Double exposures are nothing new, but are something I have NEVER been able to pull off. For some reason that I can’t quite explain… I decided to try and double-expose an entire roll when one of my favorite bands, Enforcer, came to town last week. The results speak for themselves, and have opened a realm of possibilities for my career as an artist on the road shooting musicians. In a world where digital images can be manipulated to extreme degrees (for which I am plenty guilty), these images are some of the purest I have ever created.
Shot with a Contax G2 and a Zeiss 45mm f/2 Planar T* on Fujicolor Superia 1600.
Processed and scanned by The Darkroom.
Where do I even start?
This digital film is the greatest gift I have ever given. This was created to be screened at my Jamie and Grace’s wedding… as a vehicle to help people understand the love between them. In the end, it served as much more. The storyline of the cinematic portion is essentially a metaphor for Jamie and Grace running off together and beginning their journey down the “Highway of Life”. This film created a chance for me to spend more time with them as a couple, and with the wedding party as a whole, to really get a solid understanding just how special their love is. You might even look at this film as my “seal-of-approval” as Jamie’s older brother… a proper send-off as they begin their lives together.
This film is hands-down my greatest work to date. To me, it marks a paradigm-shift in my abilities as an artist. I am no longer just a kid with a skateboard shooting video (although I shot parts of this with a skateboard). I have reached a level with my creative skill-set where I am able to effectively realize my vision… and execute it on a scale like never before. I have never attempted something like the cinematic portion of this film. Quite frankly, I was not aware that I was capable. It is safe to say that all of that has changed. I assumed a plethora of the roles to create this: Producer, director, cinematographer, editor, post-production/visual-effects. I stepped way outside of my comfort-zone, and the results speak for themselves.
This film could not be any more heartfelt. I am immensely proud of it… and my brother.
I am beyond excited that I can finally share this with the world.
I sincerely hope you enjoy it.
This video’s existence will make more sense if you head on over to Team Rowdy and read about the Hot Boy Car of the Year Contest (HBCOTY).
This video was planned, and the principal photography was executed in a matter of hours. As per the rules, it was shot entirely using iPhones (4s, 5, 5s). Unfortunately, all of those phones shoot at different frame rates (23.976, 24, 30, and 120fps)… and my 5s freaked out when trying to ingest all of the footage using iMovie for iPhone. So I had to edit this video with a computer this year… whereas last year’s entry never saw a computer once. It was shot/edited/uploaded directly on/from my phone (which still blows my mind).
This video was a BLAST to make. BIG BIG thanks goes out to Greg Thore and Byron Hill for helping me shoot this on a TOTAL whim, in the freezing rain until 4am. But like the cries of the opening line screams… “when it’s cold, and when it’s dark… the freezing moon can obsess you”. And that it did.
Showcasing the last several years of my motion design and compositing, this reel… to me… is unreal. As an artist, I can rarely step back from my own work and say “Wow… I made that?”. A proud feeling for sure.
This reel is without a doubt a quick rabbit-punch to the throat that will leave you yearning for a second viewing.
Special thanks to everyone I’ve worked with along the way that has helped me to learn, grow, and develop my craft in ways I never thought possible. For a full breakdown of my roles in all of these clips, click here.