Do you want to see a behind the scenes breakdown of how we shot content for a $48,000 advertising campaign? If you said yes, then great. Stick around for the rest of this video because we have a ton of content to go over. Throughout the course of this behind the scenes video, we're going to walk you through how we shot five different short commercials to promote one of our client's businesses and help them increase sales like crazy because at the end of the day, that's what commercial filmmaking is all about. We need to generate a return on investment. If you're a filmmaker and the commercials you produce generate massive ROI is for your clients, you can walk into the next client and charge double because you're confident in your work and that it will make them so much money in return. Or if you're a business owner and you're trying to shoot content for your own business, understanding the skills to shoot content profitably for your own business is extremely valuable, so stick around. By the time this video is over, you'll absolutely have learned something that you can use on the commercial set to generate your own business or your client's business. A massive return on investment.
What's up traders, Anthony here and in today's lesson we're going to give you a live behind the scenes walkthrough of an actual commercial shoot. It's for Andres, one of our NLC clients. He's crushing it in the game right now and we're shooting him some new content to push out there on ads. So to get into it, what we're, what we're going to cover today is basically the cameras we're using, why we're using them, why they're positioned where they are. We're going to go over lighting, we're going to go over audio, everything from composition, and then Paul's going to get into the actual messaging behind this commercial. Why we're having our subject, say what they're saying and how we're going to distribute it to make his clients a ton of money.
so right here we have the Canon one DX Mar too. That's my best camera. I have it set up on a tight focal length. It's a 70 to 200 millimeter lens. I have it kind of wide at 70 we're filming in Fourcade has a slight crop. Um, and then right here we have our Canon EOS R. that's a straight on look. We're shooting on a 50 millimeter slightly wider than the 70 mil shot. It gets more of his full body emphasizes movement and whatnot where this is really just on his face. Uh, as far as camera settings go, both are being filmed at 24 frames per second. It's the industry standards. What we recommend if you're not slowing it down, always shooting 24 it's what looks best. Since we're doing it, 24 frames per second frame rate. Our shutter speed, double the frame rate. It's one 50th of a second on both cameras.
Aperture is as low as possible because we want that really nice, beautiful blurred out background. You can see in this setup, Andreas is extremely far from the background. We put basically as much space between the background in our subject as possible because now when you get into that image, the background is going to be beautifully. [inaudible] is the word for it. Beautifully blurred out and that's because we have that low aperture. So that's 1.8 on this camera, 2.8 on this camera, because that's the lowest it goes. One of the most important things that I could recommend for your business is to invest in a nice teleprompter. I used to bank on the fact that business owners that I was working with just were confident on camera and knew how to say what they needed to say. That is always wrong. Even if they say that they're going to be great on camera and that they're confident and they don't need to write it out, that's just them being lazy. Get a teleprompter script out your commercial. It's gonna make your messaging 10 times more powerful. You're going to come off as 10 times more confident. So right here we have, it's about $150 teleprompter. I'll link it below. Flash on screen. It does a great job of helping your subject say exactly what they need to, no matter how confident they are, it's better to have it written down.
So now we're going to get into the lighting, what we're using, why we're using it to start. The most important thing when it comes to lighting is your key light. It's the light that's absolutely doing the most work on your subject right now we have a Westcott Solex Apollo. It's like a $450 light, but with any key light, you want your nice soft box to turn that hard light to fuse it into a soft light. It's much more flattering. If we were in a pinch, this would be the only light I need. I also brought a backlight to cheap, I think it's like a 75 a hundred dollar light. There's no softbox on it cause we want a hard light with our backlight and that just shines on the back of Andrea's giving a little rim outlined to him. It's another thing that separates him from the background and those are the only two lights we brought.
We didn't bring a fill light because as you can see in the images, those shadows just look so awesome and cinematic on the dark side of his face. Along with that. We also have that Rembrandt lighting. We have the Rembrandt triangle on the dark side of his face. This Rembrandt triangle is considered to be one of the most important elements of the three point lighting setup, which is why I always try and get that in my commercial shoots and then as far as that, we also have these huge beautiful windows in the back. They bring a lot of natural light into the scene, makes it look better, but at the same time they're not completely overblown. They look, they look good in the scene. They help give it this natural look because we do have a beautiful space that we want to emphasize,
so the EOS EOCR is a straight on shot, helps the viewer focus right on the subject. It will be the main take used in the commercial. This shot, however, is slightly off to the side of Andres and it's on the dark side of his face. As we talk about in the lighting section, you always want to film at the dark side. It's what looks more cinematic, adds more depth to the scene than just a broad, fully lit look, and that's the style that I personally like to shoot it. One quick tip, it's really important to get this down. If you're doing a multi-camera setup of a talking subject, one thing that you could use to your advantage that's really powerful. If there's ever an awkward pause or somebody's waiting for the next line to come up on the teleprompter, whatever it is, if it's like an end or a butt and it just doesn't feel right, that's something you can fix in the editing room by switching between your camera angles. Nobody from the audience is going to realize that you might have cut out a second, or even if you don't cut out time, that natural switch, their eyes are more curious about what just happened visually compared to listening to the awkwardness that might've just happened. So keep that in mind when you're editing these projects after you're done filming.
