 Hello and welcome to another breakdown. Today we're breaking a film as opposed to a music video. Last episode we put out the request for people to submit their images for a chance to win a camera rent in the Lagos area but sadly we didn't get any from the Lagos area so we encourage you to participate in our challenges and be able to make good use of most of the good tips that we share in the videos. So for today we'll be breaking down a film called Shapa. It's on Apple TV, it's a crime drama thriller and without diving in too much we'll just start gradually and we'll break down certain scenes that are in the film and we can see what we can learn from it. So first of all Shapa was released on February 7th, it's an hour 56 minutes long by the director Benjamin Karen. I'm sure you must be familiar with his work because he's known for Andor, which is a TV series, also Sherlock Holmes that's the TV series and the Crown TV series so he works in television. Cinematographer's name is Charlotte Bruss and we know her work from I've seen Gal on the Train, I could remember that, the Gal on the Train, Fences and A Quiet Place. The film was shot on Panavision Panaflex light weight film cameras that are like super fast with Panavision C series and E series which are like lenses which they used on the film and also they also use the Panaflex Millennium XL2 and also using the same C series and E series and they predominantly shot on Kodak. So we'll just dive into some scenes if you have not watched it, there's a whole lot of spoilers that I'll be like dropping about the film so you better pause this video and go and watch it before I start spoiling the film for you. That being said all spoilers, disclaimers, now let's move into the film. So I'll play the opening scene from the movie this way the guy is like closing down the shop and the girl comes back because they had like an earlier exchange of she wanted to rent a library book and she didn't have cash and he gave her the book and now she came back with the cash to give him the book and he's like okay he's okay not now not today because he was hoping to score a date on the second entry but she gave him the cash nonetheless. So if you look at the BTS right you can see due to the nature it was shot on film right a lot of it was shot on the dolly you can see there using like a three feet offset I would I would try and show that in the frame you can there's like an offset there which the DP is holding to like give an extension away from the camera while the base is somewhere here where this guy is blocking and we have our boom guy and if we continue if you come if we continue throughout the frame you can see the time of day here it's more looking like a four o'clock 4 30 yet the sun has just gone behind the high rises on the street so you have like skylight which is makes a lot more soft and a lot more pleasing quality of light as opposed to and let's if we go back into the film like where the conversation exchange happens here so you can now see how the lack of light coming from the stall creates like negative feel right and we have all of the skylight that's coming in here and actually came from the face and if you look at the reverse this time I believe the sky has gone way down and the reason why I would say that because if you look at the background now you can see how that buildings a lot more darker although this could have been done in post you get all I could have been done in the grade but it feels like if you look at here the light that's coming in from say here it's looking more like a sauce like a unit that's set up on a big large bounce that's pushing through a diffusion or something to be able to open up this area and probably a skip bounce for this reverse as opposed to if we go back early in the frame and you look at let's see the ambience here also it's way different than when we get to um this part of the coverage yet so I guess by the time they say shouldn't this part of the coverage they've lost more light or or they closed down or the colorists decided to close down on the gaps if we turn on the first color to look at it you can see they literally went bold on the film allowing it to like drop into the shadows you can see the skin's belly on the exposed which is where black skin tones should exist though which is like half stop on the exposed from the from neutral gray you have the stars like a negative field and the skylight becomes like the ski and he's like on the exposed too so yet there's all of that that's going on for the entire film giving making fall into deep shadows just soft wrap from the sky we cut to the wide shot where we see them walk away um and they leave which is also you can find in the BTS when you get to see them walk away here um if you look at the entire kit that's like the film camera the panavision with the film magazine that's actually here um this looks like a small hd monitor and that's like a pterodact that's on set with a um cinetape mdr box I don't know which of them is this but I'm guessing it's I think in a nutshell I saw a clerish away the way using a range finder too that helps to focus pull that pull focus and if you look closely even at that they had max on the floor like they had max on the floor that guaranteed that they do not miss their focus and things were as they should be and nothing was left to chance here's a telltale sign that we know things are shot on film if you look at the um the shot here if I