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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Shot on Dragon: "Chef’s Table" - Netflix Original Series

Hi Adam, watched the first 3 shows a few nights ago, it looked standout amazing. Had no idea what the technical specs were at the time. Looking forward to watching the other ones. NICE WORK.

Matt Uhry
www.mattuhry.com
 
Watched this last night and I'm SO impressed with the images. Beautiful work!
 
Adam Bricker said:
Most of our work in color correction (all episodes colored by Shane Reed @ Apache Santa Monica) involved balancing mixed sources in the kitchen and making sure the food always looked amazing under those practical sources.
Click to expand...

Mission accomplished, all around. I really enjoyed these.
 
Working my way through this series on Netflix (UK) and loving this. A joy to watch, beautiful cinematography, great story telling, pace, the confidence to let the show's "breathe" and quite emotional at times. The chef's really open up and bare their souls on camera - film making at its best!

Knew this was shot on RED the moment I switched on - wishing I still had my Epic :o)

Well done Adam - just watched the LA & Melbourne eps.....stunning!

Best wishes

Scott
 
I've just got to know: in Australia when you were shooting the Red Dragons on a Red Dragon with the cook (chef) on the Cookes, did your head nearly explode?

Seriously though, this is really inspiring work. I'm hooked. Simply gorgeous.
 
Adam, this is such an excellent series, you all are to be commended for the work. Sure, you had an outstanding subject matter to shoot, but the presentation is very pleasing, really do like the color grade too.

I've given it to some clients as homework to watch on Netflix so we can use it in the discussions for our project next week.
 
Slightly late to the table here (excuse the pun)
I watched the first episode today with an idea to have it on in the background whilst sending some emails etc.

Its safe to say I am now 4 episodes in and have not sent even one email.

Food fascinates me and as do stories and images, this ticks so many boxes for me, the story telling is fantastic, who ever led the interviews did a phenomenal job.

Everything feels very naturalistic but still so beautiful, all around an incredible job, really loving everything I have seen so far, and have already re planned my honeymoon to make sure I end up at a few of these restaurants to taste these incredible peoples food.
 
[QUOTEMyself (Niki Nakayama / n/naka in Los Angeles; Ben Shewry / Atticia in Melbourne, Australia; and Magnus Nilsson / Faviken in Jarpen, Sweden).[/QUOTE]

Wow Adam. I know it is not cool to gush, but I really liked the shooting of the three you did a tad better than the first three. I was curious (as you said you would be happy to answer questions...) what lighting setup you used on Ben Shewry in the dining room (the interview with the chairs on the tables) as it looks just great. Also, what lens and stop was used on the cooking school teacher in Sweden?? Stellar use of the gear....Just great artwork.
 
Scot -- For the dining room interview w/ Ben Shewry, we were inspired by the restaurant's lighting. It's a black space with top down, hard-light that glows crisp white table clothes.

The warm key-light was a tungsten ETC Source 4 bounced into a sheet of muslin that we (Gaffer Adam Hunter and I) spread directly on the ground. The bounced light was diffused by a 4x4 frame of opal diffusion. The opal frame was low and at a 90-degree angle. For the white edge light, we skip-bounced an additional tungsten ETC Source 4 onto the white table directly behind the subject.

I shot all of the interviews wide open at T2.0 . . . my 1st AC Chloe Weaver is a brilliant focus puller and affords me that luxury.

Best,
Adam
 
Adam, thanks so much for the info fascinating. I did also want to ask in the piece about Ben what camera was used for the underwater shots. On my computer the water has some 8 bit banding...but not in any other shots (which are beautiful) Just curious....fab work I have to say.
 
That's what I thought. A beautiful sequence.
 
Great info, clever way to get the edge light in there. That can be so tricky on locations sometimes.

thank you

Adam Bricker said:
Scot -- For the dining room interview w/ Ben Shewry, we were inspired by the restaurant's lighting. It's a black space with top down, hard-light that glows crisp white table clothes.

The warm key-light was a tungsten ETC Source 4 bounced into a sheet of muslin that we (Gaffer Adam Hunter and I) spread directly on the ground. The bounced light was diffused by a 4x4 frame of opal diffusion. The opal frame was low and at a 90-degree angle. For the white edge light, we skip-bounced an additional tungsten ETC Source 4 onto the white table directly behind the subject.

I shot all of the interviews wide open at T2.0 . . . my 1st AC Chloe Weaver is a brilliant focus puller and affords me that luxury.

Best,
Adam
Click to expand...
 
Hey Adam!

We were considering shooting some slo-mo stuff for our little documentary and my co-director turned me on to Chef's Table as a great example of the art form. My wife and I watched every episode over the last couple of weeks, mesmerized. Beautiful, inspiring work.

I just have a quick question regarding shooting slo-mo. Our doc is running on a shoe-string budget, so we just ordered a Sony RX10 II. We're thinking that we'll shoot the majority of our slo-mo with it at 120fps. We're shooting the rest of the film at 24fps. My concern is that we'll lose the cinematic feel with the footage shot at 120fps. What do you recommend for shutter speed when shooting overcranked? Any other pointers on keeping that beautiful, cinematic feel when shooting slo-mo?

Thanks for your time!

Best,
-Jedidiah
 
Fantastic!!!! My girlfriend and I loved watching this show a few months back on the Flix- funny thing is, I remember thinking to myself that it definitely had the RED look! Just ran across this post- congrats on working on this great series! Hope there is a season 2 in the works-
 
Amazing work

Amazing work

Hi man,

I have to say I love the series, the look is amazing and the images are beautiful. A joy for the eye and amazing people in front of the lens.
I've almost finished watching all the seasons.
Wich lenses were you shooting on mostly? a lot of beautiful close ups, I guess for food with some diopters? the steady images were you using an easyrig or some kind of stabilisation rig? some look really like on sticks but then you give them amazing movement. Really impressive work.

Keep it up with the great work!
Seb
 
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