Creating a new directing and cinematography is a tricky thing for an editor. Probably the best argument why you should avoid editing your own work. All that being said I feel proud of my latest reel, it only took me four years to complete. Full breakdown available on request.
Special thanks to you to all those brave souls who let me point a camera at them and also for additional photography, Paul Deng, Matthias Grunsky, Richard Walshe, Paul Lucas and Bhaskir Maj. MUISC: FKA twigs – two weeks. SHOT ON: RED Scarlet / Canon 5D / 7D ; Vintage Nikkor & Canon L Series Glass.
When you’ve been editing footage you shot for as long as I have have it’s really refreshing to just sit back and enjoy something you didn’t shoot or edit. This round up of the best cinematography of 2014 comes from Jacob T. Swinney & the website No Film School.
I fully expect my current experimental masterpiece ‘sooner or Later I will change’ to be included in next years edit. there is a shot in there from ‘gone girl’ if you’ve read my post me & david fincher you’ll know just how close I am.
It turns out that David Fincher and I are only about 2K apart, in workflow at least. This interesting video from Adobe outlines his post production workflow on gone girl which mirrors my post production workflow using Adobe Premiere & After Effects. He shoots with the 6K Dragon Sensor RED I own and shoot with the 4K MX Sensor RED, I thoroughly enjoyed Gone Girl and hope my next horror short ‘dedicated’ which I’ll be shooting on the RED with Nikkor primes will look just as good and be every bit as thrilling.
This needs an update but is a broad selection of camerawork from several projects, personal and commercial. Additional photography Paul Deng, Matthias Grunsky, Paul Lucas and Bhaskir Maji.
Filmed using a combination of camera’s, primarily Canon 5 & 7D, but there is also some RED footage lurking in there., alls sorts of glass but my favourite weapon of choice these days in my collection of vintage Nikkor primmes.