- “Classic” by Pacific Ballroom Dance
- “NPR” by Can’t Stop Won’t Stop – Puppet Rap!
- “Grief” – A Dance Short Film
- “Run Away” – A Dance Short Film
- TV ads for Liberty Coin & Currency
- Republic Services Roosevelt: Generating Power from Refuse
- Blackmagic 4K tests: battery life, data and record time
- Timelapse for Buzzfeed
- Roxanne – Tango Short Film
- “Sharper Tool; Bigger Weapon” – The RA Scion redux
- Three web Spots for Familyshare.com
- Garrett Gibbons Demo Reel 2013
- Ayron Jones & The Way – Feedin’ From the Devil’s Hands
- You don’t know what the word “Storyboard” means, do you?
- Dance choreography films for Katie Baillie
Category Archives: Dance
This is so fabulous! I edited the original Justin Bieber piece and love this remix (sans Bieber) that inkyblob made. It brings the focus to the excellent dancers who the creative team loved so much.
The Weekend Forecast has just barely released their debut album, “Sun, Doubt & Scenic Routes” and this video is one of the several that the band is releasing along with the album debut. “My Place” got some great press in Yahoo! News and I have to say that we had a lot of fun making this music video, which proved to be both relatively simple and technically challenging.
Benji Schwimmer and I kind of shot from the hip and filmed this video at his dance studio in about 4 hours last summer. The band members came and went and we filmed two takes for each of them: once in black, once in white. Benji’s dance performances were done in one take and we did about 5 takes of the green screen performances (including the alternate black and white versions that you see in the shots with three versions of Benji).
Looking for a filmmaker, music video director, dance photographer or visual storyteller? I’m based in Seattle, Washington but I travel the world. Hit me up!
The LDS Film Festival in Orem, UT happens around the same time of year as the Sundance Film Festival, and just down the road, providing an additional venue for film exhibition and competition as Sundance becomes increasingly crowded and competitive.
I submitted “Time Withers” to the LDS Film Festival as an experimental narrative in the short films category. The film was accepted into the competition and ultimately was given the distinction of an honorable mention which placed it in the top few percent of films that were shown, and placed it alongside films with significantly higher budgets and larger crews. For a $1500 film that a handful of us made on short notice in the space of a few days, I’m thrilled!
I edited this music video (in 3D) in southern California in October during 3 sleepless days to get it delivered to Sony Pictures in time. You can view it in true 3D right now if you go see it play in theaters before Arthur Christmas. Even if you’re not a Bieber fan, check out the excellent urban dancing from many members of The LXD!
The music video was filmed on two RED Epic 5k cameras and we used Cineform’s 3D codec to edit the muxed files in 3D using Final Cut Pro 7 and a Blackmagic output box, viewing the stereoscopic picture on a passive 3D 1080p monitor (we wore 3D glasses).
The video is directed by Charles Oliver, who directed many episodes of The LXD. The director of photography was Alice Brooks (also the DP of The LXD) and it was produced by Kyle Sonia (also of the LXD family).
Jill and I filmed this video for Alabaster right in the middle of production for Jekyll & Hyde. Besides risking creative burnout, I found that there were amazing advantages to drastically changing gears right in the middle of a two-week production:
- Working on “Overcome” helped clear my creative mental blocks that had been building up for “Jekyll & Hyde,” ultimately making the latter a stronger piece.
- Shaina (Alabaster’s lead singer) was in both productions (somehow) so we had plenty of time to get comfortable and communicative by the time filming started for “Overcome.” Had we jumped straight into her music video without having filmed “Jekyll & Hyde” a few days before, we wouldn’t have had anywhere near the artistic rapport that we had on this set.
- Hair & Make-up artists were shared between the two projects, facilitating communication on that front.
- Rented lights, lenses and other gear was shared between the two projects, adding production value to both.
- A certain type of creative momentum carried me through this production. I found that the harder I pushed myself the more I had inside of me. Something about going beyond the comfortable, more stagnant realm of careful planning and extensive production paperwork helped visuals flow to me.
Alabaster was a fantastic group of people to work with, and a refreshing example of hard work and humility in the music industry. Their work is excellent (also thanks to their talented producer, Joel Casey Jones) and I’m sure I’ll be hearing their music all over the city once their forthcoming album is released.
Some gorgeous production photos by my wife (Jill) are here.
If you prefer to watch on Vimeo, here’s the music video there:
I was blessed with the opportunity to work on The LXD season 3 this May and June as the personal assistant to Director Charles Oliver, as well as editing the season finale.
301: The Extraordinary 7
For those who have been following the series, the first three episodes of season 3 were a fun story arc that explore the origins of the LXD and their dance-related powers.
I worked a lot on the casting for episode 301. I worked with Charles to audition young actors for the lead “Young Narrator” role and spent a lot of time tracking down specialty extras who were the circus performers in this episode.
I filmed some b-roll for this episode using a Canon 5Dmk2 and a Zeiss 50mm 1.4 CP lens (it wasn’t used – the rest of the footage was shot on a pre-production model RED Epic), re-choreographed and rehearsed the partner dancing/tango section of the dance between the Countess and Joe Drift, wrote and re-worked various bits of dialogue, and generally assisted with most of the director’s work (guiding the art department, costumes, hair, make-up looks for the ringmaster, etc…).
I made this music video for Colby Miller during the off-hours of two very different projects. Colby and I filmed his half in Riverside, CA while I was involved in a few episodes of The LXD that we were filming there (you can see the same wheat field in season 3 episode 3). I only used a shoulder-mounted stabilizer and the Canon 7D for his segments, and shot during the golden hour just before sunset. Then the footage sat for a while.
The plan was to finish the music video in Utah with dancing by Krista Treu Derington, but my Utah trip was postponed a few months until we raised money for “Time Withers” to be filmed. The production schedule was tight and very busy, and we kept looking for time to film this video with Krista, but it was delayed until just after sunrise on the last day of shooting.
I’ve spent a lot of time with The LXD this summer, from casting, storyboarding, assisting with choreography, assisting the director on set and ultimately editing the season finale.
I’ve been wanting to share this stuff since the day I started, but this is the first official preview of Season 3 of The LXD! The season premieres on August 11 in the USA, with international distribution to follow.
If Hulu won’t let you watch the trailer in your country, try it on YouTube!
Theoretics is an Emerald City gem like only Seattle seems to produce. Seven musicians trained in classical, jazz, funk, rock and hip-hop have combined to make an amazing sound.
Thematically, my main goal was to convey a feeling of ascension: visually, energetically and emotionally. During the band sequences I move the camera upward, slowly from the start of the song (where the camera was on the ground) through the end where the camera was often soaring above the band members’ heads. The color palette starts cool and gradually gets warmer throughout the song. The dancers’ stories follow a similar theme, and their solos combine into an ideological improv session as the song reaches its climax climaxing with Brian Ung’s airborne power moves during the song’s final hits.
We filmed this music video quickly and the dancers (Jessica Hu, Mikeskee Huang and Brian Ung) were all wonderful to work with. One of their main challenges was dancing without music. I knew that they would be dancing mostly during the chorus and final outtro but the exact pacing wasn’t set enough to give them musical cues to use for choreography.