Rogue Warrior premiere, some music videos, and more!

A lot's happened since my last update, as I've been busy with numerous projects. First off, I shot a music video for Karmin for her track Love Is Louder off of her upcoming album. We shot that at the YouTube Spaces on a RED Epic Dragon with Canon CN-E prime lenses. The camera lived on a Steadicam for the shoot. The final edit just got locked and I'm quite pleased with how this turned out. I'll share the video once it comes out.

Next up was a lyric video for Emii's track Wait. It was kind of a rush job, as they decided late into the schedule to change from a standard lyric video into a lyric/music video hybrid. Since the song had a hard release date, we rushed in to get this shot and it was an ambitious concept with lots of set changes and wardrobe/makeup changes. We shot RED Epic MX with Sony CineAlta lenses. The camera spent a good chunk of time on a Ronin. I'm not totally thrilled with the color grade, as the turnaround was so fast that I was unable to sit in on any of it.

Moving on, the science fiction feature film Rogue Warrior: Robot Fighter had its premier this last weekend at the Action on Film Festival. It was pretty well attended and I enjoyed seeing some of the cast and crew for the first time in almost a year and a half. The movie went through some extensive rewrites and subsequent reshoots in the time since we wrapped principal photography, so it was interesting and surprising to see the final product, as I was not involved in the shooting of those additional scenes. Here are a couple pictures from the night.

Rogue Warrior premiered on the opening night of the Action on Film Festival.

A big chunk of the cast, and then me on the left repping the crew.

Screen 12. Same screen where the festival debuted the last two features I shot for Neil Johnson.
Lastly, Action on Film also screened the DC Comics fan film, Fair Fight, which I shot 2nd Unit DP. Due to other obligations, I was unable to attend that screening. Fair Fight has also been invited to screen at another film festival, so it sounds like it's being well received.


SDCC 2016

Another year, another San Diego Comic Con. As in recent years, both Nobility and Space Command had panels. What was different this year is that Nobility has a finished project, with color correction, sound mix, and FX complete (or nearly complete). The panel was well attended and the footage looked the best it has yet. This year, we even managed to get Doug Jones in on the panel.

Nobility panel and screening

For the Space Command panel, they had to use the entire length of the table! The panel was huge! Hey, wait...is that Doug Jones again? That guy is everywhere! Unfortunately, I had an appointment to keep and was unable to make it to this panel. They debuted the opening 6 minutes of the film. The VFX were not quite complete from what I've been told, but it's a start. This movie is extremely FX heavy so the post process has been excruciatingly slow, as they're working on a very small budget for what they're trying to pull off. But they're still at it.

Space Command panel. That's a full lineup there!
This year, Rogue Warrior: Robot Fighter had a signing. Dave Seeley designed the movie poster and was kind enough to let us do a signing in his booth. I'm pretty sure nobody cares about getting my signature, but it was fun nonetheless. The film is in the final stages of the sound mix and color correction, so the director says he's aiming to premiere it at the Action on Film Festival in early September.

(left to right): Robot Fighter lead Tracey Birdsall, Marilyn Ghigliotti, Marc Hawes, not-appearing-in-this-film me, and (just offscreen) Neil Johnson.
Other than that, at one of my meetings I received some great news about Mystic Cosmic Patrol, the pilot I shot last year. It seems that there is some definite interest in it, with a deal very, very close to happening. As we all know, nothing's certain until the ink dries (and even then plans change), so I'm keeping my fingers crossed on that project. It was one of my favorite things to shoot and possibly my favorite end product, as it looks fantastic, sounds great, and is hilarious. I'm usually very reserved in my praise, but this is a show that I'd tell everyone I know to watch.

Well, that's it for Comic Con. It wore me out, but I had a lot of fun and my meetings went well. Here's to hoping I'll have some other new projects to showcase at next year's SDCC!


Fair Fight part II: A DC Comics fan film

This past weekend I helped out some of my friends who were shooting their DC Comics fan film, Fair Fight. This was part 2 of the project, with my fellow DP Scott Baker handling the first installment. We utilized the same location and camera, a BlackMagic Pocket camera. While I've shot with BlackMagic cameras before, this is the first time I've used the Pocket Camera. The one I used had a speed booster and included a set of Leica still lenses with a Duclos Cinemod.