pause it here and we zoom in right you see these lines that you're seeing here um let me see if I can use ours to show you you see these lines that you can see here right all of them you see all these lines that are the edges of the actors yes those are what we'll call halation film gets like produced them based on um um how light goes into the emotion and scatters and reflects back and all that photochemical reaction that actually leads to all of this bleeding edge that happens that gives this red glow around the subject and if you turn on false color you see that's just literally soloid like it falls literally into the darkness so you can see between them there's about eight stops of exposure in this scene in the entire dynamic range of the scene like from the window to the darkest area which like the floor there's like eight stops of of um dynamic range data that that film can capture you can recover a lot from those highlights you you usually it's very difficult to clip on film because the highlights of when they clip they roll off beautifully here to balance out the window there's like a sauce coming in here that's actually raising the level of the face so they can because this is a real location there's some of the locations that felt like it was done in the studio but this is a real location so there's that that's the sauce and we get to see that in the BTS yeah so there's a bit here as we can see they're like on a dolly with a remote head that's actually holding so they're not using like tracks on this one in a way because it almost looks like it has like a z-axis because of this thing here almost looking like the DJI z-axis contraption but like a bigger version that holds a film camera and you have like your number three axis gimbal here that's actually working and that's like a dolly grip that controls it he has his own small monitor so that he could actually see the frame and when he walks on this on even floors the three-axis stabilization takes away all the unevenness that happens around the footage and he has the range find now still in your yeah that connects to the senior tape which was on the camera which I showed you on the on the other shot yeah it was here yes this is it the senior tape was here so this is the range find that what it does is reads the focus distance of what's in front of the camera allows the focus pullout to be able to get accurate distance measurement because it's film it's more critical because it's not like digital where you can go and check and see life feed you get so just like a video tap where they get out of the camera to be able to see an approximation of what's going on so it's really really critical for them to be able to nailing their their focus and they don't get to play like us where we do put our lens on the one five or or a one two or f1.2 and say okay allow auto focus take control of that because that shadow depth of field will be too shallow for film they usually make sure that it two eight or even a four depending on the scenario when you're looking this way now they're looking into the shadows that could be like a bounce light because it's not as intense as it was when you're looking out the window you guys because when you're looking at the windows it's very intense so that they can hold those sky highlights at the time of day that they were shooting because it's it's looking like that's like the direct sun you get you can see it on the floor and to compete with that they would need to be able to bring in some real serious firepower i'm not surprised even that's an m40 that they bring in to be able to hold against the window this is where they just came from a fundraiser and his head over heels for her and they go up to their mansion and why they go up to your mansion and he's walk into a con whereby this guy is not like a real cup he's not like a real cup and it's like the sun you're all faking like some drug abuse and stuff like that if you look at this frame something that's interesting if you check the first color levels same thing is still going on for the footage so if you check the first color on it you can see like the Caucasian skin tone is like one stop on the exposed and everything's just playing on that very undertone whereby it gets not too keen not too gritty it actually takes the professional to do that because you can see how they can like edge light them from their surroundings and you can just like some kind of rigged up light up there that's like actually creating this accent which i believe the structure here it's preventing it from hitting but it's another light source that's coming that's coming this way if you actually see like a tungsten source that's actually keying him and that's how it's presently is in the scene there's a different set of where we can see like now she has like a soft key here that's actually let me see if i can elaborate on that a bit so she has like a 5600 like some kind of daylight source coming in and there's also like some tungsten practical source that's probably backlighting her head for this scene though and it goes in and they have this conversation for a while she tells him she's disappointed and he's a fake car we shouldn't give him any money and this is what his son's his son does like he's a 419 sorry he's a scammer it's not such 499 durian thing it's not a global thing so he's a scammer okay so if we go to like the behind the scene we get to see properly now that's the sauce we're talking