C200: B&W interview set up - Cinema RAW light

R

rob norton

Veteran

Arrilite 2000 plus bounced into 8x8 bleached muslin, arri 650 with chimera softbox/grid for backlight, 12x black solid for BG (forgot just how large BG fabrics need to be!), Canon 24-70 2.8 ii.

I know there are already billions of samples out there but this can be yet another point of reference for anyone considering the c200. I don't like the "shot on c200" thread as much because we're not allowed to discuss any information behind the shoot.
 
I think the B&W is really refreshing for an interview. Nice lighting.

But personally I don't like the framing. I know it's Mr.Robot-like or whatever came before it, but I don't think it works well here, especially because he's getting too close to the frame and actually clipping it.

I think it would be better with normal lead-room but maybe there's more to this.
 
NorBro said:
I think the B&W is really refreshing for an interview. Nice lighting.

But personally I don't like the framing. I know it's Mr.Robot-like or whatever came before it, but I don't think it works well here, especially because he's getting too close to the frame and actually clipping it.

I think it would be better with normal lead-room but maybe there's more to this.
Click to expand...

Thanks!

Re framing, I've noticed over the last couple of years with most netflix documentaries that many interviews will be completely unorthodox in their composition (particularly for the B cam angle). I'm usually a fan of the more traditional framing/look space but want to start building a wider variety of examples to show. It's one thing to send/use references from other people's projects/large campaigns but I think it'd be even more compelling to have a huge database of strong samples that I've shot.

So yeah, I agree with your comments including operating better to maintain subject in frame but because it's only a personal shoot where the stakes aren't especially high, I wasn't too concerned with the project at large.
 
Nice look and lighting Rob. The framing is a bit tight for my taste but that's besides the point.
I've been going in recent years to wide angle lenses and FOV for interviews as I have grown
bored with the shallow DOF head and shoulders and it's much more difficult to make a wide
angle FOV look very interesting and not cluttered.

Did you use a certain LUT or method for making the image B&W? It's a nice look.
 
Thanks. Just the arri-rec709 (can’t remember exact name) LUT in resolve. I’ll still always adjust contrast and saturation but use it as a starting point. In this case saturation was 0 and I’ll “overdo” it with contrast then keep bringing it back until I hit a sweet spot I like.

When I get resolve 16 I’m going to get much more involved with grading but this is a very fast way to get nice results.

Haha yes what’s the saying, the bigger the budget the more BG you get. I just added 2x 12’ frames to the van so I’m looking forward to shooting some fairly wide setups with soft lighting.
 
I like B&W. Many years ago, I was to interview a senior executive and he asked if he can see it. So I edited on a macbookpro infront of him. He was taking calls so I started playing around in B&W. He saw it and then later asked me to do it in B&W. That was an address to his global team, so the framing was more direct to camera.

In your video, I like the B&W look. It is nice. Liked the details as well. However, the framing is a bit unsettling for me. I have seen several such examples. I think the first Zacuto shootout had several such examples. However, I have no idea what is the purpose of having so much negative space on the right and the face just on the frame edge like hitting a wall. I seriously want to know the logic.

Cheers,
Sabyasachi
 
Compared with a more traditional front on angle, the more you move to the side, the more "fly on the wall" it feels. It's nearly like you're listening in on a conversation you're not supposed to hear, which could lend itself to making the viewers feel more privileged, and therefore give the message more weight. Of course a subject/talent speaking directly to you, looking straight down the lens can give you a sense of importance as well e.g. presidential address making you feel like you're part of something larger. I think it depends on many factors e.g. content, subject, location, audience etc.

You asked about larger amounts of negative space though so I think it's taking the profile philosophy in that direction a little further. Also, like you mentioned, leaving viewers feeling unsettled could very well also be the goal. If there's a time and a place to make the audience feel comfortable then there's a time and a place to make them feel uncomfortable. Just like with different angles in films/TV shows, it's just another technique.

In this case, the set up was mostly just to walk away with a sample with a different aesthetic so maybe I should have explained myself more!
 
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