The Cinematography of The Peanut Butter Falcon | Camera & Lighting Breakdown

published on July 19, 2020

Now this episode is brought to you by Squarespace so in shooting multi-camera absolutely possible absolutely an option absolutely you're much better off with 20 mix members in one bit of camera really well just get yourself in a backlit situation

Yeah the master and what's going on in the Mogul my name is Ted and today I'm here with Nigel pluck an amazing cinematographer that a shot not only second-unit on things like Lord of the Rings but he's also shot a lot of

Episodes of true detective and most recently shooting the indie feature peanut butter Falcon amazing movie that's in theaters right now basically what we're to do today is we're gonna walk through the production of shooting

Peanut butter Falcon an indie movie and talk about it not only from the script camera and lenses lighting and then for secret sauce that was added by Nigel tell me a little bit about this movie what kind of movie wasn't in the scale

Of production it's me I'd say medium size in divinity it's a really lovely little phone with a great a huge amount of hot they sort of teaming up here for the first time it's the come out of the

Cornfield and Zack shows shot this secret handshake it's honest even in shape for what five dudes friend was do stretching all right let's go hurry up all right three those for those like this shot here this wide shot it started

To brain so what we did here is you know I shoot a lot of stuff two cameras I love two cameras not really yeah I like I love simple camera shooting as well but you're really wasting a lot of time a lot of people's time I think a

Lot of people are scared about to camera shooting because I hear shoot single camera because you can only light for one set us bucks it's bollocks okay so how do we shoot for two cameras well we a little light first visualize the whole

Saying think where the lights gonna be this for the whole scene not just one shot nothing and then build around that just get yourself in a backlit situation yeah the master and then you're gonna be fine so why back like having a

Consistency on the camera side fit of their faces and the side of the face of your photographing is kinda saying it's still in the shade got a child above here he's you know red hat over here and then we've got Zack of course over here

Here we've got of course our cornfield oh I knew I needed to do is find an edge of a cornfield where they were backward so there's some had to be here and it wasn't there all day it does this so therefore you say okay we can shoot the

Scene yeah this time till this time yeah this is probably like 2 pm and this is what like 6 pm is it and if it's back light it can be hard it can be soft and generally speaking the quality get over there yes it's it's the

Oldest rule in the book is you know D visas want everything backlit this is so good there just think either one looks beautiful it's not about that it's about managing the production and doing other controls the Sun yeah is why we wanted

Backlit you're gonna have to do this and you're gonna go to work very quickly and you're gonna get give the actors the greatest freedom did you do any tweaks or anything like that wasn't all naturally Allah doesn't like the only

Thing I did was hang a lot of dirt in here got just a lot of do Bettina for people that don't know what do at Tina's it's just black fabric blocks have the Sun all to take light away from their faces what I can do on an overcast day

Stop turning lights on the best thing you can do is start taking light away and shaping it that way I think a big piece of advice especially in this day and age just learn about good – camera shooting know about what you can do and

Can't do and what the limitations are if producers go I can't afford two cameras what you bring to a film by just adding a camera and enough crew to run that camera it's so much more so much more than the findings of the cut the cameras

You know it's like you help the schedule so much you help the actors the director and the continuity and the things you can do so basically the first thing we do this is the master that's why that's a 40 ml make a great frame that actually

It can exist with them don't ya don't try not to move your master Jack was over here on a long lens 75 I wouldn't qualify this isn't over I could qualify this is sub master because it's different than the others

Is there a reason why you chose to shoot it like that well yeah I knew the action was going to go down here on the corner and see my cameras just here just telephone mmm that's your letter math a stochastic your master is literally just

Hanging out there yeah it was raining so I knew that if I had the whole scene and masters and we only had it for one rain take then we have enough to pay for it through and have some consistency rather than just relying on the overs which

Might be all clean with there Oh somebody shooting multi-camera too it gives you more options in case something unpredictable happens like a rain or a cloud coming across exactly exactly yeah so that's the first part of the

Coverage yes I wish the Masters effectively which run the whole scene and then the others one camera here and one camera there we had to use the window of rain as much as we could miss Casey scratched the mast everyone you

Went with an over-the-shoulder for both characters I've ever talked what lens were using on this there you see fifty really I mean this is two setups you shoot one yeah – and then you're out of the scene which is pretty quick um and

That's amazing you get four angles for two setups that's incredible yeah this would have taken 93 hours to shoot so this is Zacks escape from the old people sign yes it just slipped out from under your nose close or then you figure out

Where he's at the nighttime scene it goes from interior to exterior yeah how do you cover a running scene like this the rips head a bicycle which is a big freewheel bicycle it's nothing custom-made it's just a

