Listen, This Guy is a Knight, Part 2

Sir Ridley Scott directed the film that made me want to make films. It started as a low-budget space monster movie, a throwback to the dubious 1950’s, and ended up being fresh and scrappy, yet so masterful that it completely redefined the genre.  What is it that takes a script to such transcendent heights?  Scott has been known to drop gems from time to time.  Any department can appreciate his technique of storyboarding to be an element that can save production time and a bundle of money.  As a cameraman, right away I appreciate his technique being focused on “the performance of light on objects”. Even superficially, this simple contrast and framing cue instantly informs my lighting and camera placement.  Listening to him here, I get the feeling he’s giving up some of those insights that have allowed him to elevate his art above many other directors.  Speak it Ridley:

Listen, This Guy is a Knight, Part 1

One of the reasons I love my job so much is the people I work with.  In some circles, it’s common practice for crew, to think of actors as non-entities to be put on a pedestal.  Let them do their thing to get their performance the way it needs to be, but take a breath and remember it’s not radio.  An extremely tight working relationship between the actor and the lens has to exist to make the performance work.  Sir Michael Caine knows this, and we all ought to consider ourselves extremely lucky he’s willing to pass down what’s taken him a lifetime to learn:

“Wake Up”, part one.

A music video I recently shot for neo-soul artist Lilla D’mone was an exercise in conceptual simplicity.  The song “Wake Up” appeals a call for worldwide social awareness and solidarity. The scope is wide and fairly timeless, so we felt it necessary that the photography of the music video showcase the song by being complementary but understated.

On the shoot day, there were only 3 setups, two of them portraits of of the artists expressing images of Lilla in slightly skewed realities.  The third was to be a truer image of the artist, equal parts combination of the first two characters, but also possessing greater depth.

Visually, the differences between the Lilla personalities, and their ultimate unification were achieved through lighting, lens choice, filtration, wardrobe and makeup.  Special thanks go to makeup artist Terri Lodge for her lightning fast, beautiful work, and Koerner Camera for letting me test a few dozen optical filters in the days leading up to this shoot.

The song starts out with the words “I don’t know if i’m dreaming”, and I felt this sentiment could be expressed through the selective-focus wedge particular to a lensbaby “composer” lens.  At a 5.6 aperture, the corners are fuzzed out while Lilla sits against a blackout background, imparting a slightly disorienting, dreamlike feeling, at the same time speaking to the distress of the rock-bottom plight of the first “alternate Lilla” character the audience will see.  I used a tiffen Enhancing filter to offset the skin tones and blue highlights in the scene, and create a rich color contrast.

Next, the video transitions to another character, almost a polar opposite.  Gaffer Mike Ferry, and key grip John Petrina built a light box around the character we came to call “the diva”, using kino flos through bleached muslin to approximate cover-girl style lighting combined with a 105mm nikkor lens and Tiffen Soft FX 2 filter.

The third Lilla is also lit softly, but retains a bit of classier edge light and some shape to her facial structure.  In order to show the tumult of the world expressed in “Wake Up”, and bring each of Lilla’s realities together, we projected images of the alternate characters, and worldwide protests and tragedies onto, and around the third Lilla.  The intent of the resulting visual elements was to underscore the lyrics and delicately deepen the feeling of the song, and I think we pulled this off pretty nicely.

The music video for Lilla D’mone’s “Wake Up” will be released in early May.

Camera:  Canon 5d Mk.II

Lenses: Lensbaby 50mm Composer

Nikkor 50mm, and 105mm

Shot in H.264, posted and mastered in ProRes 422

Icarus the Owl – The Extortionist

Icarus The Owl
The Extortionist
The Spotless Mind
Dir. Rose Ayers

This music video was produced by the Jabberwocky collective in Portland, Oregon.
jabberwockyproductions.com

Crew:
Cinematographer: Sam Naiman
B Camera/Steadicam Operator: Mike Ferry
C Camera Operator: Cassie Cohn

Executive Producer: Tanner Russel

Special thanks to:
Jon Beanlands
Gearhead Grip & Electric
The Northwest Film Center
Davis Street Tavern
The Portland City Grill

Cast:
Businessman: Michael Gaddi
Extortionist 1: Aydika James
Extortionist 2: Robby French
Waitress: Amy Knight