I shot handheld primarily on the 25mm and 50mm, with a couple shots on a 100mm and a single shot on the 24mm. The B-cam shot on a 14mm or 35mm Rokinon on a small Glidecam-style rig. Matching the settings from part 1 as closely as I could (ISO 1600, F2.8, ProRes 422, 120° shutter), we shot pretty much everything with two cameras at a time. I'd occasionally shoot ISO 800/F2 when I could, but tended to stay at a 2.8 to give myself a little extra leeway since I was pulling my own focus off of the tiny Pocket Camera screen.

Since the original shoot was unable to recall if they shot with the flatter "film" profile and then graded, or shot straight to the "video" profile, I opted for the flat "film" profile, as it's easy to get the video look from that footage, while the reverse isn't true. They were also unsure about the color temp, so I went with 4000K, as the first part had pretty orange tungsten while the blues were fairly blue. By splitting the two temps, I gave them warmer than average tungsten and kept my blues nice and strong.

I believe these grabs are off the ungraded screenshots. I kind of like the muted color scheme, as it fits the darker and grittier nature of the content. Part 1 has a lot more saturation and contrast, so these will probably get graded to a crunchier look for the final product.


A few more screen grabs

And here's a few more screen grabs from my shoot in Indiana.

Also, I spent this past week working on a shoot out in Palm Springs. We shot primarily outdoors for four days, with the temperature getting as high as 115° F! So how did we keep cool(er)? By grabbing a pool umbrella and creating a makeshift camera cart mobile shade station!


May update

Since it's been a while since my last post, I'll just update with the most recent, as most of my jobs the past two months have been simple things like interviews and some event coverage, so nothing too exciting. This week, however, I worked on a pretty fun suspense/horror project.

I just got back from Indiana, where I shot some test footage for a possible feature with Lionsgate. We shot a couple scenes over two days for a script they had optioned. This was one of my first shoots where I had to hire an entirely local crew, but I managed to find some great people to come on board.

When choosing a camera, we decided to shoot on the Alexa Mini, as I had it on a gimbal for quite a few shots and needed to use a camera that was lightweight enough for the Ronin. I had also considered a RED Dragon, but knowing that we would be shooting a bunch of night scenes and only having a 1-ton G&E van package for lighting, I went with the Alexa as it offers a pretty clean image at ISO 800 and 1280. Keeping in mind the need to stay lightweight and wanting some vintage softness, I opted to use a Zeiss Super Speed Mk3 lens set and I aimed for a T2 (+/- a half stop) to get a little softness in the image with shallow depth of field.

For being a quick shoot with a minimal crew and lighting, I'm pretty happy with the images we got. While waiting around the airport for my flight back home, I did a quick color grade in Photoshop from some screen grabs I snapped of the Log C footage, so these aren't necessarily representative of the final color grade.

Tech specs:

Alexa Mini
Zeiss Super Speeds Mk 3
ProRes 4444 Log C
3.2K framed for 1.85:1 final image


The Man From Death

Here's a strange little shoot that I worked on quite a while ago, as it had a long post-production process. I started out as a camera assistant on the shoot, but much later, well after principal photography had wrapped, I came back to DP the FX unit (my credit is 3rd Unit DP). I handled the ECU exploding eyeballs, slow-motion bullet coming out of the barrel of a gun, and the bullet hitting the match. As with the main shoot, which utilized the RED Epic Dragon, I also shot the FX sequence on that camera as well.

When we shot this, I had no idea just how weird the final product would be. It's interesting to see how it came together in the edit. We may have sweated it out in the hot sun to get it made, but we had fun doing it.

The Man From Death from Stream Team on Vimeo.


Nike Run Club spot

Working with director of photography Chris Saul, I b-camera operated and second unit DP'd this spot for Nike. It's the one that's playing in Nike stores and was shot in the "sideways" 9x16 aspect ratio for use on the store displays, which utilize screens with this same orientation. We had a lot of fun and I'm happy to be able to now share the finished video.

NIKE from Chris Saul on Vimeo.