Left-brain right-brain, business up front and party in the back, the ASUS Transformer Pad suites both sides of your personality.

This was my first run of projects with Director Kevin Costello at the helm, and it was a real pleasure…smooth sailing. Breaking out the T-square and plumb-bob, we built split screened compositions that mirrored action and architectural lines to visually represent the Transformer’s atributes.

Big thanks to both James Walton of Cascade Video Systems and AC Kevin Smith. Without either James’s expertise and killer digital video assist system or Kevin’s copious camera notes, we would never have been able to fine tune our line-ups from location to location.

We shot on a PL mounted Canon c300. This is one of my first four spots with the camera and initial impressions are relatively positive (there’s always a wish list). I think the camera makes real improvements over the 5D/7D bodies in terms of latitude, and by incorporating traditional camera functions like fine-tunable shutter controls. Both are a big plus and make jobs featuring monitors and screens much easier to execute.

“I am your nightmare’s worst nightmare.”

Our hero bests an innumerable horde of shadowy opponents thanks to the superior qualities of the Nike Vapor Talon. This piece is the second of two spots that I recently had the pleasure of shooting with Directors Aaron James and Mike McCommon of Mutt Industries.

Wide and close was the mandate and I used a custom designed dolly and custom camera mounts to get there. My light-story was straight-forward but specific – our hero always in warm/golden light, while his foes remained backlit, silhouetted, moving through cooler/blue space. The amazing indoor facility we used as our set was not heated, and the cold of the night helped keep our atmosphere effects low and dense.

Here’s the first spot in the series.

Shot on the Red Epic and GoPro.

Sometimes you just get lucky. Sure, we were poised with smoke machines to create atmosphere, but it just wouldn’t have been the same as the dense fog that rolled in that night. Shot on the Red Epic at 120fps and GoPros on mounts designed by the very talented Matt Davis, the piece features unique colorways of the Nike Vapor Talon for the LSU vs. Alabama BCS Championship. This was the first of two spots I shot with the Mutt team for the Vapor Talon Elites. Lot’s of fun! Here’s the other spot in the series.

I shot this stop-motion/pixelation spot promoting the nutritious benefits of tomato products for SF based Director/Producer Therese Vreeland. The guys at Chater Camera set me up with a set of CP.2 Primes and a Canon 5D.I drove the camera with a MacBook Pro running Dragonframe software which provides a full suite of animation tools. A Viewfactor cage and studio camera stand provided the overhead view the spot required. The general workflow involved shooting RAW files for maximum latitude, doing a quick flat color pass, and then outputting high resolution 16bit Tiffs. Post added zooms and reframes. The SF based crew did a great job transforming a day-lit studio into a stop-motion ready stage.

Pic: Animator Justin Kohn clicking frames.

A stop at Nike’s WHQ during Manchester United’s US Tour provided the opportunity for a unique view of the team’s training regiment. Rooney, Evra, Rio Ferdinand, Park, The Da Silva Bros and the rest of the Manchester United crew crank it out under the eye of Sir Alex Ferguson. It was an intense couple of hours as we kept 12 cameras focused on the action as part of Nike’s Inside Edge video series.

Client: Nike Soccer

Director: Uli Beutter Cohen

Production: Sandymontana

Format: Alexa, Red at 120fps, HDX-900 to KiPro, Canon, GoPro

A montage edit from a series of 4 videos on the fundamental technologies found in Nike shoes. I cut this montage to highlight the variety of looks and high energy we experienced on set. The shoot took place over a few days in Los Angles last winter. This project is referenced in this blog post. I want to thank Caitlin Wilbert
for introducing me to this music track while working on another project.

Director: Sam Brosnan

Producer: Curtis Bay

Format: Canon 7D