“Interviews were FX9, Canon FD primes (spherical), BlackPromist 1/8 or 1/4” “B-roll Sony Venice, Kowa Anamorphic Recre Sony Venice, Xelmuse Apollo Anamorphics”

I clicked because I saw your thumbnail with Barbara Butcher. I watched the documentary a few weeks ago and thought the same thing. I did a few freeze frames to see the quality of the work. I wondered “who did this work?!”. Thank you for this interview.

Really insightful especially knowing the lighting package they were working with, thank you so much!

@GaffersSalon

2 ай бұрын

thanks was one of my favorites to date and had great time doing it. Really brilliant work.

Excellent interview! When I saw this show I was immediately struck by the inspired compositions and elegant lighting. As a gaffer for 20 years and DP for almost as long - this is insightful & beautifully communicated. “Curating the frame…”. Love it! New subscriber here.

Hey John. Great work, interview and insight. I felt the same way you did when I saw this episode. Shocking how quickly and sparsely these excellent looking interview were done.

excellent interview ! & the DP is something special ! congrats !!

Just WOW! So much usefull information. Thank you both!

Brilliant work and a super insightful interview. I feel like these were very much in line with the 9.11 tribute doc that was on Natgeo a few years ago. Although that was shot with anamorphics I'm nearly sure. Really great work from Philipp and his team, and thanks for the great questions and insight.

Love that you're doing such interviews now. And will deffo watch Homicide New York now.

This is great.

Total banger, John! Great interview, breakdowns, discussion, all. Thank you. Excellent vid!

@GaffersSalon

3 ай бұрын

Thanks

Subbed, this is the kind of youtube channel that is needed for the film community. Thank you!

@GaffersSalon

3 ай бұрын

thank you.

This is awesome, well done on the show, and great interview and insight from both!

Fantastic interview and thank you for raising awareness of what can be done with such a small lighting kit.

Thanks for this. Great stuff. Learnt lots. More like this please. So appreciated.

That was a great episode! Philipp's approach to this project was simple yet beautiful. Amazing what you can do with the right team and great imagination.

@GaffersSalon

3 ай бұрын

Thanks I really enjoyed doing this one

Thanks for this!

Man, this was awesome. Loved this interview. Thanks for sharing.

Great episode. Loved the breakdowns, very cool and helpful. Gonna check out the doc!

Great interview and image selections, John.

this was super insightful, thank you!

Excellent stuff here!

Great interview!

Such an amazing video! I love what he said about once the subject sits in front of the camera, it becomes "their space" and not intruding w/ technical adjustments. I have one question re: that statement though. When you're setting up your shot & lights with your sit-in subject prior to talent arriving...what sort of adjustments DO you allow for when the interview subject arrives and sits down? Is slight re-Framing to compensate for height differences on the table or do you plan for that ahead of time?

@GaffersSalon

3 ай бұрын

Def questions for the DP

great content

Love this! Great conversation.

@GaffersSalon

3 ай бұрын

Thanks Luke, prob my favorite episode to date, really great work here…

These frames are absolutely incredible, particularly some of the wides like at 50:44. I wonder though, is your sound guy still booming in for a shot like this? Is it masked out in post?

Inspirational Interview. Great look. Did he supervise the color grading? At 25 min in he says that he set the camera at 4400k and from what I understand the key was set at 5500k with 1/2 cto? Is that correct? Also why is the show runner making aesthetic decisions? Shouldn’t that be the director’s decision? I need to work with that show runner!

@babbishm

3 ай бұрын

Just a guess but I’d bet the barn he supervised the grade. He mentioned making exposure decisions with post in mind and also mentioned painting out c-stands that were visible.

how was audio dealt with ? . Maybe the "rules " are changing and you can have big lighting differences in the same interview , but then they would have to edit chronologically to some extent ? , or can you just jump from a day answer to a night answer ? It's not a drama scene . Looks great , totally into the more is less ,more one source look .

@GaffersSalon

3 ай бұрын

I don’t think rules changed its knowing how they would cut this and believe it was shot in segments for various points in story… if you look how it all cuts into final film, I think it all works very well.

@robinprobyn1971

3 ай бұрын

@@GaffersSalon Yes not saying it cant work . Just I was always taught that you need to have lighting continuity during long interviews , but maybe you don't . I first saw it on at Michael Jordan doc, there was a totally daylight interview that went into the night . I just assumed the interview went on way past what they had expected time wise , but yes the sky didn't fall and the "normal " viewer just accepts it I guess . But I think it did have some effect on the edit as they didnt just go from day to night at the start cutting between the two

Trying to figure out his key light. You mentioned a dome but he says he used an umbrella. Any clarification on that? Great intvw btw

@GaffersSalon

3 ай бұрын

I am pretty sure he just misspoke and they used either the large or small Aputure domes with LCD’s… but I can ask

@clizzaudio

3 ай бұрын

All good. I got the gist :)

@rodrigolev1

3 ай бұрын

@@GaffersSalon yeah Ive also got confuse, trying to figure out his Key Light Light. Especially when he uses the 1200 and 600 together

How do you avoid making your subject squint when you point the 1200 + 600 on max output towards them for key light?

@GaffersSalon

3 ай бұрын

I wasn’t on this shoot… but off axis I’ve only had problems with a few older folks… it does happen but there are techniques to get them used to it, once in a blue moon some folks can’t handle it… but for me it’s been very rare that we couldn’t make it work. In those cases we sometimes go more sidey and bring in appropriate amount of fill and that usually solves it, but can deviate from the desired modeling or look… but often on docs we get someone who demands to be lit in a more flattering way (to them).

Question, what is the “whis screen” in place of expensive Duvetyne that he references?

@ralphcradshack

3 ай бұрын

Visqueen…It’s a roll of thick plastic sheeting you can buy at Home Depot or any hardware store. Cheaper and less weight than Duvateen.

@GaffersSalon

3 ай бұрын

In nyc we call black plastic sheeting, usually 6mm, Visqueen… you get in rolls at hardware store

@asaintjames

3 ай бұрын

@@GaffersSalon Thanks

@asaintjames

3 ай бұрын

@@ralphcradshack Thank you

@51:00 what does he say after "Home Depot"... A thousand H?

@GaffersSalon

2 ай бұрын

1000H aka tracing paper

How do you push more than a 1200 D through a light dome right in someone’s face and have it be tolerable for the talent for any length of time without them squinting?

@GaffersSalon

3 ай бұрын

I’ll ask DP if that was ever an issue

@JeffGrahamPhotography

3 ай бұрын

@@GaffersSalonThanks, I’d love his insight there!

@GaffersSalon

3 ай бұрын

@@JeffGrahamPhotography”Not really an issue. There are a couple of ways the subject can use to adjust/get comfortable with the brightness of the source. Have them close their eyes, then with closed eyes fully face straight into the source. Have them count to 10, then turn away from the source back to camera and open their eyes. That usually does the trick. Sometimes starting on a lower dimmer setting and during the first minute gradually bring it up to speed avoids the previous.”

@JeffGrahamPhotography

3 ай бұрын

@@GaffersSalonThank you for reaching out to him. I sacrificed some background exposure on a testimonial this week because I thought the key would be too bright for them. I’ll have to try this next time.

guau