Gallery 01 - Atlas 'Drive' was a project i shot and directed using prototype lenses from Atlas Lens Co. Using a combination of the 25mm Prototype, 50mm, and 80mm 2x Anamorphic lens that Atlas had developed, and shot on the Red Komodo due to its global shutter. Both hard mounts and stabilized camera heads were used to create the contrast between smooth tracking shots, and shaky dramatic shots where you really felt the speed.
Gallery 02 - Into the Valley, a period short film where most of the story takes place inside a car on the road. A period tone was created in camera with various filters, and a lot of car mounts were used to capture the driving shots. The car mounts led me to shoot this on the Red Komodo due to its size and weight, and Zeiss Otus lenses for their quality and sharpness wide open. The interior locations were all 2 or 3 light set ups, using large fresnels to maintain a sense of heat and harsh sunlight.
Gallery 03 - Shot in the Alps of southern France, in association with Canon and Atlas Lens Co, i wanted to see how far we could push the small R5C in addition to the Mercury 1.5x lenses. Collaborating with pilot Stefan Langer, we were able to put cameras in the aircraft in places that otherwise would have been impossible with traditional cameras. The capability of the Canon R5C was impressive, allowing complete freedom to capture whatever shot we could imagine. Some of the shots also wouldn't have been possible without the close focus capability of the Atlas Mercury lenses.
Gallery 04 - These frames are from takes not in the final edit, a concept shoot using a very wide 21mm 2x Anamorphic lens from Atlas that left very little room to hide any lighting fixtures in the way you normally would. Lighting 100% practically, keeping the lights in the shot, was the only way to make it happen. Using the Red V-Raptor in the full 8K Vista Vision mode allowed for so much image detail and information, especially in the shadows. Most of the lighting is from two 250w color balanced incandescent bulbs.
Gallery 05 - Aston Martin Vantage S. Color grabs from what was a black and white final grade, this was an interesting project as i was shooting on a prototype Fujifilm XH2s, with some Silver Edition lenses from Atlas. It's hard to make the car look bad given the lines and contours it has, but i remember that we lost most of a day due to getting a flat tire on the car on the morning of day 1. But it all came good in the end, and i loved the shots on the roads in the Santa Monica mountains.
Gallery 06 - Mallory, a short film about a package delivered to the wrong address, dramatically changing the course of the main characters day. This film was driven by a voice over, with no character dialog, so the images were key to keeping the pace and interest in the story. Shooting in a stylized center framed way, i wanted the images to add a hyperrealism to everyday life. Shot on the Alexa Mini LF with Sigma Classic FF Primes, there is no color grade with the look all in camera with various filters being used.
Gallery 07 - How Do You Know, a music video for an emerging band based in London. Shot on a cold and rainy day in London, this super hero themed video was so well thought out by director Matt Nicholas. With 3 lights, we needed to light the church for each angle, keeping the lights on movable stands to speed things up. I wanted the images to feel dramatic but retain a reality and warmth to them. Haze was used as a way of creating separation between the characters and the environment, given that we had very few lights to 'raise' the level of room up any other way. A set of Atlas Silver Edition lenses were used with a Red Komodo, and it was all shot hand held.
Gallery 08 - Framestore OFFF. It was wonderful to work with one of the best VFX post houses in the industry to help them create their show piece for the OFFF animation festival. A mix of live action and VFX worlds, the production design was key in order to sell the effects that were layered in. Very simple and light weight lighting setups were used, and it was great to see the final piece all stitched together.
Gallery 09 - Concept Images with the Fuji GFX 100s. I love photography, and use it as a vehicle to explore new approaches and techniques. This series with actress Monroe Cline was an exercise in one light images, leaning into in camera filtration to achieve different colors and tones.
Gallery 10 - Regular collaborator and Director Teresa Decher, exploring image concepts in the California winter. Shooting by amplifying natural light, this series was also on the medium format of the Fuji GFX 50s, with in camera filtration for colors and diffusion.
Gallery 11 - A personal project shot with ballet dancer Nicole Voris, shot on a Sony F35 with vintage Zeiss B Speeds. Only using natural light, this short video explored statue like posing within the reach of one source of light. There is something to ballet that allows you to leave the camera alone, keep it static, and allow the movement to breathe.
Gallery 12 - Ranger testing with the Laowa Ranger Zoom lenses. Shot on Canon R5C.
Gallery 13 - A small number of stills i liked from a one day music video with ZZ Ward. A very cold desert was the backdrop for the video, and we needed to lean in to a warm look to give it a summer feel. A lot of car rigging in this one, both inside and outside. The lightweight combination of the Red Komodo and Zeiss Otus lenses was a great combination to keep things light and nimble.
Gallery 14 - Regular collaborator and Director Teresa Decher, exploring image concepts at night around LA.