On the show this week we catch up with cinematographer Cristina Dunlap to discuss her latest work on the film American Fiction. We chat about adapting to different styles, working with first time directors, and so much more.   It was great chatting with Cristina and I highly encourage you to check out her other work and […]
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The Wandering DP Podcast: Episode #412 – Cristina Dunlap

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This week on the podcast we are breaking down a commercial that had quite a bit of car interior/exterior dialogue which meant we could highlight what a huge benefit it is to have a location you can move when shooting day exteriors. We basically followed the sun with the angle of the car which meant with a little bit of planning we could be backlit all day long.  Unfortunately for the final look the sun didn't play ball all day but we managed to make the most out of it. Enjoy!New Course: Mastering Exposure is LIVECourse Link:  A Cinematography System: The Playbook Approach - Volume III The 3rd installment of the B.O.D.V.O. Cinematography System is officially available.   This latest course is all about the most challenging set up for any cinematographer and that is a scene between 3 or more people looking in multiple directions. The more variables the more chances of things going sideways on the day and in pre-production.  If you aren't on top of all of the options and understand all of the choices at your fingertips you are going to leave shape on the table. This course outlines how I think about shooting these scenes, we go over all of the various options, look at the pros and cons so that you can be the most knowl;edgable person on set when these situations arise. The further out in to the future you can see the better you are going to be able to guide the crew and those around you to a final sequence that you are happy with. Happy directors, happy producers and happy crew mean more jobs in the future because you are providing value to the production.  It is win, win for everyone.   I am super excited to get this information out in to the hands of cinematographers around the world. If you want to learn more about the course check it out here: A Cinematography System: The Playbook Approach - Volume III  The Spot - The Advantages of a Movable LocationShot #1 - The Tracking ShotThe ShotThe camera follows a policeman as he splits lanes at a traffic stop looking for drivers on their phone.The LightingThis shot was all about the schedule.  the track and the size of the shot meant there was nothing to add or takeaway.  Once the sun hit the right spot we rolled.The ResultShot #2 - The RevealThe ShotOur hero talent pulls up to the window of a driver on their phone.  He is not super pumped.The LightingWe moved the car to get a background we were happy with (the main advantage of a movable location).   For lighting we had the sun as the backlight just out of the frame and then used a 12x12 bounce to return some of that sunlight outside the car frame left.  Inside the car we wrapped everything in black to try and up the contrast.The ResultShot #3 - The RealizationThe ShotA close up on the driver as she realizes she is in trouble.The LightingWe moved the car again to position the sun at the angle we wanted for the backlit look. Off to camera left we had a 6k HMI through a few frames to bump the key levels inside the car.  The weather was quite overcast or we could have done the same thing with a bounce only. Inside the car there is black everywhere the camera can't see.The ResultShot #4 - Jumping OutThe ShotThis was the wide shot of the policeman approaching the car.  We needed to see the bike, the car, and the road in the BG.The LightingThe sky in the BG looks more open than it was.  The overcast weather meant we had to use the 6k HMI again.  Always tricky because you don't want to overcook the levels with the light and it needs to fit in with the rest of the ambient level. That was the only light here because we needed to see such a large footprint.The ResultShot #5 - The ConversationThe ShotThe POV of the Policeman as he issues a citation to the driver.The LightingWe used the same set up as shot #3 except we couldn't black inside the car so there is a bit more of an ambient contrast killer happening.The ResultShot #6 - The Reverse POVThe ShotThe opposite side of the coverage for Shot #5.The LightingLucky for us on this set up that the sun managed to pop a bit which meant we could kill the 6k HMI and use the sun as a bit of a backlight and just bounce off the car for the rest. There are a few floppies frame left to help dial in the contrast levels we needed.The Result

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The Wandering DP Podcast: Episode #438 – The Advantages of a Movable Location


