Hot Property

Had the pleasure of working on this little film a while back but it's finally here with a release. 

Thanks to Mattias Nyberg for inviting me on board the show.

Check out the trailer below, 

Emmanuel Lubezki does it again

Having loved his last three Oscar winning films and many before them, Chivo seems to be unstoppable.

Check out the Variety artical below,

With three Academy Awards in a row, the celebrated lenser enters a league of his own.

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With his best cinematography win for Alejandro G. Inarritu’s “The Revenant” Sunday night, lenser Emmanuel Lubezki entered the record books as the first director of photography to claim the prize three years in a row. He also won for “Gravity” and “Birdman.”

Lubezki was already in elite company with the “Birdman” win, joining an exclusive club whose ranks had not been breached in nearly two decades. Leon Shamroy (“Wilson,” “Leave Her to Heaven”), Winton Hoch (“Joan of Arc,” “She Wore a Yellow Ribbon”) and John Toll (“Legends of the Fall,” “Braveheart”) were the only other cinematographers to have won competitive Oscars in consecutive years, though Howard Greene received special commendations for color photography in its early days, for 1936’s “The Garden of Allah” and 1937’s “A Star is Born.” Both films were shot via the three-strip Technicolor process, with “Allah” being just the third film to use the technique and the first to do it on location.

But now, Lubezki claims the three-peat for himself. He was nominated five times previously, for “A Little Princess” (1995), “Sleepy Hollow” (1999), “The New World” (2005), “Children of Men” (2006) and “The Tree of Life” (2011).

“This is incredible,” Lubezki said in accepting the Oscar Sunday. “I want to share it with the cast and crew, especially my compadre, Mr. Inarritu.” He also thanked 20th Century Fox and New Regency for the “freedom” afforded to the epic production.

Shamroy and Joseph Ruttenberg hold the overall record for Academy Award wins among DPs, with four.

Lubezki’s next film is Terrence Malick’s Christian Bale starrer “Knight of Cups,” releasing on March 4. Malick’s “Weightless,” also with Bale, will follow, with Paul Atkins’ “The Devil’s Teeth” on the horizon.

Source: http://http://variety.com/2016/artisans/ne...

A Little Christmas Commmercial

Here is a tiny little Christmas commercial I shot for Bluewater last year. I think it was the first of the festive shoots as we shot it in September which turned out very tricky indeed. 

Needing a night shoot and working with a minor proved slightly detrimental as the long daylight hours during the end of the summer pushed us further into a no go zone for working with children. 

Having the shoot already postponed from the previous week due to rain we ended up battling it again, that on top of a very tired young lead, very slow and unorganised onsight contractors and a hard stop deadline, everyone was a little on edge. With a few dropped shots and the use of my Steadicam operator we managed to get what we needed bang on 11 o'clock.

Once again I'd like to thank my usual crew,  

The Hollywood Reporter Roundtable

The Hollywood Reporter has been around for ages but it's only now I've suddenly taken notice of it. This one inparticular caught my eye and, it seems, has been shared many times across social media.

THR continues to create many high production value round table discussions with many industry greats, be it directors, actors, producers and cinematographers. This episode invites a gathering of certainly some of my favourite zeitgeist directors in a steered chat about the trials and difficulties of their time in the industry and specifically the films that they had recently shot.  

It is extremely interesting the hear what these seminal directors have to say and on a few occasions spelling the beans on some movie magic that my well have got them out of trouble. 

There are already some other great discussions in THR back catalogue on YouTube but I'll definitely be digging deeper to see if there are anymore gems hidden away. 

Check this one out below,

Destination Films

Last year was great year in terms of the diversity of work and I found that very refreshing. Along side the usual promo, commercial and narrative based schedule I embarked on many overseas trips to shoot a few destination films for Thomson.

We visited many countries from Montenegro to Mexico and many in between. The itineraries on some of the location shoots were fairly crazy as our time was very condensed but we managed to turn out some lovely images.

There wasn't any Steadicam on this show as the crew was minimal but we had Drones, DJI Ronin and sliders at our disposal along with dedicated time lapse and crazy hyper lapse photography.

Here are a couple of the films we produced.

 

New Stabilisation Toys

This new little addition to the Steadicam and gimbal ensemble might prove useful. Not only can it become a rock solid addition to your Steadicam set up but it can also give you more diversity as an operator in that the Trinity head can be mounted to existing dolly's, cranes or just hand held as a stabilised unit.

With a few extra components it can turn a fantastic tool into a 21st century device for modern film and tv use.

Apparently production is starting imminently so you can bag yourself this set up for under 30 thousand euros very soon.

I look forward to getting my hands on it at the BSC show in the new year. 

Superbob Lands in Cinemas

Superbob will be released this October so do make sure you visit your local cinema and watch it. 

Having just received a 4 star review in this months Empire Magazine it's sure to be a comedy hit so go check it out and keep a look out for my 10 minute Steadicam shot. 

 

Faithless Promo

Being a Brixtonite myself and having met Maxi Jazzy in my local I certainly felt part of the community to shoot this little promo for Faithless recently, a Brixton based band if you didn't already know..... 

We shot it on the tiny little Sony A7s with the Atmos Shogun which gave us juicy 4K resolution. Stick that on the DJI Ronin, squirt in some smoke and you've got a winning combination.

It's had over 600 thousand views on Facebook so I think it turned out well, take a look below.....


BSC Expo Round Up

So I managed to get down to Pinewood Studios for the annual BSC expo which showcases the newest and latest cutting edge film making equipment ranging from cameras, lighting and new grip kit along with many seminars by some of the great cinematographers working today.

