How to Film a Fight Scene | Combat Cinematography 101

published on July 20, 2020

Hello welcome to four-minute film school my name is Valentina V and today we are doing a scene from a gritty drama that includes a boxing montage let's go alright I'm here with director of photography all of our lukacs he has

Done fashion music videos horror films and today we are doing a scene that's from a narrative kind of boxing movie I think it's just like a classic rocky Creed boxing gym training montage situation so this scene is composed of

Several shots the first one of course is the master shot the wide shot so what was the camera movement here it's a dolly move it was it started off lateral and then we did a push in because we had a half curve check at the end of two

Sticks of straight track we just enter in with all these foreground elements bag swinging and boxers in front of you and get a general sense of the gym I really like that you do have those foreground elements because I feel like

That creates a lot of production value in the shot as well foreground elements can add a lot of dynamism to your shot it gives the land some interact to and from and it just feels very kinetic which is appropriate for a gym in a

Boxing montage absolutely speaking of kinetic you also did a little bit trick with the shutter angle here as well we threw it you're going to be ease so that there's no motion blur everything feels much more sharp and vivid and dynamic

And once we get inside the gym and they're actually boxing theirs it feels much more chaotic so as far as the lighting goes first of all you kind of set up the scene in a way to help yourself out with the ambient lighting

That's already there so you had a skylight you also had this elephant door on the side that you chose to keep open right so as far as the lights you brought in the first light was kind of key light for the main character what

Was that that was a 300 e mark – and we had a modifier Fornell lens on it completely under fused so it was it would be like just a hard edge coming from the far side and then you took the same light and put barn doors on it and

Made that in the background yeah we had 300 mi tu with bondo and a modifier for now doing the slash of light in the back wall it was accent and was also to give you separation specifically for the the trainer because

He didn't really have any light on him he was more in a silhouette and he tended to land right where to slash were so that was a nice way to separate him from the background and then you had one light that was pinging the lens in some

In some instances so it's actually aimed at the lens yeah it was specifically to spike the lens so that when we're moving in you'll get this flashlight in between the person boxy in a forum specially when you're dealing with action or

Action sequences or anything to do with actions just get the pepper the lens sometimes the spike or two you know and then your last light what was that another 300 II that was raking the skirt on the ring and in the program yeah it

Gives it that little extra something something so for the over our male talent shoulder looking at our woman here who's boxing what was the lighting behind that light that was giving her far side we just move that a little

Closer to the ring and then we put up an 8 by quarter grid on a t-bone so it's 3/4 back to her and that was basically doing everything for that job yeah it lit her face it gave her an eye light it also lit the back of his neck

As well and then you also kept the door open in the room as well right yeah yeah that was up in no time it was just adding a little bass exposure and ambient light finally for that over the shoulder shot you also did

Two things you moved the mirror in the room to be behind her you know it's more interesting and also a bit of a depth cue so you know how far the wall is away from her and gives her a little more separation just the way we had it on the

Wall and wide it was like a little bit of slash behind her and then for the reverse over the shoulder it was less of a face shot and kind of more of a silhouette yeah a little bit moodier cuz the trainer is like a secondary

Supporting character so I felt like it was okay to keep him a little bit in silhouette so we just danced the 8 by to make it more like a side light for him and then we let the elephant door just sort of give him

An edge over his jaw and I like what it's doing here because you have the two lights just on the side of his face nothing in the middle and one side is natural life at the sunlight that's coming through the door and the other

Side is just that one 300d they basically get like a like sandwich on his face but the natural light because it's coming from this guy there's a luminous to it which gives you also a bit of color contrast let's take a look

At this entire scene put together all right Oliver if the folks at home

Want to recreate something like this an action II box II scene what are some takeaways that they should learn from start with an 80 degree shutter because that will immediately give you a certain kind of aesthetic most people associate

With sports in action build on natural light that you find in space that can help you tremendously and make use of foreground elements as much as possible it's just going to add a lot of energy and and that brings me to our comment

Question this week which is what is your favorite scene in a boxing film and why let us know in the comments on the youtubes and the best answer is going to win an empty skp case make sure that your email address is actually on your

YouTube page otherwise we can't find you if you like what we do here if you love this episode please do give it a like and you can also follow us on our social media our links will be down below until then have an awesome day see you later

Bye

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