Cinematographer Brendan Uegama is back on the show this week for his 3rd appearance and he is walking us through his work on Them: The Scare. It has been awesome following along with Brendan over the last few years to see his work evolve and progress.  He discusses his latest thoughts on the job and shares where he is devoting his time and energy on set to get the most out of his work. Enjoy!The Playbook Approach - New Cinematography CourseCourse Link:  A Cinematography System: The Playbook Approach - Volume III 
 The 3rd installment of the B.O.D.V.O. Cinematography System is officially available.   This latest course is all about the most challenging set up for any cinematographer and that is a scene between 3 or more people looking in multiple directions. The more variables the more chances of things going sideways on the day and in pre-production.  If you aren't on top of all of the options and understand all of the choices at your fingertips you are going to leave shape on the table. This course outlines how I think about shooting these scenes, we go over all of the various options, look at the pros and cons so that you can be the most knowl;edgable person on set when these situations arise. The further out in to the future you can see the better you are going to be able to guide the crew and those around you to a final sequence that you are happy with. Happy directors, happy producers and happy crew mean more jobs in the future because you are providing value to the production.  It is win, win for everyone.   I am super excited to get this information out in to the hands of cinematographers around the world. If you want to learn more about the course check it out here: A Cinematography System: The Playbook Approach - Volume IIIFeatured Guest - Cinematographer Brendan UegamaWebsite: Brendan Uegama Instagram: @brendanuegama_dp

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The Wandering DP Podcast: Episode #437 – Cinematographer Brendan Uegama


This week on the show we are chatting with cinematographer Martim Vian about his latest film Lazareth. Martim shares a number of unique insights from his time on the film and highlights his process for bringing a script to life through the visual language of a project. Be sure to check out the trailer below and give Martim a follow over on Instagram to stay up on the his latest work going forward. Enjoy!Cinematography Playbook: Volume III - New Course is LIVECourse Link:  A Cinematography System: The Playbook Approach - Volume III 
 The 3rd installment of the B.O.D.V.O. Cinematography System is officially available as of today.   This latest course is all about the most challenging set up for any cinematographer and that is a scene between 3 or more people looking in multiple directions. The more variables the more chances of things going sideways on the day and in pre-production.  If you aren't on top of all of the options and understand all of the choices at your fingertips you are going to leave shape on the table. This course outlines how I think about shooting these scenes, we go over all of the various options, look at the pros and cons so that you can be the most knowl;edgable person on set when these situations arise. The further out in to the future you can see the better you are going to be able to guide the crew and those around you to a final sequence that you are happy with. Happy directors, happy producers and happy crew mean more jobs in the future because you are providing value to the production.  It is win, win for everyone.   I am super excited to get this information out in to the hands of cinematographers around the world. If you want to learn more about the course check it out here: A Cinematography System: The Playbook Approach - Volume IIIPatreon Breakdown - BarbieWe are back with a film breakdown this week over on Patreon and we are taking an extended look at Barbie shot by Rodrigo Prieto ASC. This film isn't exactly in the wheel house of projects I would normally look at but that is exactly why we should be doing it to try and expand our horizons and see what techniques they are using to achieve this unique look. If you want to check out the video clink the link below: The Wandering DP Podcast PatreonFeatured Guest - Cinematographer Martim VianWebsite: Martim Vian Instagram: @martimvian

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The Wandering DP Podcast: Episode #436 – Cinematographer Martim Vian


Cinematographer Larkin Donley is our guest on the show this week and he is on to talk about a unique project shot for PBS titled The Express Way with Dule Hill. This elevated documentary presented a number of unique opportunities as well as some interesting challenges and Lark talks us through his process for crafting the final images.  It is certainly the first time I have seen a documentary shot on a Mini LF with Full Frame Anamorphics. Enjoy!Mastering Exposure - CourseCourse Link:  Mastering Exposure: The Language of Image Creation Understanding exposure was key to my development as a cinematographer and the first major unlock of knowledge that made a measurable impact on my ability to create images I was happy with.   The system I used to strengthen my understanding of exposure and how to improve my ability to recognize various patterns of exposure gave me an ability to bypass years of on set experience.  The tools that I used and still use to this day were simply unavailable to cinematographers up until a very short time ago. In Mastering Exposure I breakdown my techniques for learning exposure, we go over just how important exposure actually is, and then lay out my workflow from start to finish as to how to use the knowledge you gain from your studies. I can confidently say that nothing has made a larger impact on my cinematography abilities than my thorough approach to understanding exposure and how to manipulate it in the most efficient way possible.   My hope is the course will be as impactful for you and your career. If you want to learn more about the course check it out here: Mastering Exposure: The Language of Image CreationPatreon Podcast - Setting the FloorThis week over on Patreon we are doing another podcast to expand on some of the topics we discussed last week around wrapping the light on set, setting expectations on a project for crew members and a whole lot more. I enjoy these more candid episodes and if you have topics you want to hear more on please don't hesitate to reach out and let me know so I can cover them in future episodes. If you want to check out the podcast clink the link below: The Wandering DP Podcast PatreonFeatured Guest - Cinematographer Larkin DonleyWebsite: Larkin Donley Instagram: @larkindonleydp