It was great to bump into so many familiar faces, form new professional relationships and also to kickstart some old collaborations.

There certainly is something for everyone at the BSC Expo and for me some of the LED lighting solutions on offer now are truely unique albeit still a little pricey. Lite Panel have some new products namely their new 1x1 panel which boasts more power with better asthetics, although I'm not sure that is relevant in a functional device. On par with that was a similar product by TheLight called Velvet which had all the spec of the new Lite Panel model but was fully waterproof and if I was to purchase a lighting kit then this is the one I'd choose.

One of the cameras that caught my attention was Panasonic's new Varicam.  With its modular design, snap of controls and dual ISO amongst its strengths, this camera is something special and was causing a stir. It also has great colour management that had some DIT's I know boasting, high speed up to 120fps at 4k without extra licensing, dual record to SD and or P2 cards in 4k and 2k including proxy's, all this and much more for a price a little over 15k. I'm raring to get my hands on this for the right project in the near future. 

On the Steadicam front, Tiffen where showing off their new modular rig called the M1, which if you were thinking of not going for a Pro sled then this would be your second option and at an affordable price.

As I'm not shopping for a new steadicam rig just yet, the thing that floated my boat was a product made by Inovativ and these guys make awesome magliners or carts we now like to call them. They have a range of options but the one I was after was the Scout 37 and this little beauty packs down quickly and neatly into a small thin manageable piece of luggage and would fit into the back of any small car easily, no more lugging around a really heavy and awkward Magliner. 

These products were my favourites over the two days and for me what I was interested in, but I know everybody has there own thoughts.

Before I sign off on this one I though I'd leave you with these pictures of something I found really cool. As I'm a massive Star Wars fan it was a real delight to bump into the Panavision stand where they had the Millenuim Falcon.......no not that one but the name of the film camera used to shoot the new addition to the saga, The Force Awakens. Check it out below....

 

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DJI Ronin Arm Extensions

So they finally arrived, the custom DJI Ronin arm extensions.

This means any camera, anytime anywhere but within the payload limit.

The extra aft movement enables more camera and lens combinations along with any light weight matte box and desired filtration. 

Red Epic is now even more able without the need for niche custom batteries.

This is big news so head over to Ronin Operator for the latest hire options.

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Crazy Fashion film for Rankin

Just came across this little fashion film I shot for Hunger Tv and Rankin.....

Never thought I'd ever see it but it was pointed out to me by a colleague so had to share. 

It was a bonkers day as the focus puller and I had no clue what was going on.

An Alexa, some anamorphics and a model.....think it turned out ok and I love the dress.... 

Woman in Black 2 - Angel of Death

Here is the new trailer for the Woman in Black sequel, looks quite good and possibly better than the original.

Shot by George Steel from Peaky Blinders fame and I was lucky enough to shoot the films opening Steadicam shots.

I'd worked with George many years ago so it was nice to collaborate again after all this time.

Hits the silver screen in January.....So go check it out if you fancy a new year scare!

Smooth Motion is killing our work!

So here is an interesting article.

Ever gone round a friends house and watched a film only to think to yourself, something ain't right here. 

On many occasion have I reached for the remote control to put these people out of my misery only to be praised by their reaction of 'Oh my God, that's so much better'

The reason, 'Smooth Motion'

There are however some people that have no idea and have been watching quality movies with this setting firmly on with no way to turn it off. I feel so sorry for them but they often have no idea and still enjoyed the film regardless. 

I've found that it's only really us as image makers that really care, or even notice, and thats why we should take note of this petition to get this hideous television setting eradicated from existence or at least be an option.

This is an excerpt from the literature below but click on the link for the full article and sign yourselves up.

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 “Stop motion interpolation!” is the call on a Change.org petition urging TV manufacturers to disable the default “smooth motion” setting on new televisions. As the petition explains, “Motion Interpolation was an effect that was created to reduce motion blur on HDTVs but a very unfortunate side effect of using this function is that is takes something shot at 24 fps or shot on film and makes it look like it was shot on video at 60i. In short, it takes the cinematic look out of any image and makes it look like soap opera shot on a cheap video camera.” Below, in a guest editorial, cinematographer Reed Morano (Frozen River, The Skeleton TwinsShut Up and Play the Hits) explains why this issue should be important to all film lovers. 

ttp://filmmakermagazine.com/88128-cinematographer-reed-morano-on-the-fight-against-tvs-smooth-motion-setting/#.VFiqDoqQGnN

Ronin Operators first One Take Promo

This is the only still from a one take music video we just completed for the artist Shakka.

We shot the video down in Brighton at the Saltdean cliffs around magic hour having choreographed and blocked the shot all day.

With multiple cues, costume changes mid take and camera hand offs, it was a recipe for disaster however we managed to pull off 3 good takes having shot almost 8.

I now think shooting steadicam is a luxury as holding a Ronin rig and camera for almost 4 minutes is extremely difficult and after take 2 lactic acid builds up in your arms making the rig almost impossible to raise up. I won't be supprised if I don't have huge shoulders before long or I'm finding it difficult to get though doorways.

One things for sure, I'll certainly be packing cans of spinach on the next shoot.....

DJI Ronin and c300 rig

DJI Ronin and c300 rig

Steadicam 'All Night Long'

I've forgotten how rubbish night shoots are. Luckily I didn't have to carry anything except my sanity as I hung off the back of this tracking vehicle all night shooting a mini commercial for a high visibility vest for Caviar.

No matter how safe you know you are being strapped in, there's always a little bit of doubt to make you soil yourself especially as the driver hears 'WRAP' and burns off to unit base forgetting I'm holding the rig.

Docklands have some fast and smooth roads at 5am until you hit a speed bump!

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