So this was a different thing. By far the most moody and stylized projects I’ve done to date verses what normally fills up my hard drives. I’ve been sitting on a couple reference images for a long time that I absolutely wanted to use but for one reason or another hadn't gotten around to shooting. The whole idea was wrapped around lighting, body structure, and direction. Well, that and my thing of always wanting to do stuff and a goal to post to my blog at least once a week this year.
In putting a treatment together – or at least a look book – I dug through a ton of references I’d already had stored away. I’ve also been listening to a TON of Anderson .Paak so I knew his music would be playing a major part. By the way, I'm awful at coming up with titles, so ignore the "Graceful Strength" part if you download the look book. This whole thing was more about a lighting test than anything proper.
There were also the self-imposed restrictions of a simple background, using my own equipment (short a couple c-stands and apple boxes), and keeping the talent either seated or lying down. I’d love to talk about my incredible studio space with all its incredible amenities, nice leather couches, and cases of LaCroix Sparkling Water, but instead I’ll show you my bedroom where I pushed everything up against the walls before the shoot and then reset before Anne the Wife got home.
Initially another model was lined up but reached out to someone else due to scheduling conflicts. Madison Bready is an OU student I met years ago and worked with a few times recently. Turns out Madi was absolutely the right person for the shoot. Cynthia Dreier is a makeup artist I’ve worked with on quite a few projects and she killed it in making sure Madi looked her best and kept us on track during the shoot. Did I mention Madi is an OU student, because we only had like 90 minutes to do makeup and shoot everything in between her classes that afternoon. Oh, and did I mention I was super happy with what we got? Because dang…
Gear-wise, we shot with my RED Weapon Helium at 8k, 60 fps, 2:1 aspect ratio, and 15:1 compression through my Zeiss CP.2 len set (25, 35, & 50). I'd also set my white balance to 4500k to warm up the tungsten light and white backdrop – along with her skin tones and haircolor. That being said, all the footage in the edit is straight out of camera; I didn't do any additional color work to the footage (or still frames). I also tried a step printing technique shooting at 8 fps and a 360° shutter angle, but it was at the last couple minutes of the shoot and I wasn’t really happy with the footage; I should’ve shot closer to 4 fps. For lighting, I setup an Arri 650 head through a couple scrims and two layers of diffusion. A bunch of black fabric hung on camera right helped control the spill. I’d roughed in the lighting setup using a styrofoam head on a light stand before the talent got there.
Post-wise, I knew the 8k files were going to be a monster. We shot about 325 GB of footage which isn’t nuts with my camera package, but honestly it’s a pain to edit such large files. Adobe Premiere on my Mac Pro setup will handle it like a champ, but having to lower the playback resolution to 1/8 or 1/16 just to just slog through the .R3D files is like tying that champ’s arm behind his back before going into a fight. I’d worked with offline edits WAY the hell back in the days of SD footage and tape decks, but this simple YouTube tutorial pretty much changed my workflow and is keeping me from looking so longingly at those fancy Alexa Minis and their blissful 4k sensor sizes.
Music is always the hardest part for me during an edit. I promise, I’m all about supporting other creatives and paying to license music, but after a genuinely solid effort I couldn’t find or afford something that fit as well – in my opinion – as this Anderson .Paak track. 99% of my edits start with a music track – especially with personal projects; It's got to feel right or else it's not worth the effort.
After I'd gotten somewhat through a rough edit (and several glasses of whiskey) I reached out to a few other creatives for feedback. Crazy thanks to those guys for the insanely solid ideas, helping me step back from how close I was to the work, and look at what I was missing.
Good grief I hope to do more of this soon.