the thing I love about your approach - you paint with broad strokes and you know that even being somewhat lazy about an execution doesn't matter because the viewer doesn't A/B tests shots when they watch something lol. You get what you watch, and even with the overexposed tunnel shot, the viewer wouldn't likely know otherwise because theres no comparison and it's just a great shot. you know the techniques that will carry you much further in stylized execution so that the rest is just storytelling.
Moments like this are a good reminder why you shouldn't really care if that new camera has a 0.2 stop wider dynamic range... You're still gonna make a mistake and everything will be overexposed but with some magic and editing the shot will end up nice anyway
Little details like switching from the smoke to natural dust in that hallway/door shot are brilliant examples of quick problem solving that goes a long way. An extremely valuable skill to have in this industry. Always appreciate and inspired by your content.
Great stuff once again. I especially like the composition breakdowns, you don't really register all the thought that goes in it until it gets deconstructed.
You've singlehandedly reinvigorated my love for cinematography. Thank you from the bottom of my heart. Genuinely. I forgot I knew how to do these things but now I remember, and I remember why I enjoyed doing it.
Though I aspire to be a director, I want to be as technically proficient as possible. I must say, your channel is the best cinematography channel I've found on YT. I really like how seriously you take your craft. It inspires me to do same. I just can't wait for the cinematography tutorials.
I love the videos where you work on big commercials, but this was one of my favorites because it reminds me that sometimes I just need to go out and shoot something. I'm super excited to see your filmmaking workshops!
I particularly love the colour contrast and shape in the clock shot, and how you brought the blue reflection in to echo the blue gel in the back. Thank you for sharing!
I don't know what it is about your approach that works so well, but I have to say I enjoy your videos very much. Looking forward to an in-depth technical series for sure!
I'm happy every time I discover filmmakers like Lewis who don't produce the usual cheap fake content just to get attention by any means, but still see filmmaking as an art and every little thing and every detail counts. Thank you for that and keep up the good work.
this is such a wild video to watch - I moved to Perth when I was 18 and lived there for 4 years, I lived just to the right of that tunnel scene - was just such a shock moment for me. Also great lighting tips ahaha
So this is what you were using the equipment for. Love to see it. Can't wait for those tutorials you have cooking up, they're looking mighty fine. Catcha in the next video.
I love the $14 walmart Swivel you used to mount the FX30 to your slider. I recognized that immediately! Great little thing for quick setups that are mostly upright. 😂
Creating layers with environments is good but I was wondering what your process is for actually finding shots like that? Do you kinda roughly pick a spot that will work and then try lots of potential shots?
It's honestly nuts how much you can get out of just a panel, a 300d, a 600d, a spotlight mount and some gels. oh and the MC can't forget that little guy.
This may sound like a really simple question, but what are you setting the white balance to when you’re using gels. I am curious if most people mess with balance when color grading or setting it more when you capture it in camera.
More videos about the mindest of lighting for film vs digital, metering, and how the film will react to the light. For example how to get clean good blacks on film and stuff like that
Another great video Lewis! It would be great to have other tutorials in more complicated shooting environments, but I have to ask you... what about your Alexa 35??🤣
Great tutorial! I have a question! I'm about to buy my first set of cine lenses and I shoot on a super 35. What lenses do you use the most during a talking head doc and b roll? I was thinking on getting a 50 and 35. Thansk!
Excellent stuff. With the FX30 not having open gate, did you just crop the final image to 2.39:1? Do you feel like you lost any of the lens' character by cropping out the sides? The shots look siiiiiick and super anamorphic-y but curious as to your thoughts
I remember that last shot, loving the vibe of it! How do you approach focus in your shots? I shoot everything solo, and when I'm using f/1.4 lenses, even using a focus assists or focus buddy 9000 (that's a doll I made to put where I am going to shoot for focus) I tend to move slightly out of the realm of focus and ruin the shot sometimes. And you don't want to set everything up again and do it all over, because, you know, yolo.
im no cinematographer but my take is using the most amount of smoke possible without it seeming unrealistic. Hence, studio shoots go crazy on smoke because they're unrealistic by nature but a standard setting (like inside a house) should just be enough to seem like particles/dust but not smokey/hazy.
Hey Lewis. I absolutely love your channel and your insights. I am curious though - a lot of young filmmakers like myself don't quite have the budget for industry grade Komodo-like cameras, yet we CAN play around with light and composition - would you be willing to portray lighting techniques with a camera that wasn't quite as high quality just to show how much lighting and composition can create a mood rather than particular lenses / cameras? I would love to see you use your skill as a cinematographer in this regard. Obviously, you do you, would not want to pull you away from your Titanic books, was just curious. Cheers.
I was just wondering how you set up the camera in your car. For example at 5:42 did you put a tripod on the back seat, did you have a back seat, did you strap it down, etc.
Either with an auto focus lens, or in this case with this anamorphic I set the lens at about 2.8 1/2 then set the focus on the myself halfway through the slider move so the depth of field was big enough to keep me sharp enough the whole time
