Walker Edelman

“connect the dots” | @billieeilish for @wsj director ……. @n1kkiwalker dp ……………. @thecarterrrrr ran into @itsweiland on this shoot randomly. it was kinda rainy/foggy, but cleared up mid day. learned to love a key side edge. met the incredible, Billie Eilish. she was very nice and very cool. good stuff. #nextquestion

“connect the dots” | @billieeilish for @wsj director ……. @n1kkiwalker dp ……………. @thecarterrrrr ran into @itsweiland on this shoot randomly. it was kinda rainy/foggy, but cleared up mid day. learned to love a key side edge. met the incredible, Billie Eilish. she was very nice and very cool. good stuff. #nextquestion

“connect the dots” | @billieeilish for @wsj director ……. @n1kkiwalker dp ……………. @thecarterrrrr ran into @itsweiland on this shoot randomly. it was kinda rainy/foggy, but cleared up mid day. learned to love a key side edge. met the incredible, Billie Eilish. she was very nice and very cool. good stuff. #nextquestion

“don’t put out the fire” | dirty honey director …………….. @zebulonraps dp …………………….. @cory.messer gaffer ……………….. @walkeredelman bbe …………………… @katelynadkisson kg ……………………… @truman_waller bbg …………………… @josiahdavid.dp g&e vendor ……….. @nextquestionlighting the idea behind this music video was to make things as HOT as possible. the titan tubes rigged up on safety wire held into place by zipties and these little locking screws were actually Cory’s idea, and boy did it work! they were meant to play as a heating element behind the band and as the song continues things getting progressively hotter and hotter. behind the tubes @notdevinparker and the grip team rigged up this silver shiny material? i honestly forget wtf this was but it looked epic. i’m sure Devin can drop the answer to that in the comments. the tubes were pulsing to mimic a heating element/fire, we had an overhead softbox set at warm as possible/almost red, a 1200B w/ a softbox keying on the floor set the 3200K, a cool (6500K) hard backlight pushing through an industrial fan, and a hazer so we could see all those hard beams of light pushing through the fan. also had the pleasure of working with my wife! @mollydianedelman was the intimacy coordinator for the narrative sequences in this video. all around incredible team, incredible time, and you bet ur ass an incredible music video. it came out like a year ago! go check it out! #nextquestion

“don’t put out the fire” | dirty honey director …………….. @zebulonraps dp …………………….. @cory.messer gaffer ……………….. @walkeredelman bbe …………………… @katelynadkisson kg ……………………… @truman_waller bbg …………………… @josiahdavid.dp g&e vendor ……….. @nextquestionlighting the idea behind this music video was to make things as HOT as possible. the titan tubes rigged up on safety wire held into place by zipties and these little locking screws were actually Cory’s idea, and boy did it work! they were meant to play as a heating element behind the band and as the song continues things getting progressively hotter and hotter. behind the tubes @notdevinparker and the grip team rigged up this silver shiny material? i honestly forget wtf this was but it looked epic. i’m sure Devin can drop the answer to that in the comments. the tubes were pulsing to mimic a heating element/fire, we had an overhead softbox set at warm as possible/almost red, a 1200B w/ a softbox keying on the floor set the 3200K, a cool (6500K) hard backlight pushing through an industrial fan, and a hazer so we could see all those hard beams of light pushing through the fan. also had the pleasure of working with my wife! @mollydianedelman was the intimacy coordinator for the narrative sequences in this video. all around incredible team, incredible time, and you bet ur ass an incredible music video. it came out like a year ago! go check it out! #nextquestion

“don’t put out the fire” | dirty honey director …………….. @zebulonraps dp …………………….. @cory.messer gaffer ……………….. @walkeredelman bbe …………………… @katelynadkisson kg ……………………… @truman_waller bbg …………………… @josiahdavid.dp g&e vendor ……….. @nextquestionlighting the idea behind this music video was to make things as HOT as possible. the titan tubes rigged up on safety wire held into place by zipties and these little locking screws were actually Cory’s idea, and boy did it work! they were meant to play as a heating element behind the band and as the song continues things getting progressively hotter and hotter. behind the tubes @notdevinparker and the grip team rigged up this silver shiny material? i honestly forget wtf this was but it looked epic. i’m sure Devin can drop the answer to that in the comments. the tubes were pulsing to mimic a heating element/fire, we had an overhead softbox set at warm as possible/almost red, a 1200B w/ a softbox keying on the floor set the 3200K, a cool (6500K) hard backlight pushing through an industrial fan, and a hazer so we could see all those hard beams of light pushing through the fan. also had the pleasure of working with my wife! @mollydianedelman was the intimacy coordinator for the narrative sequences in this video. all around incredible team, incredible time, and you bet ur ass an incredible music video. it came out like a year ago! go check it out! #nextquestion