Trike yeah so the grip sits here and then there's another seat here on Apple box or something for a Steadicam operator sit on the city come up I say here there's my motel so it's silent it's

Cheap it's very good for adjusting to a human yeah so in this case we're literally just biking this direction yeah and our lead actor is here and is running this way so the Steadicam takes care of the bumps in the road it does

And stuff like that and then you get your clean shot of your actor there's not a lot of lighting involved this is all street light no way you know night lighting for me and the digital age is all about lighting to the street so you

Go to the street at night and you look at what's there look at the color temperature the lights that are there yeah and the lights that you put in make them the same color temperature so it all belongs in one reality you said you

Didn't use a lot of lighting there's one light yeah it's a little bit of front light so just a little fuzzier and that there's one on its chest then we're using there we're going to Sputnik that's funny yeah just a little Sputnik

Light and that's just giving us a little cast here yeah jumps out the window it's just a very simple scene as well it's just one light yeah look good and talk to the street get them to turn their house their windows they left on

The house while you're shooting to add a little texture there's something there yeah yeah my body's about keeping a symbol now before we break down our last scene I would give a quick shout-out to

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Now thanks Nigel block and the peanut butter Falcon the beginning of the raft trip they've just built the raft out of a junkyard and they just pushed off the riverbank and brought the beginning of the voyage on the water I give you all

On our search oh man it's interesting cousin it's all sink really emotional scene that we shot basically from behind the characters which is not unusual itself at all I mean for each other's which is what this is French Chavez is

When you shoot the over from behind the hits in rather rather burn on front the actors turning to the other actor and looking straight into their eyes you know and the cameras here yeah then you're not seeing their eyes but it

Becomes here you're seeing their eyes bitter you've seen it someone's building if the cameras here the actors tend to go to where the cameras they will tend to open up more to a camera that's a no the French over than they do to commence

A regular but the cameras here they know they're going to make a decision to come round here one of the reasons I decided to shoot this like this is the couple's two reasons dissimilar the edge of a raft I can't get the camera out in front

And this I then have another boat know the crane to get the camera in front of them I had a certain amount of days I could use a stabilized head only a couple so I know there's some situations I needed a stabilized here to deal with

The conditions how by how fast the boats moving yeah some days like here we're in a very calm place I thought well we're gonna be I do lot of us handheld and it's also for me a very natural angle because the camera is just on the boat

If the camera hanging off the front it's a movie because it's an impossible kind of angle yeah whereas I liked being with them I like being seeing what they're seeing for the

First time I liked seeing the road ahead so I like mastering it here on this two-shot there's a voyage it's about what's in front of them that's what's behind them with these guys we cross covered the the others simple 40ml

Camera back here mm-hmm which you ran as a single camera yeah and then when we've gotten the coverage I put one camera here one camera here both handheld is just me sitting cross-legged with my wife over here and and the lights pretty

Good because again I'm backlit right so the lights here and this was by design absolutely we're going to push the raft off this way to get in the back and go up the current this way and yeah and then the the cross shooting is we didn't

We didn't have a lot of lenses we didn't have two of anything so one would have been 15 one more minute 60 as usual and we shot the scene in a couple of hours and I liked it also just cuz it's so simple and it's just thought about and

Considered and it's and it works and you don't need much more than that I think you know it's just again just choose this gear makes smart selection listen and just listen always always always challenge the crew to be the smallest

The quietest crew because if you lead by that then the rest of the crew won't do that you create a quiet set people can think and do the job well and when you're an actor you don't want a bunch of blah blah blah yeah there's a

Creative process going on and there's a lot of very stressed out people on the edge and it's all about curating that as silently as you can and do more homework than you're doing a 100 million dollar film because that's all you have good

Filmmaking is all about not the tools it's all about how you can see that and having a point of view and making sure it's consistent holistically shoot the film as a whole you know always shoot everything as a whole see the story as a

Whole Nigel thank you so much for coming on the show really appreciate it people that haven't seen the peanut butter Falcon of course absolutely incredible movie again the amount of

Times that I have laughed and smiled cried in the theaters seriously this weekend just the best thing for making an amazing life thanks so much for watching this of course Nigel it's great to see you and uh look at you

Guys next to them there you have it guys a breakdown of independent feature film cinematography with Nigel block if you want actually learn even more from Nigel actually went into depth in our podcast there's a link in the description and I

Want to give a huge shout out to Squarespace once again for sponsoring this video consider going over to squarespacecom slash Indy mogul to get that free trial of free website and help support the channel that's it for me

Guys I'm Ted thanks so much for watching any mobile sorry I just wish I could see a crew photo of you guys on the back of my trike you used something severe later

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