I’m opening my doors up for a sublease in my studio at the Mastercraft Building which has a total of 1200sq ft. of space. The building is a unique with vaulted 30ft high ceilings and “Sawtooth” skylights. It is also has a secure gate entrance with fab key and cameras. Looking for designer, copywriter, creator, or creative to sublease 200sq ft of an open office with power outlets close by. Shared common space with client reception and meeting area. 1Gbs symmetrical Internet line provides very fast connection with plenty of bandwidth. A proprietary land phone line extension can be provided as well. Must be flexible when photo shoots are going on, which are seldom as I’m working in other areas and on location. Epson 7900 printer can be made available and there is a framing finishing area. Garage door with dock that faces East has a great inspiring view of Pedestrian Foot Bridge. Restrooms are close and access to shower area would be made available. It’s special studio space that could enable your creative business to grow and will go fast. Serious inquires only. $400.00/month Contact: email@example.com 402 345 1810
Alex Kirts is capable. He’s a bass player in See Through Dresses, designer, and tech weenie who can take a part the amp he plays through. Kirts approached me to do some portraits of the band. He told, “Just make us look cooler than we do”. I pre visualized shooting the group as individuals in a sort triptych anamorphic format lighting them in a kind of “Varga girl candy” high key technique. Alex explained the album artworkwas composed of mostly black and white design elements and wanted my portraits to reflect the concept. Creative collaboration is what drives me and I decided to light low key “Candy” by using gels on all lights in pastel blue, green, and indigo. The band consists of Nate Van Fleet, Sara Bertuldo, who create enigmatic melodies while Alex Kirts, and Mathew Carroll drive the velocity in the bottom end rhythm. They all came to the studio one night, where I turned up some deep house and we joked for quite a while before shooting. Ultimately we all had fun, which is what it’s all about. Most importantly after extensive post work, I realized what I had pre visualized and they were stoked. See Through Dresses is printing the album artwork now. “Horse Of The Other World” is due to drop in June 2017 on their label, Tiny Engines. I’m fortunate to receive a first listen. The music conveys growth in production as it’s very well recorded, mixed, and mastered.
My reel project is a moving image spot that is challenging to cut. That said, I encourage all DP | Directors to experience post editorial to understand the beat of camera moves. I begin by pulling clips from my most recent projects that I find relevant to my point of view while considering potential client’s perception of production depth. The goal of cutting a new reel is to keep my perspective in front of people. Each project I shoot, either for a client or personal work, convey’s my passion, what I’m good at, and my tireless work ethic. Sound is half of your picture so the overall reel planning begins by a beat. Once I get a feel for it I lay it down in the sequence and begin inserting clips that play well with the track. The two skateboarding spots featuring Jeff Fowler were originally intended for a 6:00 min music video. During pre production, I scouted three locations and carefully choreographed the actual tricks and movement of camera. I had to consider how fast Jeff skates and decided to use a drone in order to capture some of the more complex moves at 96fps. In addition, I customized one of my older decks with long board risers to carve quick and wide along with smooth wheels from Chis Ray to chase skate along with Jeff at a normal frame rate. Chase skating afforded a real immersive look to cut back to. The police were made aware and make a decision to shoot on a Sunday to avoid a lot of pedestrian traffic. The biggest challenge in cutting a reel is eliminating shots that you love but don’t play well with over all beat of the spot to hit a predetermined length. The idea is to keep the viewer interested in watching all of it. Regarding the skateboarding spots, operating a drone with a professional pilot while I’m operating the camera moves with video assist in sync with each other can be difficult. That’s why storyboarding and choreography in pre production are paramount. I had know where the camera and Jeff, the skater, needed to be with respect to timing. The wind became a factor with gusts up to 25mph so some of the scripted shots were improvised. After post, I went round and round with the band’s manager and ended up scrapping the original intent. A shorter cut was used for another band’s video in black and white. Recently while cutting the new longer form reel, the footage inspired me to cut two :60sec spots, one about skating technique and one about the lifestyle of youth culture with a “Summer Loving” vibe. I’m my own worst critic and believe your only as good as your last shot. The reaction has been positive and has put me in front of art buyers, direct company marketing directors, and some really cool people I’ve never known in the youth culture lifestyle. That’s where I feel most comfortable. My favorite part of these projects is approving the final cut and looking forward to new inspiration. I feel privileged in getting to know each subject and maintaining a relationship with them. Being awarded a project, especially from a spot you shot a while ago after looking it from a different perspective is pretty great and keeps you moving. I’m currently custom printing a new folio to show along with the new reels. I’m excited to keep the rhythm going with youth culture lifestyle. Oh and my boy, Miles Dean, doesn’t stop eating.
I’ve been shooting for over twenty years and during my early career I was fortunate to work in the couture fashion and beauty industry. Over those years, I’ve shot many faces and developed an acute skill in recognizing extraordinary talent. I recently met a special young girl with real potential. She’s 5’11 at fourteen years of age. She’s humble and active- known as the “Three point assassin” on her basketball team. It’s humbling to have shot a personal project for her, which you can see in a previous case study. As I anticipated, three major agencies are pitching her to sign. I’ve always like to think of myself as a mentor, explaining the importance of saying no if it doesn’t feel like the right fit. An agencies job is to place a model in the right area that suits her potential as opposed to doing what’s right for their agency. This becomes apparent right away. It’s important when testing new talent to shoot what they look like naturally without hair and make up. Often during casting and presenting talent to client, their portfolios are outdated or over stylized which doesn’t represent what you be may pre-visualizing. This test was shot in the studio a day after a conceptual fashion spot on location with her. I’ve been doing some work for a cosmetic company and I’m excited to work her on this project before her schedule priorities change in a bigger market. My focus is on youth culture including what comes naturally to me and most importantly what I’m passionate about. Some refer to this as a niche, which I think is important to realize. “Passionate thinking is a great way to live if you’re fortunate enough to realize it”. My most rewarding goal is sharing my production depth with respect to younger generations to genuinely help them, whether they be art directors, artists, crew, designers, fashion stylists , street wear designers, musicians, or talent. My door is always open and I enjoy listening.
Still life is one of my specialties in that I have the opportunity to style what I shoot. One of my “Guilty Pleasures” is listening to an object- finding or fabricating background elements for conceptual shots. Lighting plays a paramount role in complimenting still life but shouldn’t dictate the approach. Glenn White is a drummer and fashion designer whose launching a new line, DRMHDFLY, focusing on new trends in “Hip Hop Culture” such as the snap back trucker’s cap and scoop cut shirt. He brought the clothes and accessories down to the studio and hung them on the rack. My initial reaction was to contrast- breaking away from traditional street wear imagery creating what I consider “Objects Of Desire” with high key lighting, styling sculptural forms and auditioning props that have a playful sophistication. Ultimately Glenn gave me complete creative freedom, which is a trust that I respect and rare. I organize my work by deciding which items lend themselves to props then shooting the largest objects first down to the smallest to work efficiently. Still Life is inherently very staged so I like to shoot a set up then reset breaking it apart- moving it in different directions to see perspectives I may not have retentively taken into consideration. Glenn said he’s excited moving forward to the next step producing his line, which is the best compliment I could receive. I’m passionate about every aspect of what I’m fortunate to do so- letting inspiration find me and seeking it. I left Glenn with an idea of shooting a Caucasian blonde girl with intricate big volume braids against a really simple background to show how clothes fit and feel. He’s down with it and we’ll move on.