about that was like creating like the whole daylight pool in fact even two of them there's like one coming in that's hitting this guy there's this that's coming in that's actually hitting the guy we have our orange our tungsten sauce that's actually creating um the mixed color temperature whatever stock they're shooting they actually try to balance it out properly so that it actually gives this whole richness to the entire stock yes there's a lot of that and here's that same place again before they walked in now you can see this is the sauce for i believe is this sauce for yeah it actually looks like a sauce for that actually um bringing the whole tungsten light and remember that we had like daylight coming in from this other corner to why they were standing there and these are like they are max on the floor you get where and who goes what for the entire focus pulling and that's like a pool cat that is holding the sauce for which will become the latest backlight like we saw in the previous shot where she was backlit by by it this is it where she's backlit by it and that's where the light is that's doing that whole trick for her and yes we have like the sky panel which um i believe this goes in through some diffusion i'm not sure they left this on like this and you can see how bright the room is as opposed to how dark the film is like if you're supposed to compare just for fun sake and you turn on false color you get to see like they're like two stops overexposed and to show how um how film is quite a different beast than digital you get and you really really really have to pay attention and and respect the process because um some people are on the side of overshooting by exposing overexposing by two stops to be able to get a ticker negative and what that means is that you have to get more light into the shadow area so it's now it's less noisy and clean from the way it's it's been shot it's almost felt like they had a tick a thick negative and what they did was to not add the grain and the texture in post because given the levels that we're seeing from this behind the scenes it's really quite something you get yeah so now it comes back to what i was saying again like i'm not sure like they exposed overexposed that um they left that sky panel there you can see here they have like a net that's in red i think it costs down light by a stop and there's also like a diffusion behind it that's like a full blown 216 or a full grade diffusion that means it's almost like three stops of light gone just to be able to soften the direct source of the panel i remember like the sky panel itself it's something a hard source to begin with you get because it has like this diffusion surrounded so this is somewhere in the film where she's um rethinking actions for taking something key from him and seeing that they've taken his father's inherent sense and she reassembles the score to go steal back the money you get just quick shot so if we look at the behind the scene here we have we are back to like um i believe this like an cornerhead or something yeah and that's like the film camera and we can see this is the scintill tape and that's like the range finder that's like a small hd monitor the terror deck that's sending signal to the video village and they'll have like a bunch of receivers i believe the director was often using an ipad to be able to um watch was it and that's our dolly grip as we can see from here um the light seems to be coming from the side of the frame windy and this is the shot and you can see like that's like the light levels and i believe um yes all these are just like practicals within the set and they seem like they're skiing him it's what's spilling onto this chair it's probably a large sauce as we would get to see and in the reverse you can see yeah here we go again that's like the large sauce there with our cinematographer she's had a long day it's quite stressful and yeah now you shouldn't the reverse of the shot whereby they're seeing to the um seeing to the exterior and that's like um date and depending on the lens i believe that was like a close-up on the film i believe the angle didn't make it in because um from the bts that's supposed to be like we should be seeing the back of the room but we are not seeing the back of the room here we're just seeing it as like a light is coming from this side and it's actually creating this soft wrap that goes into the darkness i believe there should be some probably some bounce board that is actually complimenting to raise the shadows you get or else the shadows will just fall jet black into it if you check if you check for it yeah i believe there's there's something raising shadows up if not it should just fall into darkness or there's like a bounce up in the air that's actually making it that way now this thing is interesting because this thing was actually shot at a real location and the reason why i believe that is because um first of all what happens in saying he tries to get him into the office from doubt the same way he was walking on the hallway this time he says he's a nuisance to his mom how much will it take for him to be gone you get and if you just see differently you can see like they're able to hold the sky levels they're able to hold everything that's going on while so have like a decent key on him and you can see like and if you look at the direction of the light when you're looking at this side of the shot you get to see in the bts why