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I’m gearing up to start a contract with The Globe and Mail as a Staff Photographer in June. These last few months have been an incredibly busy and productive time for me – both personally and professionally. I’m thrilled about what lies ahead – technology and creativity are really beginning to fuse together for me, and opening doors I couldn’t have contemplated a year ago. In all the work – it’s nice to take an evening off. Here’s an image from my Mother’s Birthday Party.
I’ve spent the last week creating a game plan to handle the Red Camera post-production work-flow for the recent motion projects that I’ve directed. As an image-maker who has spent the last few years primarily in the digital photography realm, I see working with the Red Camera as a natural bridge back to the world of motion (my background is in Film Production). All the post-production skills that I have built up as a photographer, are transferable to handling a motion workflow. As a Creator – I feel more in control of the content I am generating than ever before. Below is a frame grab from the Red One Camera system – from my soon to be released project, “Bugs”.
I’ve mentioned that I currently have 7 motion projects in post-production right now. 5 are shot on the Red One Camera System, the other two make use of assembling a series of still photographs into motion. The Red One shoots involved a crew of about 10 people – and a fair amount of pre-production. The “Motion Assemblage” projects on the other hand – I can create all on my own; its more akin to the lone photographer approach – just myself and a subject. I really enjoy the contrast in approach to working with a team, and then working on my own. There’s alot to learn and appreciate from either method. I spent yesterday in Hamilton with my cousin Andrew, his wife Nicole, and their kids Olivia and Evan. I’ve been so wrapped up in our Red Camera shoots, that’s its been over a month since I’ve revisited the “Motion Assemblage” process that I’m developing. The first test that I’ve done can be seen in my March 21, 2009 blog posting. I’ve met a few CGI (Computer Generated Imagery) Artists this past week, in preparation for another round of creative motion shoots that I’m prepping for the summer months. It’s so incredibly encouraging to realize that as technology becomes more and more attainable, you are truly only limited by your creativity.
I currently have 7 personal motion projects that i’ve Directed in post-production. I’m collaborating very closely with my Editors and Soundscape Composers. Communication is the key – I visually dialogue with an Editor, and brainstorm using sounds with a Composer. I’ve talked a bit about the Casio Exilim EX-F1. Shooting at 300fps this prosumer Hybrid Camera is poor resolution, but perfect for “sketching out” a concept. Being able to shoot, edit, and rough out a soundscape on my own allows me to communicate with a Cinematographer, an Editor, and a Soundscape Artist in a very clear and literal way. The “Motion Sketches” that I’ve mocked up on the Casio are then re-shot with a camera such as the RED ONE and a crew. I see these Motion Sketches as visual blueprints to the concept – nothing is set in stone, but a sketch is there to build off of and improve on. Here is my first Casio “Motion Sketch” that I mocked up several weeks back. The sketch was for a project titled “Swings” – that has since been shot and is in post-production presently. The sketch features my 12-year old brother Garcy – who has been my unwilling subject for years now.
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