An article I wrote for up and coming Filmmakers is currently featured in the front page of Gorilla Film Online:
Here’s an excerpt:
Think outside the box. My first major short film I shot on 16mm film, and it ended up playing at a bunch of festivals so I got a crash course fest etiquette (festiquette?). I showed up with some clothes, a backup copy of my film, and almost nothing else. What I was greeted with was wall after wall of posters and postcards advertising everything from two-hour features to 2-minute shorts. So, I improvised.
I grabbed a small notebook and hand-wrote reasons why I thought my movie was worth seeing, the screening time, and the venue. My producer Chris and I wrote dozens of these and taped them to the walls next to all the professionally produced flyers.
And you know what? We got sixteen octogenarians to come out to our eleven on a Wednesday morning screening and… they loved the movie. I had a Q&A with them afterwards and said that we were doing some unusual publicity and could they all stay afterwards and hand write their reviews of the movie on little pieces of notebook paper? All of them did. We took those sixteen pieces of notebook paper and taped them all over the theatres and the next screening was packed. Reporters came, filmmakers came, and we even got a positive write-up in Ain’t It Cool News that specifically mentioned our unique approach to marketing.
Check out the full article here.
There have been a lot of ads on TV this month with all sorts of products featuring big red bows, but still haven’t seen one quite like this ad I shot for VFX Guru Bruce Branit:
To read about the behind the scenes for the project, click here!
Posted in Ad, advertising, BranitFX, Bruce Branit, cinematographer, Cinematography, Commercial, Director of Photography, Star Wars, VFX, vfx cinematographer, vfx cinematography
Tagged big red bow, christmas commercial parody, disney
The always amazing Susan Sarandon asked to see a copy of our feature documentary, There Will Be No Stay, directed by Patty Dillon. If we were to take her quote into movie poster form, it would read:
“…a unique and powerful perspective…”– Susan Sarandon
The film takes an intimate look on the effect that the act of execution has on the executioner, and Sarandon has been very supportive of the project. Currently, she is helping to get both the film and Patty featured as a part of Death Row Stories, a program she narrates for producers Robert Redford and Alex Gibney.
The end result is a film I’m very proud of, and I’m excited that we can soon share it with the world. To see Susan’s full quote, you can watch the trailer below:
You can also check out some more footage by going to this previous post: “There Will Be No Stay” – Footage from North Carolina and South Carolina
Just wrote an article article for Gorilla Film entitled, Shooting in Freezing Temperatures: A Filmmakers Guide to Surviving Sub-Zero.
Here’s an excerpt:
I’ve shot in a lot of weather extremes. I’ve been in deserts and inland plains where crew members passed out from the heat. I’ve packed ice packs on cameras when shooting on days when the thermostat hit 49 degrees Celsius (120 Fahrenheit), sandwiched between two 18K HMIs that made it even hotter. I’ve even shot outdoors on days so hot I drank water by the case. But what about the other extreme? What can filmmakers to do to prepare when they’re going into sub-zero temperatures? Here are some of my experiences…
Check out the article here!
Photo Credit: Marcus Guider
I’m shooting a series of music videos for a brand new hip hop artist, and the launch of his first album. More to come soon!
I just finished production on the feature film, What We’ve Become. In between setups, I took some behind the scenes medium format photos. Lomography Magazine just featured those photos on the front page of the site.
You can check out the article here.
An article I wrote called, Five Movies that Changed the Look of Cinema has been published on MovieFanFare. The piece deals with particular films that categorized a sweeping change in how movies were shot.
Here is an excerpt:
Orson Welles was a first time film director given unheard of creative control and final cut over what would go down as one of the greatest films of all time, Citizen Kane. Welles, along with cinematographer Gregg Toland would usher in a wide array of first or near firsts with the film. The most often talked about first was the use of deep focus. Previously, a filmmaker would have to choose which object or person should be in focus, letting the rest of the image go somewhat (or a lot) out of focus. Camera and film technology had advanced just enough to let Toland use enough light to be able to expose to a stop to have everything within the scene in focus. Previously, the filmmaker would use focus to dictate where the viewer’s eye would fall, but with deep focus, filmmakers could now add complex movement and composition (also called mise-en-scene) to dictate what the audience should look at and when. Citizen Kane was also the first to show ceilings in a lot of shots. This may seem like a little thing now, but think of all of the television shows that you still watch to this day that are shot entirely on sound stages in which you never see the ceiling. Using low angles (some so low, they dug holes in the ground to get to floor level), Toland and Welles were some of the first to establish ceilings in rooms and add another layer of believability to the world in which they told their story.
You can read the rest here.
I’ve been in the middle of shooting the feature film What We’ve Become. Yesterday between setups, the moon began to eclipse the sun, so I aimed the camera at it and caught this shot:
Shot a fun project for MLB Network. The finished piece was used on television and was featured as the main video on the MLB Network website for a while:
The special featured George Brett, Freddie Patek, and Dennis Leonard watching a Royals game from a private suite and reminiscing about the golden years of the Royals, and how this team compares to some of the great teams of the past.
Shot on three RED cameras with Zeiss Superspeed Lenses. Here’s the finished product:
Posted in 4K, cinematographer, Cinematography, Director of Photography, Kansas City, Kansas City Royals, Red EPIC, Royals, Shooting in Kansas City
Tagged Dennis Leonard, Freddie Patek, george brett, kansas city, kansas city royals, MLB, MLB Network, MLB Tonight
Here’s a teaser promo I shot for a new line of speakers from Paradigm, called the Prestige:
Posted in advertising, cinematographer, Cinematography, Commercial, Director of Photography, EPIC, Red EPIC, Shooting in Canada, Table Top, Table Top Cinematography, Table Top Photography, Tabletop
Tagged canada, hi fi speakers, paradigm prestige, paradigm speakers, speakers, toronto