it makes sense that i believe that's a real location that's like some serious fire part they shot into something and now diffuse you like a two one six here i guess like another diffusion here for him when you're doing the reverse this is the one that's actually going like key him and they have like negative here to be able to get like contrast on him so it doesn't like fly out over everywhere and he has like his own diffusion when they actually shouldn't do reverse action on him all the entire camera language emotion language of the film was shot on a dolly like it's it's either dolly or steady cam because it has a stability there has this pristiness that actually goes with it that you can almost tell how it was meticulously planned out it's not left to chance there's no handheld camera work there's no any of those razz energy that exists in the entire film everything is just meticulous and smooth and even you get that shows the character state of mind and kudos to the entire cinematography team and kudos to her for coming up with that brilliant camera language to be able to showcase the characters emotions you get that became the camera emotion for the film now this thing is interesting because this one i do not believe um it's a riser it feels more like a set and i would show you why in the future so they had like breakfast in the morning and she has like um talking about her son and and like prepping him and stuff and here you can see like this is set as sun rays here we can see light directions going this way but somehow there's another light coming in and kissing him you get if it was a real location i don't know how tall open the edges would be but i almost feel this may be really expensive to achieve this kind of shot we have like this edge in him and also having maintaining light continuity so yeah we'll continue he meets them in breakfast and she's like oh let's have dinner or something together and she's giving me hard time and stuff like that and she leaves both grown up men very soon and gets out of the house and he sits in and they both and he issues a soft threat to him like they should be friends and he's like oh okay but that didn't sound all friendly but it's interesting though because in this shot here um where she was i believe where she was here i believe the lighting was quite different based on how it ships um his eyes due to the camera if we'll go forward into the shot again and look at that same lighting you can see somewhat more wrapping and soft as opposed to um when we first see it here you get this is a different setup but for this setup we do have for this setup we do have the bts the behind the scene um if we look at it it's um a sandwich bounce i believe a it feels like a sky panel i can really see clearly but it soft starts as blood that's bouncing to like an ultra bounce and they have like this four by eight that they constructed with this frame to give this whole scenario here and that's what he sits into that lights him properly yes that's the director with his ipad here that's receiving the whole signal that's like our dolly grip um he comes in takes a drink sees his mom sees the party everybody's bougie now this is why i call this fake because that doesn't look like the sun and we continue for a bit he introduces them and you can see how low the levels are compared to what it really is on the day so yeah it's it's almost like they did overexposure to get like cleaned up and pushed it down during the grade because it's really really really still on that that one stop on the exposure one stop on the exposure two stop on the exposure one and a half stop to be fair from um the entire film if you look at the behind the scenes now you get to see what i mean like that's not a sun i guess i was painted out with vfx you can see the edge of the band of whatever that light is and that's what that is and if we continue um let's see yeah we get to see you get to see light now that same light here and up top here we have those soft boxes you can see them clearly in the mirror right they're like all there in the mirror and there's something that looks like a pole cat that's holding them there and um it continues in the room where we have like a far side key i'll have like negative to be able to do um to create contrast that happens to try the entire thing here you can clearly see what um we're talking about and it feels like on today's version of the set the director was like an extra like he acted as part of the guest and that would be cool though so that's like from the movie shop and i hope you found that useful as we broke down using real elements we could find from the behind the scenes to be able to explain some of the stuff of how they broke down the film and what they did with the film and um i hope this has been beneficial to you in some way and we'll try to break down more films and learn from them and actually take more things from them if you have any questions if you have any suggestions if this video has been useful to you please like subscribe and share if you want more videos like this you could hit the thumbs up and encourage and you can encourage us by um using any of those um stickers to be able to help us to make more dedicated time and create more quality content for you and um yeah we'll see you next time in next video where we'll break down more videos and see how they can be beneficial to you and i so until next time i see you improvise adapt and overcome