This is the Massimo Motor 30 second commercial. I was really happy to be a part of this creative team and commercial shoot. John Trotto the DP, and Atom Design gave their utmost passion in delivering this commercial project. We were able to pull out all the fun rugged gear for this shoot.
The commercial starts with a holy grail time-lapse overlooking a vast beautiful field glistening with morning dew. We found this location in the pines near Flagstaff, Arizona. The location was scouted the day before, and I really needed the morning dew to give me that sparkle of specular highlights as it did the previous morning. The shot was of the sun rising over the mountain in the distance. I calculated to shoot at least 300 still images to get the sun at the height that was required to give the most drama. I processed and transformed an hour of real-time into literally a one second time-lapse clip. It was extremely challenging to edit this time lapse down to one second. My analogy and something I heard before, was like taking a telephone pole and making a toothpick out of it.
Most of the shots called for aggressive, down-and-dirty, mud-caked fast action. These UTV vehicles can really move and climb. The camera of choice was the GoPro, of course. We put them on magic arms and in all sorts of precarious places. I put one in the wheel well to show the outstanding suspension of the Massimo UTV. Since we had no room for a camera crane we mounted a Wi-Fi enabled GoPro on a 20′ boom pole. We where able to monitor and control the GoPro video from an iPad as the vehicles flew down trails. I did some steadicam shots with the GoPro next to the driver, the suspension was priceless. The Massimo drivers did a wonderful job in controlling the UTVs at high speeds on extremely rough terrain. We would try to film 2 or 3 takes at each of the locations. Charged batteries where always a plus in a very hot environment. All the clips where played back on a portable monitor for the director, Jodi Deros. I was really amazed at how the Wi-Fi worked with the GoPros from a follow vehicle that was a good distance away. Ninety-five percent of the GoPro footage was shot in 2.7k with the rest in 1080 and this was the perfect choice. All the other action or stills were shot with the Canon 5d mark II. We had the perfect locations in Sedona, and the Massimo vehicles are outstanding. They are meant to work and play in this environment. It was a pleasure to flex my creative muscles and work in one of the most beautiful locations in the Southwest.
We spent a total of 5 days filming the UTVs on Schnebly Hill Road in Sedona, Arizona. A few of the scenes where done outside of Flagstaff, Arizona. This image is of the crew, and the beautiful vista we enjoyed as we worked.
Finally after years of work with Barry Friedman, the coffee table book [Still Chasing Rainbows] is published and available on Amazon.
I had the pleasure of photographing over 700 Indian blankets and items. The book contains 315 color photographs and 95 black and white illustrations in 304 pages. Besides shooting the images I was able to do all the post processing. The color and feel to these blankets are truly a work of art.
Still Chasing Rainbows is the long-anticipated sequel to Chasing Rainbows, the bible of Indian trade and camp blanket collecting. Still Chasing Rainbows showcases the finest Indian blankets produced between 1892 and 1942. It is a perfect blend of gorgeous blankets, superb historical images and original manufacturers’ catalogs. Pendleton Woolen Mills opened its archives to Barry, and glass artist Dale Chihuly permitted complete access to his collection – the largest ever assembled. Collectors throughout the world provided their rarest blankets for inclusion in this volume and the result is even more spectacular.
I shot this video in Cleveland, Ohio. This is a wonderful unique business that can pack and ship anything.
This was a full Multimedia shoot. We did interiors, exteriors, environmental 360, corporate head shots of all employes, group shots, vehicle, HDR, and a multitude of any sorts of assets I could think of. The more assets I have, the more options I have when I’m editing the clips.
Incorporating time lapse into fabricating crates was very interesting. Most of all the images and clips were shot with the Canon 5d. The time lapse footage was done with Canon and GoPro. The assembly of the crates took less then thirty minutes. I found the GoPro to be the savior in this multi-cam setup. The frame interval on both cameras was 2 seconds. I needed to keep these clips short, with enough handles to ease the editing options. Most of the post was done in Lightroom and edited in Final Cut Pro X.
This is a Time Lapse of a product shoot. I photographed a 1954 Fender Precision Bass. The Time Lapse was interesting for the fact that it shows how physical the shoot really is. Color grading and final edits were done in Final Cut X. I like to explore every angle I can possibly think of, almost 360 around. Two large light sources were used. I wanted coverage and softer light.The large 4×6 was moved closer to the subject, giving me soft light and keeping the background brighter and neutral. The octabox served as a nice fill when needed. This is a simple set up, and works really well in post.This is a very good way to exercise mind and body. (final images are found at the end of the video).
The process of shooting a complex experimental live music project. Using a total of 14 cameras, (8 GoPro, 8 5dmark 2′s and 3) as we embark on the positive and negative aspects of shooting, organizing, importing, and editing multi clips in Final Cut X. This video has a wonderful audio commentary at the end.
I rarely, if ever, use a light tent for product photography. In this case I was dealing with a glass jug, which has plenty of depth and curves.
Lighting glass requires attention to every detail. Removing the unwanted reflections and replacing them with specifically created reflections define the shape and contour of the glassware.
This is a combination of additive and subtractive lighting reflecting techniques. White cards were added to the sides to show volume and contour.
I have been shooting Time Lapse Video for many years and began with 35mm film.
The advent of the Digital Camera brought cost way down and creativity way up.
Today’s cameras are smaller and far more capable of capturing high rez images and video.
The Lobster Time Lapse was shot with one of my favorite small go- to cameras, the GoPro.
We use the GoPro extensively on our Video shoots. They can be utilized in very tight places and perform
beautifully even in extreme weather. They blend in seamlessly with our other video cameras.
I used the GoPro on the Lobster video with total confidence the camera would be able to focus very
nicely at 12 inches. The camera metered the scene with no problem especially as the light levels fell.
Frank Salle, in association with CBP/ Corporate Photography began principal photography on location in Arizona’s Solar Overlay Zone for Solon Corporation & McCarthy Construction in April 2011.
The assignment will document the 8 month development and construction of the 18MW solar photovoltaics plant just outside Gila Bend for Arizona Public Service (APS). This project includes the custom fabrication of weather proof, time-lapse camera rigs, state of the art motion control and video capture.
HDR 360′s are interesting to create, and move in and out of. I found that shooting video and HDR 360′s would somehow compliment each other if the Panoramic became a story within a story. Besides shadow and highlight detail, Panoramic shots can be used to focus attention by panning into and out of the shot. Audio, via music or voice over, could add establishing, or other details about the scene.
The clip below was taken from a previous 360 shoot and created in Photoshop extended, and edited this time with Premiere Pro.
"Nothing is ever the same as they said it was. It's what I've never seen before that I recognize. It's important to take bad pictures. It's the bad ones that have to do with what you've never done before. They can make you recognize something you hadn't seen in a way that will make you recognize it when you see it again." Diane Arbus