Premium Member Satsuki Murashige Posted November 15, 2019 Premium Member Share Posted November 15, 2019 My recent Salesforce project is out: Prod Co. Heist Prod. Kristen Jenkins Dir. Benedict Flanigan Thought I would share since I’ve been referencing it in a few posts lately. It’s a corporate video project that we’ve tried to push toward a more narrative film/commercial aesthetic. I feel like this one turned out pretty well, considering the moderate budget. We had a fantastic crew from top to bottom that helped pull it off, and hopefully we’ll get everyone back for another one next month. Let me know what you think! 1 Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted November 15, 2019 Premium Member Share Posted November 15, 2019 I like it when marketing companies think outside of the box. Compelling storytelling mixed with competent actors and of course cinematography that worked seamlessly. Out of curiosity, the scene with them in the room with the big windows, I assume that's all practical right? If so, I noticed how bright the key was and how nice the wrap around was. I saw some augmenting, but was it mostly just window light? Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted November 16, 2019 Author Premium Member Share Posted November 16, 2019 Cheers, thanks Tyler! The office scene with the big windows had a key light - we used a Skypanel 360 and brought in a diffusion frame for the close ups. The sun was behind us at that point in the day and kicking off the buildings, so we had bright specular highlights off the buildings and no direct sun on the actors. We also turned off the overheads for this scene. The tricky part was not seeing reflections of our gear in the windows, we had a few 12x12 and 8x8 black solids behind and to the side of us. For the rest of the office scenes, we decided on our scout that closing the blinds and white balancing to the existing office lights was the way to go. We matched the color temp of our lights to the office overheads. We wanted a neutral white office look without the windows going magenta and we had a lot of material to shoot with a small crew, so it was the simplest solution. The Skypanel 360 is a great light if you’re fighting sunny windows, as it puts out a huge amount of light and is naturally a soft source, being so large. We only had 3x big lights on this shoot, with the 360 doing most of the work and 2x S60s for scratch and ambience. Which is good, because we only had a gaffer and a key grip in G&E (and two PAs to help)! Link to comment Share on other sites More sharing options...
Robin R Probyn Posted November 16, 2019 Share Posted November 16, 2019 Nice one..loved the look.. what camera etc was that sir.. you did the 2.4 by crop..? looks great.. 1 Link to comment Share on other sites More sharing options...
Premium Member Mark Kenfield Posted November 16, 2019 Premium Member Share Posted November 16, 2019 For a very on-the-nose sales pitch (for a product that's of no interest to me personally) it actually managed to hold my attention for the whole three minutes! Well done Sat, looks really polished. Did you find the S360 sped things up much (by being a mid-sized source in and of itself)? 1 Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted November 17, 2019 Author Premium Member Share Posted November 17, 2019 On 11/15/2019 at 11:39 PM, Mark Kenfield said: For a very on-the-nose sales pitch (for a product that's of no interest to me personally) it actually managed to hold my attention for the whole three minutes! Well done Sat, looks really polished. Did you find the S360 sped things up much (by being a mid-sized source in and of itself)? Lol, I know right? You should see the earlier ones, there is a much sharper line between the ‘narrative’ scenes and the ‘sales pitch’ scenes. The director and I are pushing to break out of the box, and we are moving the ship on that direction, slooowly... Yes, that was the main reason to have the 360. With a limited crew, the gaffer could move it and adjust the height himself on a crank stand. And it didn’t need to be boxed in and diffused too much, so fewer stands overall. Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted November 17, 2019 Author Premium Member Share Posted November 17, 2019 On 11/15/2019 at 9:51 PM, Robin R Probyn said: Nice one..loved the look.. what camera etc was that sir.. you did the 2.4 by crop..? looks great.. This was the client-owned Alexa Mini + Cooke 5/i. We also used an 18mm Cooke S4 Mini for a one shot. So spherical with 2.37:1 cropping. We chose that specific ratio as that is what the projection requires for widescreen at the Dreamforce conference where it may be shown. Link to comment Share on other sites More sharing options...
Robin R Probyn Posted November 18, 2019 Share Posted November 18, 2019 9 hours ago, Satsuki Murashige said: This was the client-owned Alexa Mini + Cooke 5/i. We also used an 18mm Cooke S4 Mini for a one shot. So spherical with 2.37:1 cropping. We chose that specific ratio as that is what the projection requires for widescreen at the Dreamforce conference where it may be shown. OK thanks sir.. looks very nice.. Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted November 18, 2019 Author Premium Member Share Posted November 18, 2019 Thanks Robin! Link to comment Share on other sites More sharing options...
Premium Member Miguel Angel Posted November 18, 2019 Premium Member Share Posted November 18, 2019 Look really great Satsuki!!! Congratulations!!! 1 Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted November 19, 2019 Author Premium Member Share Posted November 19, 2019 Cheers Miguel! 1 Link to comment Share on other sites More sharing options...
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