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- Garrett Gibbons – Director, Editor, Photographer – Demo Reel 2013
- Apple is abandoning pros. Who will replace Apple?
- The Moral Responsibility of a Media Creator
- Young Adult fiction book trailer: Stelladaur
- RA Scion – Guttersnipe Bridge (Official Music Video)
- The 500 LED workhorse location light
- 2012: A year in photography
- Macklemore & Ryan Lews hit Billboard at #2 with their album “The Heist”
- “Go” by Theoretics
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Category Archives: Film
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 first heard this song while Mark Hoy and I were driving around downtown Seattle in February, listening to an unmastered copy of the album while trying to decide which song to make into their first music video. I was blown away by this song, and told Mark that it wasn’t the time to make this yet (there was less of a budget, time was tight, etc…) but that I needed to make a video to Jekyll & Hyde. The music video for “Higher” was thankfully well-received and this summer Theoretics launched a Kickstarted campaign to raise money for a “Jekyll & Hyde” video.
I had begun writing a screenplay back in July, and after a few long brainstorming sessions with all seven band members pitching in their varied ideas we decided to go with a surprisingly traditional representation of the original novella by Robert Louis Stevenson.
I read the novella deeply and repeatedly for a few months as I worked on other projects. I was blown away by how different the story was from the general concept of Jekyll & Hyde that seems to make its way into popular culture.
Our version has most of the core elements of the original story, but I won’t tell you much more about it because I want you to just read the novella. It’s amazing, it’s short and it’s free on the Kindle store and Project Gutenburg.
Thankfully, the band raised the money and we began filming the week after the Kickstarter campaign ended.
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…).
Remember when I was blessed enough to work with an insanely talented group of musicians and performers for Theoretics’ “Higher” music video?
They came back and asked me to direct their next music video, “Jekyll & Hyde” and I’m thrilled. This song is funky, deep and unforgettable. Their entire debut album is phenomenal but this track really shines when performed live.
The band is using Kickstarter to raise money for the video budget (a very modest $5,000). Here’s the video! “Like” it on facebook, send the link to anyone who may dig it, and get excited for the visual and auditory feast to come!