So now audio, it is absolutely the most important aspect of shooting your commercial. If they can't hear what he's saying, nobody's going to buy. Nobody's going to do take any action. Nobody's going to watch it. Right now we're using to zoom H one N lavalier microphones. They're super simple. They record clean audio if you're on it, if you're in a pinch and you're filming on a budget, these are absolutely all you need. They have great auto leveling in case somebody's speaking at different levels, but I typically set up beforehand and like I said, that's really all you need. We don't have a road NTG or a big boom Mike just because given that we were traveling today, it was almost an unnecessary thing that we had to bring so we didn't bring that. The lavs are really all you need.
All right, so for messaging, what we've done here is we're actually leveraging two different cameras, which is awesome cause we can cut through, but more than anything with the teleprompter, one of the best things that we can do with messaging here is create one ad angle that we can leverage on all platforms and oftentimes to do that, different platforms like Instagram, we're looking at 60 seconds for an ad. Whereas with Facebook or YouTube, we can hit five 10 20 minutes and keep people engaged. Granted, the messaging is strong. So what we've done here is we've actually tailored the call to action in this video multiple times for different platforms. One of them is going to be for Facebook, the other one's going to be specifically for Instagram. And by doing that, all Andres had to do was basically record the video messaging once all the way through it, that call to action.
And then we're going to cut that out-tro that call to action multiple times with different answers. So that way, depending on the platform and the user experience, the person has the best chance of being told exactly what to do on their platform to take the next step and get results. So what we have here is because we have this entire space to ourselves for the day, we're doing this first shoot here, we're going to maximize the number of creatives and looks that we can get for Andreas and for his company. So we're doing this first one with a really beautiful shot. All the back to the window, lots of depth in the scene. We'll do another one where Andres is at a table and he's recording. We'll do a couple of different outfit wardrobe changes so he can release content that essentially looks brand new, like it's a new scene cause he's wearing different clothes, different scenes for that viewer experience where they're not like you shot content in the same clothes in the exact same spot and had been releasing it for a year. Every single time it's going to look like, Oh, he's back. It's new. What is this one? And that visual cue of different, we'll hook people back in and create a relationship where they believe the individual, the creator here in this case, Andreas is taking time out of his day again and again and again to provide value even though we shot it all in one day.
All right, so this is our second shoot for the day for this content for Andres and a huge thing that I want to mention. I talked about it in the composition module, but this will help bring it to life. It's not just what's in your frame, it's also what's not in your frame. So we have a beautiful set here. We actually aren't using any light because we have any artificial light because we have this beautiful window bringing casting nice sunlight in. So it's interesting it goes to show you don't need lights to have an amazing scene, but what is in the frame are a ton of chairs that are skewed out of proportion. There's a desk that's in the actual video frame. It doesn't need to be there. There's also two trash cans. So the before looks great. I'm not going to lie. We could definitely pass it off as a great scene, but to go that extra mile to really get the absolute best picture that you can take 25 seconds and throw anything that's not supposed to be in your frame out of the way.
And now we have a much cleaner frame. We are into our second shoot of the day. We changed up our locations because we want to refresh the look of our content, not have it be stale, all filmed in the same spot. This one's really simple. We're not even using a light because we have this amazing huge window. This entire wall is basically a window. It's casting great shadows, nice soft, even light on Andre's face. This one we're using a single camera set up to keep it simple. We have the same [inaudible] Mike's capturing audio and one thing I really want to dial in on in this shoot is we know going into it that it's going to be basically split between Andres talking and graphics rolling over the screen. So to be as smart as we could in pre preproduction, as you can see we have Andres off to one side and we have blank open space on the other side. Graphics are a huge way to convey info that sometimes is hard to just talk about on video. You know you can show pictures, do whatever you want. It's a great way to educate your audience. We use them a lot.
All right, so in this particular video, what we're doing is we're actually doing a couple interviews, Andreas, for the client here. Really simple setup because speed is value. In this instance, we're just doing long form content. We're probably going to be shooting five to 15 maybe even 20 minute videos. Here we bring in an expert that builds, know, like and trust. There's no editing in these videos. Very important because we don't want it to feel polished. Also, we're using just a really simple setup. One softbox one camera here, so that way the messaging has a feeling of authenticity. These individuals took the time out of their day to sit right here in these chairs and talk about something that the audience is going to care about. Now, this is probably one of the biggest distinctions and reasons that I think what we tried to do at next level created is very different, is we're always looking to get the maximum potential out of every single moment that we're shooting with a client, which is why here in this instance, we're creating different types of creatives.
