Visual storyteller specializing in music and dance media. Based in Seattle, serving the world.
- Timelapse for Buzzfeed
- “Sharper Tool; Bigger Weapon” – The RA Scion redux
- 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
- How to film and edit dance
- Walking through Machu Picchu
- Theoretics – “Lights On” (Official Music Video)
- Copy seeks to become the new Dropbox
- Zipline TV Ad
- Commercial Time-Lapse Photography in Gibraltar
- Garrett Gibbons – Director, Editor, Photographer – Demo Reel 2013
- Apple is abandoning pros. Who will replace Apple?
- The Moral Responsibility of a Media Creator
Category Archives: How-to
It’s been a while since I’ve updated my demo reel. Maybe I was just waiting for the right musical inspiration? This one is long – just over four minutes – but I also made a 90-second sizzle reel for those with less interest or shorter attention spans. Thanks for watching! It’s been an amazing last few years.
Here’s the full-length version, set to “On Saturnalia Eve” by RA Scion (feat. Blake Lewis):
Also, the 90-second version, set to “Woodwalker” by RA Scion (feat. Mark Shirtz):
UPDATE: Just for fun, here are my older demo reels!
Jan 2012 Demo Reel:
Jan 2010 Demo Reel:
You just said “storyboard” to refer to something that isn’t a storyboard. I’m not sure if you said that because you heard someone else say it incorrectly at some point, but let’s clear the confusion up right away. I’m telling you because I care about you, and I want to save you future embarrassment.
Storyboards are a series of pictures used to pre-visualize a story. They’re commonly used in Hollywood movies, but also are used heavily in advertising, interactive media, and video games. They help by providing a common visual understanding between the director, director of photography, visual effect supervisor, producer and other key creative figures in a production.
Here is a storyboarded sequence from The Amazing Spider-Man:
Here’s what some Dreamworks storyboard artists look like when posing for a photo at work: (usually they look much more tired, and are drawing on lightboards, drafting tables, or something similar.
So just now, when you used “storyboard” incorrectly, here are some things that you may have meant:
- mind map
The fact that it has to do with a story does not make it a storyboard! Storyboards have pictures. They take time. They’re often drawn by professionals. They are used for specific purposes.
Would you use the word Gaffer to refer to the person who refills your water while you’re eating at a restaurant? No, because that wouldn’t make any sense. It also doesn’t make any sense when you call your written notes a storyboard.
How to film and edit dance to convey spatial continuity
Why do dance-centric films and television vary so widely in their ability to engage viewers? What principles can we follow to better convey the energy, beauty and athleticism of live dance, even though audiences will view the film in conditions that are highly detached from the live experience?
This topic merits a long book, rather than a blog post, and I’m purposefully ignoring many aspects of dance on screen, including the arts of choreographing for the screen, creating or choosing a set that works well for filming dance, staging dancers within that set, costuming dance for film, and varying techniques of lighting dance for film. For today, my emphasis will stay on two aspects: the camera and editing.
I will add to this post over time, so if you have any questions or suggestions, please leave a comment below.
1. Lens Choice
I have read a lot of discussion in the academic community about the supposed difficulty of translating a three-dimensional art form (dance) into a two-dimensional space (the screen). While those challenges would in theory apply to any performance art displayed on the screen, I suspect that this discussion stems from a generally-perceived flattening of 3D space and loss of location reckoning when audiences see dance on screen.
“Matched” (presented by The LXD, directed by Charles Oliver, DP Alice Brooks), was originally filmed and presented in 3D. Is its impact lessened in 2D?
The latest from Theoretics: “Lights On”!
This is Casey Sjogren‘s music video debut as a director, though he’s been making quality content for a few years now. He directed, edited and co-produced this video. Domenic Barbero was our DP and RED Epic camera operator for the indoor footage. I co-produced with Casey, was I the gaffer for the indoor footage, and was the 2nd unit DP for the car footage (both Mark rapping in the car as well as the drivelapse footage of the city at night), which we shot on a 5D mark iii.
This track comes from their second release, “Plenty of Anything,” the same EP that gave us “Go.” Theoretics is a blast to work with, and I hope to continue collaborating with them in years to come.
During November and December of 2012, I had the pleasure to film several weeks of construction time-lapse in Gibraltar for SoEnergy International (formerly Energy International). The time-lapse footage was included in the following piece, produced by Roar Media in Miami, FL.
Here’s a version with an added voiceover and project overview:
When a casual viewer sees something like this, they may assume that there was a large crew involved with the production, and that they were able to operate in sterile, controlled environments. In reality, the story behind the time-lapse is far more interesting.