Wednesday, September 9, 2015




Last Friday we had a surprise Triple A performance at the Greyhound and DJ Bumbaclot's final performance.  In addition, as a sendoff to a trip through Europe, we all serenaded the crowd with euro beats deep into the night.  Here's a recording of my mix, now in an extended version with two never before heard remixes.  Play loud, mix with friends, and enjoy.

Thursday, July 9, 2015

Sound on The Alibi

Long takes are always something that I like to see in films.  So I was pretty stoked when Enlow contacted me about a short he was directing that he wanted to try to do in one take.

It took an evening of practicing choreography with actor Roy Wood Jr. and camera op Bobby Lam to squeeze ourselves through the tight spaces in a small 2 bedroom in Los Angeles.

In addition to the boom choreography, I also had to wire Nick Rutherford who is actually standing outside the house corresponding live over the phone in order to keep the timing correct.  The clean lav audio was then used to replace the poor phone speaker audio in post.

Interesting fact, I re-recorded all the phone audio that I got from Nick's lav through a iPhone speaker in different rooms of my house to get the acoustics correct.  If you listen carefully you can actually hear the different quality iPhone audio as Roy travels from room to room.  None of the iPhone audio you hear in the finished film is from production.

The project was so much fun to do from top to bottom and I couldn't be happier with the finished product.

Tuesday, March 31, 2015

Big Sur Pfeiffer Beach

Here's the last video in the Big Sur series shot on the Sony A7S.  This video has a lot of experimentation with slow motion shot at 210fps at 720p.  This slows the footage down to 20%, which was actually so slow that I ended up speeding some clips up to 40%.

Because the final video and normal-speed clips are at 1080p, the slow motion clips needed to be up-resed.  This left the clips looking soft or slightly blurry.  So I overlaid a video clip of 35mm film grain on to those clips.  It perhaps looks a bit jarring cutting between sharp 1080p video with 720p video with grain, but I actually like the quality of the grain a lot, as opposed to the fcpx stock grain that I added to the first video.

Had a little trouble returning an xml from resolve to fcpx and had to drag all the video clips in from the finder and re-apply the slow motion fx, which was frustrating and time consuming.  Not sure what the errors are about but I'm sure I wont get any answers because Apple is awesome.

Monday, March 23, 2015

Big Sur - Point Lobos

Here's the second video of the Big Sur series.  I'll try not to repeat too much of the tech stuff, so if you have questions feel free to ask in the comments or check out the first video.

This was also shot with the log settings at the base 3200 ISO and then color timed in DaVinci Resolve.  The first half is shot in the forest leading up the the coast line and is where I first became really curious about the 4K output.  This was shot in 1080p and the detail in the trees and such is pretty muddy.  The video is shot at the AVC-S 50mb 42p setting so there's not a lot of noise and theres plenty of color and contrast info to play with in post.  I didn't really notice any added noise from the color timing.  Also, in contrast to the first video, I didn't add any noise in post since I don't really like the quality of the effect in FCP.  I'd like to try adding grain with a more professional plugin or using After Effects.  So this video will give you a good idea of what the natural grain of the A7S looks like, though the compression on Vimeo makes that sort of difficult.

I tried to push the colors a lot in the forest section specifically.  It's worth noting that I realized at the end of the day that I had the white balance incorrect for the whole shoot (it was on the fluorescent setting I believe) D'oh!

Despite the white balance issue, I was able to pull the colors back and the push them to a warm yellow green quality.  The coast line stuff has a more natural color to it and is more focused on getting the contrast correct.  As you can see, the camera doesn't have much trouble exposing for a bright sky and dark rocks and foliage.  When shooting, I usually exposed for the brightest thing in the frame, usually the sky.  So I spent most of the time in post bringing the exposure down which yields rich color and contrast.