This creative is fully authentic. It's very personalized. It's very intimate. The scene is intimate. It's just two people talking, no editing and anything goes. So because of that, the viewer is going to get that long experience of well this is what the human beings really like. This is what it's like to just have a conversation with them. And not only that, they're pretty darn smart. So that's why we did this scene this way in terms of selling power. When we mix this with the professional quality that is relatively shorter than this one for the longer form, more intimate and of course powerful, uh, content that comes through. All right, so this is our fourth set of the day. Super exciting. And with this one we wanted to get something completely different, something that wasn't a static shot, but it would have some form of visual stimulus, something that's more cinematic. So Anthony break down what we did to accomplish a different feel visually and how that's going to affect the messaging. Now we used,
yeah, so obviously every other set we had throughout this entire day of filming was static on a tripod, just talking subject, which was great. Like we say 90 95% of the time. That's really all you need. But Paul brought up a good point. He said, let's interject some motion, get the audience to feel like there's something more going on than just a person sitting down and talking. So originally our goal was to have Andreas walked down this column. We'd follow him with our Ronan S but due to the inconsistent lighting we had, we tried a couple of setups. It was hard to keep it consistent throughout the scene. And you could see in the images right now it got kind of weird. So we thought about what we could do better and we actually figured out have Andrea stand perfectly still and move the Ronin slowly up to him.
In terms of cinematic movements, a push in is considered to be a really powerful shot to establish, you know, just an absolute Andres is coming off as the expert in his field right now. We're trying to make him seem as powerful as he can. So basically this slow push-in adds more than enough movement to the scene to establish what we were trying to get in our messaging. So it was about dominance and from that perspective, that push in is going to be really effective for Facebook, YouTube, Instagram, because as someone's watching the content, as they get wrapped into the visual or to the messaging, excuse me, what he's saying, the visual is also wrapping them in simultaneously. So that's a very powerful visual effect, which has to simple pushing. So that's what we did. Yeah. And then as far as the actual set goes, we filmed in 10 80 P at 24 frames per second on the one DX Mark two with a 24 millimeter F 1.8 lens.
So we still got that shallow depth of field. We had good separation between Andres and the background. So visually it looked great. But the big kicker that we did different is we use two main key lights in this scene. We had a big window that was lighting up the background so we needed a lot of powerful light to shine right on Andres and make him himself stand out, not just the background overblowing him. So we have our main key light here in our secondary key light on the other side. This is an example of flat lighting. You can see there isn't really a bright side and a dark side of Andre's face. It's flat, it's broad, it looks really highly produced, which again contrast with the other type of content that we were shooting. It's all about switching things up, finding what works best, finding what doesn't work best. But this is a good example for you to understand what flat lighting looks like and why. We use two key lights.
I'm losing track. This might be four it might be five when it comes to how many different sets we've done. We're just trying to diversify the look. Yeah, I think it's five. This is another highly produced look versus you know, filming on the cell phone or filming on the Ronan while we're moving. Another two cameras set up one tight, one wide angle. In this case we have our main key light. We have our smaller hard backlight, the back Andres, his face. What's different this time and it's a style that I don't normally do is we actually do have a fill light right now in our three points set up. The fill light in this case is the window. Windows are great, they're nice, soft light, but you can see on the images the contrast and look of a bright and a dark side of his face.
It's not as much present as it was before, so with this fill light it's a little more happy, less less moody. It's just a different look. If you like to style, you can keep doing it. I usually only use one key in one backline. As far as audio goes, we're still using the H one ends. They've been doing great all day. Reliable audio, nothing crazy expensive. They just, they just do the job and other important things to note. We have our subject significantly separated from the background. That's one of the most important things you can do to get a really cinematic, great looking commercial and important aspect of point out with this setup is this isn't a sales ad. This isn't anything that he's doing to realistically make money for himself. It's a thank you video after somebody's already invested with him. So the setup that we're using is to really emphasize this. He looks happy, there's nothing crazy going on. The lighting reflects just this is me, this is who I am. Thanks for investing with me and we're excited to get you results.
Thanks for sticking around for the entire video. Hopefully you learned something new and if you did, let us know in the comments below or comment information that you'd like to see in future videos. Now, if you're a commercial filmmaker who's looking to minimally triple what they charge for their video work, or you're a videographer who's just trying to break into the commercial filmmaking industry, or lastly, if you're just a business owner who's trying to profitably shoot commercial content for your own business, we have good news for you. So over the past few years, we've spent over two point $5 million advertising a wide variety of videos for a wide variety of businesses across all different distribution platforms. And we've learned a lot throughout the process. Specifically what works really well and what doesn't work. Now we've taken what we've learned and put it into our newest program in the next level, creators family called videos that sell. It covers everything that you need to know to shoot unbelievably profitable videos for yourself or your clients. In fact, anybody new to the program, we challenged them to shoot a commercial for their own business that generates minimally a three X return on investment. Now, if this sounds like something that interests you, we put together a free trial of the program where we outline our top 10 tips to shooting videos that sell. If this sounds like something that would interest you, click the link below and we hope to see you in the course.