Shooting in Freezing Temperatures

Just wrote an article article for Gorilla Film entitled, Shooting in Freezing Temperatures: A Filmmakers Guide to Surviving Sub-Zero.

Jeremy Osbern Shooting Film in Freezing Temperatures A Filmmakers Guide For Surviving Sub Zero Article for Gorilla Film Online

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!


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Shooting a Series of Music Videos


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!

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Featured in Lomography Magazine

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.

Lomography Screen Shot

You can check out the article here.

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5 Films that Changed the Look of Cinema

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:

Citizen Kane StillOrson 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.

Posted in Becky Sharp, Citizen Kane, Film History, Guest Blogs, MovieFanFare, The Blair Witch Project, The Godfather: Part II, The Robe, Writing | 2 Comments

Solar Eclipse

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:

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Working with George Brett for MLB Network

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:

George Brett Royals MLB Network Shot on RED Zeiss Superspeeds Kansas City Royals

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:

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Paradigm Speakers: Prestige Trailer – Shot on RED EPIC

Here’s a teaser promo I shot for a new line of speakers from Paradigm, called the Prestige:

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Sin City: A Dame to Kill For – Red Band Trailer – “Babes” Music Video for Icky Blossoms

The “Red Band” trailer has been released for the new Robert Rodriguez / Frank Miller-directed movie “Sin City: A Dame to Kill For”.

The music that plays throughout is “Babes” by the band Icky Blossoms. Before the music was being considered for “Sin City”, I’d shot a music video for the song, also in black and white, which featured lots of dancers moving at 400 frames per second (you can check out more BTS of the video shoot here. Here’s the new trailer:

And here’s the original music video:

Excited that the song is blowing up!

Posted in 400 fps, 400 frames per second, cinematographer, Cinematography, Director, Director of Photography, icky blossoms, music video, Omaha, Red EPIC, Saddle Creek, Shooting in Omaha | Tagged , , , , , , , , , | Leave a comment

Shy Boys “Life is Peachy” Music Video

Shot a music video for the Kansas City band Shy Boys for their song new song “Life is Peachy”:

The majority of the video shows the same two and a half-ish second loop of a dental patient chasing our “crown thief,” as the camera races down eighty feet of track with the chase. Each time one thing changes as we continue our loop, so by the end, the scenery is much different than when we started.

Director Christopher Good wanted to have a comic book feel for the project, so I wanted a consistent lighting setup throughout the dolly move, so… we built the entire lighting setup off of the dolly rig using speed rail.

Here’s a pic of me inside my dolly cage and Key Grip Chris Bradley (courtesy Emma Penrose). The whole chase portion of the video was shot in a back room at Through A Glass Productions.

Shy Boys Life Is Peachy Single Music Video Director of Photography Jeremy Osbern Director Christopher Good Producer Through A Glass Productions

The lighting setup consisted of a 400w Joker bounced into a 4×4 Beadboard suspended off the dolly as a key light, a 12-foot menace arm rigged to hold a 4′ 4-bank kino about an inch away from the wall as a backlight, and a 2′ 4-bank kino rigged closer to camera for a fill light.

The monster rig needed two people to push the dolly for the dolly move and we gave an extra 20 feet of track just for the slow down at the end of the run. Here’s a behind-the-scenes video of one of the the takes:

Also, for you trivia buffs, that is my hand holding the polaroids as we go through that round of changes. Really fun video to work on, and really happy with the results.

Posted in 5K, cinematographer, Cinematography, Director, Director of Photography, Kansas, Kansas City, music video, Red EPIC, Shooting in Kansas City | Tagged , , , , , , , , , , | Leave a comment

Shooting the indie horror movie “Last Breath”

I shot the indie horror movie Last Breath for writer/director Ty Jones and producer Aaron Laue. It went on to win awards at numerous film festivals, and has received reactions as diverse as a seventy-year-old woman at a film festival screening who said it touched her in a way no other movie has to horror genre fans vocally complaining about its lack of body count.

"Last Breath" production stills

All in all, it was a fun project to shoot. We took control of an abandoned warehouse that was going to be destroyed and were given the run of the place. It was like one giant backlot. If I needed to get light through a certain place and there was no good way to do so, we’d take a sledge hammer and knock out a wall. We had steel support beams running throughout every inch of the building, which gave us a ready made grid, and we pre-rigged huge portions of the area so that we could bounce between “sets” if need be for makeup considerations (there was a lot of makeup, translation: blood, to deal with in terms of continuity and time for actors). A lot of the lighting approach was dramatic top lighting and larger units cutting through fog. For general ambient, I’d set up lights (like the ARRI Ruby 7 pictured below) into ultra bounces to add soft directional lighting.

"Last Breath" production still - ARRI Ruby 7 Light into Ultra Bounce

Speaking of the ARRI Ruby 7, in my experience, these are not very common lights on set, but the rental house providing the gear basically threw it in. It’s similar to a MaxiBrute, which features nine 1K Par Bulbs, but is a circle of seven 1K par bulbs. Like a Maxi, you can swap out the bulbs (medium, spot, etc) to have a different quality and range to your light. It’s punchy, and a nice light, I’m just much more used to using MaxiBrutes when needing similar lights.

Here are some frame grabs from the movie:

Last Breath Tina Hallway

Last Breath Michael Dark Figure Last Breath Silhouette 2 Last Breath Tina Blood Room

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