 Hello, I hope you're good, and I hope your week has been great. I know things has been interesting in the enjoy of late I've had a bit of downtime and during that period I was able to catch on a couple of movies and one of them that picked my Interest was Astrid City by Wes Anderson so this will not just be a breakdown to be a conversation based on some of the things I could find on the BTS that based on what I found interesting because it's almost like a masterclass when it comes to framing and Compositing I was stuck and we just walk through setting interesting things that I actually observed from most of the found footage From set giving it observing the director of his processes and his cinematographer and all that was put together To make the entire film become like great So without further ado, let's hit it You're not here. We're not there the car exploded Come get the girls I have to stay here with Woodrow I'm not the chauffeur on the ground father. Where are you asteroid city farm root six mile 75? Now this is quite interesting because if you look there's like it that's the grip guide that's actually pulling the train miniature and they rigged their own Train arm as I'll put it to be able to like get that shot for the train and you can also see it here when they do that with Shot of the missile but when you watch it in the film the scale looks so humongous And it actually becomes more appealing the more footage that actually shows us like the behinds of those set pieces We get to see the scaffolding that you can see on the right corner of the frame that just passed and behind all this tall mountains They're all fake which is quite interesting There's a lot that said they beat it on some flat land They found in Spain which they actually select some lit this whole desert and some some of it was Compton Based on but most of it like 99% of it was built So if you look at this drone footage now, all these are all Beauty scale like it's almost like they made like a small community for the entire film So if we push forward a bit now, this is the part that actually interests me Most of the entire film was done on a dolly work You could see how if you go watch the film you see what I mean by precise framing Cinematic movement and most of it was shot like during the daytime you get using mostly diffusion and daylight Most of it was the precision of the framing that was done with The dolly and the gearhead now. This is interesting if you look at this part in the film all the stones actually have a color-corrected cyan But looking at them from this perspective of the camera you could see how sandy and air tones that they wear and It's just very interesting with some of the things that are possible to grade and how they could like pull out some colors and Heighten the saturations and increase the density. It was quite it was quite a very sorry experience going through Most of this you get now if we look at this footage you would get to see like The director is taking a scene and speaking of what I said earlier You can see just a bounce board that is there taking the scene giving like reflecting light the sun backlighting the character and That's looks like a Zeiss supreme lens and it had five millimeter on the on the gearhead and And That was quite if you look at it again That's like really interesting because that's all there is to this thing. There's no like there's no giant overhead There's no diffusion on anything like as minimal as it get just Shooting at the right time of the day because if we look at the long shadows on the floor It tells you the quality of light. This is not like high none or so so it's on still like Rising and that's how they actually could get this shot and I think this is quite Quite inspiring though. It goes away from the tradition and the norms there still deliver amazing like the entire medium is just so pleasing Now they are doing most of the locked off like you can see when they're doing some of the locked off that they have now I think this is now on like on a corner head But most of those dynamic framing that needed precision All of it was done on the gearhead the most interesting thing about this frame is the fact that it was done on Lane tracks on tracks so you have like three dollies on that's actually going on three tracks we've been supporting length probably a 12 feet span 12 to 15 feet span and This is looking more like a 12 feet though and you have the director So what this means that it can go both sideways Left to right and can go front to back If you look at if you look at the contraption again You get so you can go both sideways left to right and can go front to back when you look at the entire setup And it played more in at the beginning of the not the beginning where they actually had like that campsite and this man here was actually giving the speech on On on the asteroids like some kind of celebration the yes, why it was given this speech Now this is interesting because these are like some of the few moments in the film that green screen was used And if you watch the green screen is actually being lit by the ambience and not by direct sunlight because it's also been Backlighted by the Sun so the ambience has come from the opposite side of the screen That's not lighting the characters because the Sun is coming like from the top right of the frame if you look at the shadows on the floor and I believe there's like some kind of large bounce that's in front or probably the Sun that's white That's creating like the skip bounce feeling to the shadows And I'm guessing the reason for the green screen is because some of the large prop elements that they can move they can use that as a plate to create like set extension and and achieve the Symmetry or the frame lines that was designed for This frame or the scene that's within the film Yeah, is where he's like using the gear heads again. I can see the Ari gear head for This kind of precision filming on a very giant film cameras if we go beyond this frame There's like one of the perspective where they had like this whole dancing moment You look at the shadows on the ground same thing like it's almost like it's a masterclass in learning how to shoot with natural light At the quality the time of day that the quality of light is right to be able to get like the entire framing that you require and You can see the cinematographer walking the gear head just to get that fine frame of it those are like long boom pose which the sound guys are isn't like to get the sound when the Dolly comes in they can raise it up But on the wide shot they go way lower to be able to get it with that with all their boom cats And that's like a director on his monitor Watching and being able to like see and give notes and performance to what's going on if you actually look for like a masterclass on Composition framing and cinematography. I believe this film is some it's it's what giving a look You get that's where you get to like enjoy all the goodness of the framing. This is just Seeing a wonderful piece of amazing cinematography That is Butte not just on artificial lights, but if you're walking with the sunlight if you're walking with nature what you have given What's possible that you can create and it was really interesting to see what could be made? So if you haven't seen the film take time out and go see asteroid city Let me know in the comments what you think about it if this has been useful to you like subscribe and join the conversation on what you think was a cool technique that you could take and actually implement in your work and Until next time when I see you when we break down another film or talk about something different That's contributed for your process and provides the depth and overcome. Thank you