A few months ago, I had fun shooting Beartooth’s “Aggressive” music video for their recent album released on Redbull Records. The video was directed by Drew Russ and shot on my home turf of Pittsburgh, PA.
The creative called for POV shots of an “aggressive youth” which is revealed at the end of the video as well as a night exterior performance, shot on the Sony FS7. The POV was all captured on a GoPro head rig. I had a lot of fun creating the look of the video with a custom B/W LUT in DaVinci Resolve, which was also viewed on set to help keep us on track.
Lighting for the night exterior was almost primarily LED lights… Sufa Bullet, Arri L10, Arri L7’s and one of my personal fav’s, the Kino Flo Celeb 400Q. This gave us the ability to light a wide shot on a back street without having to use anything more than two 3K portable generators! I also used some road flares for a few shots.Props to the amazing G&E crew at Central Grip & Lighting for their consistently amazing work & attitudes!
The video for “Aggressive” can be seen HERE.
A few days later, I flew down to Orlando, FL to shoot A Day To Remember’s “Bad Vibrations” music video, also directed by Drew Russ.
We shot with a Canon 1014 XL with a modified gate for a 16:9 aspect ratio, as well as a Canon 5D MKIII. I hadn’t shot with super 8mm film since Blood Brother / 2012 so I had a blast with this opportunity to shoot it again. Shot wide open most of the time, manually (f1.4). Stock was 500T. I used the 5D to approximate exposure, being that we shot both cameras for each take! Of course, I ended liking the film more 🙂 The 5D was used for lens whacking (I hate that term but am obsessed with the effect..evident in a lot of the projects I shoot) and I stayed on a classic Zeiss ZF 35mm f1.4 the entire time.
The creative called for an evolution in color as the film becomes more intense or “toxic”. I lit primarily with tungsten units.. 2K fresnels, a few 650w fresnels and a constantly moving 1K open face and Lite Panel Astra. Lights were gelled according to the particular parts of the song. The light is so erratic that the video has a epileptic seizure warning!! Major props go out to our swing, Nori for wielding a 1K open face in the rafters of the practice space… for hours upon hours. Tuff az Nailz.
The band, Drew, an electrician and myself were enclosed in a huge wall of amps, drums, cabinets and tarps. Drew wanted a claustrophobic ode to some older green day videos and indeed… it was tight.
Drew did a text & graphic treatment to accentuate lyrics and the “bad vibrations” resonating in the final crescendo of the song.
The video for “Bad Vibrations” can be seen HERE.
New Design…New Additions to Body of Work
“Almost Holy” Theatrical Release…
It has been an exciting past few months with the theatrical release of Almost Holy (formerly titled “Crocodile Gennadiy”). The film was directed by long time friend and collaborator, Steve Hoover and released through The Orchard. The world premiere was held at Tribeca in 2015.
With Executive Producers, Terrence Malick ,Nicolas Gonda & Animal Media Group as well as an incredible soundtrack by Atticus Ross, Leopold Ross & Bobby Krlic (The Haxan Cloak)…I’m beyond excited to finally share the film with as many people as possible! Be sure to visit the Almost Holy site and sign up for updates as to screenings that might be coming to your town!
Available for pre-order through iTunes.
I had the honor of sitting down with Steve Tobenkin from Canon USA regarding our camera choices for Blood Brother. Also a reminder of which side of the camera I like to be on. Behind 🙂
About 6 or 7 years ago, I was at a Dredg concert in Cleveland, OH. Before playing one of my favorite songs, they announced that they were bringing up a guest musician that they met on the street earlier that day. Out of the shadows of the stage, came a lanky, yet smooth and stylish man carrying a sax. The intro started up and he improved with the band as if they had rehearsed it a thousand times before. It was the most memorable moment of the concert. There was something very special about this guy. I could just feel it.
If you would have told me that in 6 or 7 years that I would be the cinematographer of a documentary about Maurice Reedus Jr’s life, the one and only “Saxman of Cleveland”, I would have thought that you were one of those crazy sages or mages that go around saying crazy things. No…really. Turns out that he is pretty special and we’re about to embark on a journey of telling his story.
Another amazing aspect from a technical side is that we have the honor to be some of the first people to shoot on the Canon C300!! This could not have been possible without some wonderful people including Scott Handel at Ohio HD Video (www.ohiohdvideo.com) and Mick Edmundson at Canon U.S.A. Anyone who knows about the camera knows that there aren’t many available on the market at the moment. This is very special and we’re are extremely grateful for the opportunity to tell this story on the C300. Mick has requested that we review the camera and I will be providing lots of details both during and after our first bout of shooting. I got an extensive look into the C300’s abilities during a recent workshop hosted by Andy Shipsides from Abel Cinetech. Although the camera is brand new, I definitely think that it’s the right tool for the job. In fact, I’m going to venture to say that it has strong potential to be one of the best options for documentaries of all kinds.
Obviously, there’s much more to share but it’s late and our first stint of principle photography starts tomorrow morning in Cleveland, OH. I’ll be posting about both the Canon C300 and the shoot itself. This documentary is going to be shot over the span of one year…winter of 2012 to winter of 2013.
See you soon and thanks for reading!