These are intermixed posts that associated with my work as a cinematographer. They may or may not actually show you actual clips of my work. To best view my work, watch my demo reel.
I’ve been working on some content for the Move Conference. The program directors wanted to open the conference with a sleek video with an organic feel. Nothing seemed to fit better than some anamorphic lens (actually, I’d probably say that about any project). So I slapped one of my Iscoramas on the end of my 5D and here are just a few stills from the edit.
I will say that getting the flares is not as easy as it may seem. Sure, pump a lot of light in to the lens, but keeping that light from hitting the scene can get dicy.
We’re two days away from production on Aaron Marinel’s 35mm short film, Rust. I thought I’d share a little snippet of something I’ve been working on. We may or may not be shooting an underwater scene.
Finished our final film project, Loves Me Not, at Full Sail University. We shot 35mm 2.35:1 on Arri Lite cams. I got to collaborate with two amazing directors, Ewa Pazera and Rebecca Hodges. They had a fantastic script that has been baking since February.
Loves Me Not opens with a love scene between Jan and Helena. As the story unfolds, their relationship unravels. What looks beautiful on the surface has a dark reality behind it.
This was my first chance to shoot 35mm film, and it’s going to be hard to go back to digital. I had an amazing experience. The format is unbelievably flexible and forgiving.
The 20 minute short is currently in post production and will be entering two film festivals before the end of the month. Let’s see what happens.
After relentlessly searching the internet trying to find one of these rarities, an Iscorama 36 Anamorphic lens finally came in the mail. I opened up the box just about three hours ago, and here is some test footage for you guys.
These lenses where originally made for 35mm still photography, but failed to find a place in the market. Now with the new wave of DSLR cinematography, these lenses have been rediscovered.
I’m very excited that I found one and will be shooting a few upcoming projects on it.
If you are wondering how it works, simply research anamorphic lenses, but in short, it optically squeezes more image across onto the image. In camera, it looks squished. When you unsqeeze it in editing, it gives you a wider image than with normal lenses. It also creates some really cool light flares (watch the new StarTrek).
I was the DP on this short unofficial music video. It was Rebecca Hodges Advanced Lighting project. This is one of the first projects I have had full unrestricted access to as many lights and as much gear as I wanted as well as a full grip team to help set it all up. All in all, it was a great project and turned out really well. It was shot on my 5D Mark II with prime lenses. There was no color correction in post (that was part of the project).
Director: Rebecca Hodges –
Director of Photography: Boyd Hobbs –
Art Director: Aaron Marinel –
Assistant Art Director: April Keltner –
First Assistant Director: Chris Haines –
Cam Operator: John Guillen & Laine Kelly –
Gaffer: David Hamilton –
Key Grip: Andrew Hyczko –
Best Boy Electric: Chris Irizarry –
Grip: Theo Hall – Music: Window Frames by Paulson