiss super speeds so

this is a Zeiss and I believe this was

the 25 mm and these are super 35 lenses

so that equates to like almost a 35

close to a 40 I was usually shooting at

2 2.8 this was because that these lenses

are very vintage and they kind of get

smoy and when it came to this scene

specifically this is the isolation and I

really wanted to see that reaction on

the actress's face in this case so let's

go into the lighting and how we exactly

pulled this off so we had an overhead

Grid in the studio that we had access to

and the camera is basically pushing in

in this direction so distress that means

I'm going to shoot this handheld and

this is just my thought process as we're

going to go through this whole entire

process of me thinking about how I can

add to this as a cinematographer in

isolation we're going to do this black

void you can go with a lot of different

lighting techniques here in terms of

what you necessarily want to see but

Jason that the director of this project

really have this camera flash Paparazzi

scene so I know I need to have this

black void but in this a bunch of

flashes as well but let's just go back

and talk about this black void because

what I really see with this is a toplet

source and this is sometimes in a

spotlight form or just a top light to

give some Ambience we really only want

to see the actress and sometimes the

floor in this so the way that we did

this is we had an aperture with a 150

soft box so this is a 1200d and this is

a soft box and this is set to relatively

20% so very low and this is a daylight

balance light so this is at 5600 Kelvin

cuz I want to live in this blue world

with raing my camera so I don't really

have to mess around with a bunch of

lights so this gives me my top light and

then you can see that softness and

highlight there we just had the two two

layers of diffusion that were included I

didn't put a grid on this because I like

The Spill and what it was necessarily

doing so this is giving me that top

light and then really kind of grungy

lighting look and this is really

associated with being in isolation and

being distressed this gives me a bunch

of Shadows this is my context for that

and now we wanted to go into the camera

flashes so what we had access to on this

overhead rig was actually a trust system

and on this trust system we had set up

multiple aperture 600 C's the only

reason that we use a 600c is because the

rental house that we had access to had

these available and I didn't have enough

daylight balance ones so these are three

times 600 C's and then they all had Fels

on them and what a Fel does is allows

you to flood the light or Focus the beam

and then we kind of had them flooded all

over the place all pointed directly at

our talent and then I had my gaffer set

them to a Paparazzi effect and these

were all connected on cus link as you

can see in the scene there's the

multiple going off at multiple times and

then on the ground we had our production

designer with two of these handheld

camera flashes really cheap ones that

you can get on Amazon for like 30 bucks

and she was just flashing them in this

direction so all these camera flashes

are going off at multiple times and it

gives you really interesting lighting as

we are going along so this goes into the

distress and the flashes of the CL

camera flash scene and then if we go

into more more of this breakdown this is

goes into actor blocking so you can see

that distress on her face and what

exactly we're going for in this scene

specifically so it's always asking

yourself what are we shooting and then

how can we add this to what I'm applying

it to I'm a Director of Photography

executing on what the director's vision

is and then this is exactly how we

pulled this off and to kind of wrap up

this scene what we wanted to do is have

one final flash that went off and to

give us that kind of effect that was

from Euphoria I know it was a season

trailer and this is where directly I got

inspiration from and I did a bunch of

research to see exactly how they did

this so what they just did is they had a

bunch of light sources and then they had

somebody on a dimmer and they turned it

up and then turned it down as they were

shooting that on film we didn't

necessarily have access to that but I

knew that there was a bunch of preset

effects in aperture life sources so

that's exactly what we did so if we do a

kind of top down view of what's going on

here we have our actor here and then my

camera is set up on a Dana Dolly so

that's just a simply simple Dana Dolly

and then we like this framing of her

being in necessarily the bottom half of

the frame and then having a lot of head

room really emphasize this black void

that we have going on so we have our

Dana track there and it's just simply me

pushing in so this is the Sony Venice as

well and then we kind of H wanted that

more medium feel so this is shooting

with a 4400 white balance I kept that

throughout and then this is with a 35 mm

sitting at 2.8 from the same set but we

did shoot this in 60 FPS just because we

wanted that flash to go off and be very

very slow with what we were looking for

and her kind of putting her hand up and

like being blinded from it to give us

that effect we only really had one light

in play we didn't have any Ambience cuz

we wanted this to go into dark and then

bring up with that light so we just have

an aperture Nova p300 and this is set to

the firework effect the paparazzi was

too flashy and it wasn't giving us that

slow draw from the back of it on the

back side of it so it basically go off

and shut off but we wanted to go off and

then come back down very slowly and then

we just cycle through the preset effects

in there and the firework gave us a

really good one although it was very

random and then we had my basically my

grip really get on a timer and really we

got back and forth in terms of what this

was supposed to look like so I would set

up at the first part of the dolly track

and then go to the seconds and then he

would tell me exactly when to go and

then I kind of get did this at a fast

speed because I was working with

shooting this at slow-mo so this is just

something that you really have to plan

for and this is how we knew that we

wanted to end off the scene and be a

really big moment but let's start

getting into what we actually talk about

in this video which is how you shoot the

insert cuts for something like this so

for this this is the camera flash and we

kind of have these two scenes that we

already shot but we want to shoot things

in between that will add to it and

really sell it and tie it really