magda | narrative short directors …. @kasiafierce and @johnericsteiner dp …………… @deematicos gaffer ……… @walkeredelman kg …………… @c.r.velez wish i had more bts of this! learned an insane amount underneath our dp @deematicos about lighting and technique. we shot this over a year ago and still to this day i find myself pulling from the lessons learned on this shoot. dimmed ambience, single source lighting, passive fill, muslin on everything, naturalistic, and DARK. for this setup we had an titan tube wrapped in un-bleached muslin rigged overhead and dimmed wayyyy down for our low ambience room tour. a 600X w/ F10 Fresnel shooting through a 4x4 frame of 1/2 grid (also called Lite Grid) as our key shooting directly down into the bed right next to the window (not pictured) bouncing back up to light our subject. just adding to the naturalistic look of the whole scene, rather than aiming the light directly at the subject. we ended up using 1/2 grid a ton throughout this shoot, kind of became our go-to-diffusion, as well as 250 and 216 in a few other scenes. and lastly a wall of duvetyne scraps to suck out some of the light bouncing around the room. that’s it! let me know if you have any questions. @magdathefilm

magda | narrative short directors …. @kasiafierce and @johnericsteiner dp …………… @deematicos gaffer ……… @walkeredelman kg …………… @c.r.velez wish i had more bts of this! learned an insane amount underneath our dp @deematicos about lighting and technique. we shot this over a year ago and still to this day i find myself pulling from the lessons learned on this shoot. dimmed ambience, single source lighting, passive fill, muslin on everything, naturalistic, and DARK. for this setup we had an titan tube wrapped in un-bleached muslin rigged overhead and dimmed wayyyy down for our low ambience room tour. a 600X w/ F10 Fresnel shooting through a 4x4 frame of 1/2 grid (also called Lite Grid) as our key shooting directly down into the bed right next to the window (not pictured) bouncing back up to light our subject. just adding to the naturalistic look of the whole scene, rather than aiming the light directly at the subject. we ended up using 1/2 grid a ton throughout this shoot, kind of became our go-to-diffusion, as well as 250 and 216 in a few other scenes. and lastly a wall of duvetyne scraps to suck out some of the light bouncing around the room. that’s it! let me know if you have any questions. @magdathefilm

magda | narrative short directors …. @kasiafierce and @johnericsteiner dp …………… @deematicos gaffer ……… @walkeredelman kg …………… @c.r.velez wish i had more bts of this! learned an insane amount underneath our dp @deematicos about lighting and technique. we shot this over a year ago and still to this day i find myself pulling from the lessons learned on this shoot. dimmed ambience, single source lighting, passive fill, muslin on everything, naturalistic, and DARK. for this setup we had an titan tube wrapped in un-bleached muslin rigged overhead and dimmed wayyyy down for our low ambience room tour. a 600X w/ F10 Fresnel shooting through a 4x4 frame of 1/2 grid (also called Lite Grid) as our key shooting directly down into the bed right next to the window (not pictured) bouncing back up to light our subject. just adding to the naturalistic look of the whole scene, rather than aiming the light directly at the subject. we ended up using 1/2 grid a ton throughout this shoot, kind of became our go-to-diffusion, as well as 250 and 216 in a few other scenes. and lastly a wall of duvetyne scraps to suck out some of the light bouncing around the room. that’s it! let me know if you have any questions. @magdathefilm