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The Wandering DP Podcast: Episode #435 – Cinematographer Larkin Donley


Breakdown Episode! Today we are looking at job that has all the hallmarks of a challenging operation.   Tiny location, no room to light, tough style to emulate, and not a lot of time to do it. Then again, these jobs are always the most fun. Enjoy!Course: Mastering ExposureIn the course I detail how I learned exposure and I share how I would get up to speed the fastest way possible if I was starting over today. Cinematography can seem incredibly complex but underneath it all there are some fundamental decisions that must be made if you are going to get images you are happy with.  Exposure and understanding how to best manipulate exposure and why one way is better or more efficient than another is absolutely essential if you are going to work with a crew and on schedule. This course is my attempt at sharing my exact process so you don't have to struggle to find answers like I did. If you are interested you can check out the course here: Mastering Exposure - The Language of Image Creation Patreon Podcast - Wrapping the LightThis week over on Patreon I am releasing a podcast on the subtleties of wrapping the key light when using the framework apporach. As your skills get sharper and sharper you are going to end up demanding more and more nuance from all of your fixtures on set.  In this podcast I talk about my own progression and give some advanced pointers that can help you leap frog what took me years to figure out. If you want to hear the podcast or check out any of the past content you can find it all by clicking the link below: The Wandering DP Podcast PatreonThe Spot - The Joy of 360 DegreesShot #1 - The WideThe ShotThis is the master angle for the entire commercial.  The two people in the frame are interacting with a 2D animation as it dances around the room.The LightingIn this spot we saw the entire bathroom you are looking at in this still.  It was a real location which meant low-ish ceiling and no grid to light from. We put the grid in with a bunch of Fiilex LEDs to give it the retro feel. Outside we had to tent the window and add another LED panel to create the moonlight effect on the bushes that art department had put there. Inside we added a china ball overhead in the foreground for general ambient and then added practicals as well to spice the frame up a little.The ResultShot #2 - Down the LineThe ShotThe camera moves in as our main talent interacts with the animation and sings along to the theme song.The LightingSame as the previous shot but we have added some titan tubes being pushed through a 4x4 frame to bring the light from high to low a bit more. You can also see the effects of another LED out the back right window along the curtains in the BG.The ResultShot #3 - CloserThe ShotWe went in for a slightly tighter version of the previous set up.The LightingSame as above.The ResultShot #4 - Top DownThe ShotThis shot was the peak of the song moment before the real owners of the house walk in and bust the fake folks.The LightingThe same fixture are being used as before but they have all been slightly modified position wise to accommodate for the camera position which is touching the ceiling as it looks down.The ResultShot #5 - The FlopThe ShotNow looking the other way inside our bathroom the singer interacts with the animation.The LightingThe set up for 90% of it is mostly the same as before.  Titan tubes through a 4x4 frame do the heavy lifting on the talent. The only real additions are the Apeture bulb in the shower behind the door and the Fiilex Q8 out the window in the doorway.The ResultShot #6 - Reality Kicks InThe ShotIn the middle of the song the real owners of the house walk in to jump in the bath.The LightingSame as above but the China ball above is doing most of the work on the talent in their current position. Plus you get a better view of the bulb in the show that we placed for a bit of interest.The ResultShot #7 - The ExitThe ShotThe fake characters sneak around the real talent as the commercial comes to an end.The LightingSame as above.The Result
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The Wandering DP Podcast: Episode #412 – Cristina Dunlap

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