together so what we are going to be

shooting is we obviously shot her but

let's what's the reaction to that like

what is making her react to that so for

this camera flash scene we have to ask

ourself is what is causing these flashes

what is the cause and in our case we

have the camera flashes and then we have

this final like bulb go off so this was

the kind of thing that we had so we can

obviously do camera flash and then I had

the idea based off of what Jason said he

the director said he's like oh I won't

this final bulb to go off and what's

inside of a bulb that really gives us

nice textures and there's like a

filament so like the uh wire kind of

string thing inside the bulb well I'll

just put wire bulb and then I'm like

okay perfect these are the kind of one

two and three inserts we're going to be

shooting cuz I just don't want to whip

the camera around her on set or go up to

an aperture fixture and start whipping

the camera while it's flashing off like

you could do that but it's not

everybody's going to tell it's like a

film light you want to make it real as

possible so now let's actually look at

some of these and see what we have going

on so these are kind of the light bulbs

that we use we ordered a bunch of them

off of Amazon some of them are the

actual fluorescent ones with the this

filament that you see here that run

current through and then that emits

light and then there were some that were

more of the LED type and we didn't

really use a lot of those and what I

actually did is I just shot this in a

dark room I just turned off the lights

and that was it I didn't set up any

black material or anything like that and

then what I did is I just had these on a

lamp thing on a table and I just took

the lamp shade off and then I just had

that on a dimmer so I could just expose

it for my camera so it wasn't completely

blown out so this was just shot on the

Venice with a 990 mil macro so just to

give you guys some context this is the

Venice and then I'm just shooting this

at a standard white balance of 5600

Kelvin and then we are shooting on the

dzo 90 mil macro this is just one we

have on in house and this we just like

using it the best and then in a lot of

cases everybody thinks that you should

be shooting at like a t- stop of 2.8 but

when it comes to macros and getting

really good textures I'm generally

shooting on like an like almost like a

T8 to a T14 just so I can get everything

in Focus that you see here especially

when it comes to getting really tight

with all these shots so what I generally

do is for like lighting things like this

cuz I like to use it in my work a lot I

will generally just go up and down with

the dimmer with static shots and then

set it at a constant light that it's

good for exposure and then I'll Whip the

camera around so this is just me moving

the camera if we were doing a top down

of this and then here's my light and

then I'm just rotating on a tripod back

and forth back and forth sometimes I'll

shoot this at a shutter of 100 over 80°

or sometimes 360° to give me some motion

blur so this just gives me more blur and

more kind of artifacts to work with

that's what I really like and then I'll

just move the camera closer and then

kind of do the same thing I'll do up and

down or side to side but what we really

use in this commercial and what uh Jason

really likes to use especially when he

tells me to shoot inserts is a lot of

these smeared frames and this is a

technique called Step Printing and then

we just basically released a video how

to do this on a Sony Venice or how to do

it on any camera but just to give you

some context again this was set on the

Venice and then I shot this at 3 frames

per second with a 360° shutter and then

when we brought it into post- production

you basically slow that down by 12.5%

that is the technique I like to use when

shooting slow shutter you could easily

do this on a fx3 or a camera that uses

shutter speed and if you were looking to

do this in a camera that does shutter

speed instead of shutter angle so this

is my angle and then I have a speed like

a fx3 or something like that you would

shoot this at 1 over 1/8 and then really

adjust that with an ND filter at 24 FPS

and that's really all you need and I

could easily shot this on a Sony fx3 we

just wanted to use the same camera that

we used through throughout the whole

thing so that's what I did for these so

beyond these light bulbs we also s shot

some camera flashes we shot multiple but

the only ones that we really used the

only one that we actually used for the

piece was this vintage camera flash that

we got off of Amazon and it's something

that we bought and then just simply

returned after that we were done using

it so we did a bunch of whips and just

basically set up the camera and Jason

was shooting that here's the camera just

shooting into this camera flash and it

was kind of a dome thing with this kind

of light bulb here because we wanted to

make it feel vintage we wanted to make

it feel kind of old school cuz that's

what you kind of associate with the

paparazzi shooting uh camera equipment

that is today's age isn't is kind of

boring so that's exactly what we did and

then you can see that kind of texture of

the bulb here and what's going on here

and that was just shooting in a studio

so if I kind of do a top down of what we

were shooting so here's the camera flash

we just had a door open here and then

there's a window in that door which is

giving this kind of ambient tone that

see here and that was about it and then

when Jason was just firing the camera I

Just Whipped the camera around in

multiple directions so this is whipping

the camera up and down and then this is

the same thing here and then I would

kind of put the uh camera free on its

florid head and then I would just whip

in any direction possible so it's not

just doing whips on set with um what you

have it's just setting apart a separate

day and shooting in this could be your

bedroom this could be anywhere and it's

just a room that you can just really

focus on getting the textures and we

like to do this textures especially with

lights this could be any prop we

recently did another commercial which

was based around time and we shot maybe

10 different clocks and stopwatches so

this is what I kind of want to leave you

guys off with when shooting inserts and

transitional scenes for your project

itself don't feel that you have to get

them on set sometimes they're very

specific if you're renting props and you

need something but just feel feel free

to be creative and shoot those later and

just send them to your editor cuz this

is what we do all the time