- “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: Portfolio
My latest music video involves swing dancing, Chinese lions, and a dance battle. I present: “Chinatown Strut” by Good Co, a new Electro Swing act coming out of Seattle, WA.
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!
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…).
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.