i was alive | music video director …….. @zebulonmusic dp …………….. @cory.messer gaffer ……….. @walkeredelman kg …………….. @cooperhaaland swing ……….. @winston_mitchell when i say we had the dream team on this one, we had the fuckin dream team. had very little time to get a hell of a lot done and damn did we pull it off. one of my favorite music videos to date. since we couldn’t fully tent or flag out the sun, we decided to light from the east facing windows and adjust the intensity of our units accordingly as the sun moves around us. we had 4 x 600Ds pushing through the highest windows (mimicking the beam angle the sun was going to be doing naturally) acting as our key and then used a 600X blasting directly through a 6x6 bleached muslin rag w/ a 50 degree control grid as our wrap. i normally only ever use the bleached mus as a bounce, but often forget that it’s the same amount of stop loss as something like a 1/2 grid cloth, both taking away about 2 full stops of light. just a good reminder you can use bleached or un-bleached muslin for fucking anything. it rocks. we also decided to leave on the overhead cup lights and dim them down as low as we could, didn’t really do anything to the overall room ambience but added a lot of specular reflections and pockets of interest throughout the frame. and lastly we talked about adding some solid floppies for negative fill, but ultimately decided against it since we weren’t getting much from our subjects shadow side anyway due to the trees blocking the west facing windows. also shoutout to the #coffinbounce that was acting as our natural passive return. anywho, let me know if you have any questions! and plz comment below if you think this lighting setup was heavenly enough—would god be proud?

“i was alive” beartooth director …….. @zebulonmusic dp …………….. @cory.messer kg …………….. @cooperhaaland swing ……….. @winston_mitchell when i say we had the dream team on this one, we had the fuckin dream team. had very little time to get a hell of a lot done and damn did we pull it off. one of my favorite music videos to date. since we couldn’t fully tent or flag out the sun, we decided to light from the east facing windows and adjust the intensity of our units accordingly as the sun moves around us. we had 4 x 600Ds pushing through the highest windows (mimicking the beam angle the sun was going to be doing naturally) acting as our key and then used a 600X blasting directly through a 6x6 bleached muslin rag w/ a 50 degree control grid as our wrap. i normally only ever use the bleached mus as a bounce, but often forget that it’s the same amount of stop loss as something like a 1/2 grid cloth, both taking away about 2 full stops of light. just a good reminder you can use bleached or un-bleached muslin for fucking anything. it rocks. we also decided to leave on the overhead cup lights and dim them down as low as we could, didn’t really do anything to the overall room ambience but added a lot of specular reflections and pockets of interest throughout the frame. and lastly we talked about adding some solid floppies for negative fill, but ultimately decided against it since we weren’t getting much from our subjects shadow side anyway due to the trees blocking the west facing windows. also shoutout to the #coffinbounce that was acting as our natural passive return. anywho, let me know if you have any questions! and plz comment below if you think this lighting setup was heavenly enough—would god be proud?

“i was alive” beartooth director …….. @zebulonmusic dp …………….. @cory.messer kg …………….. @cooperhaaland swing ……….. @winston_mitchell when i say we had the dream team on this one, we had the fuckin dream team. had very little time to get a hell of a lot done and damn did we pull it off. one of my favorite music videos to date. since we couldn’t fully tent or flag out the sun, we decided to light from the east facing windows and adjust the intensity of our units accordingly as the sun moves around us. we had 4 x 600Ds pushing through the highest windows (mimicking the beam angle the sun was going to be doing naturally) acting as our key and then used a 600X blasting directly through a 6x6 bleached muslin rag w/ a 50 degree control grid as our wrap. i normally only ever use the bleached mus as a bounce, but often forget that it’s the same amount of stop loss as something like a 1/2 grid cloth, both taking away about 2 full stops of light. just a good reminder you can use bleached or un-bleached muslin for fucking anything. it rocks. we also decided to leave on the overhead cup lights and dim them down as low as we could, didn’t really do anything to the overall room ambience but added a lot of specular reflections and pockets of interest throughout the frame. and lastly we talked about adding some solid floppies for negative fill, but ultimately decided against it since we weren’t getting much from our subjects shadow side anyway due to the trees blocking the west facing windows. also shoutout to the #coffinbounce that was acting as our natural passive return. anywho, let me know if you have any questions! and plz comment below if you think this lighting setup was heavenly enough—would god be proud?