Thanks Blake.

Oh, and thanks for providing such an amazing forum for our work. You cats are rocking it.

Thanks for the staff choice pick! I got some vimeo street cred now!

Merci.

Thank you Janet. This is, as was numerous previous projects, transferred to SD after the Digital Intermediate. I'm now on the HD wagon with all transfers. Thanks again for the kind words.

Best

Two Luke comments in a row. Two entirely differently experiences. Thank you good sir. Your comment is vastly appreciated.

Genius is a strong word. Let's reserve it for Stephen Hawking... Nah, scratch that, I'll accept that comment. Thank you Drix.

sweeet!!!

Toe to shoulder we're pushing 9 stops. Can't get the same rich blacks and over exposed highlights on HD. However HD is a magnificent medium when called for.

:-)

The result of 200' short end. Opportunity struck.

Eye eye

Darren,

Thanks for the inquiries. The track name is 'Dawn' and we captured a sun setting at dusk. Mildly ironic if only by accident.

It's photographed in real time. No time lapse. The edit at the opening of the piece was in camera and not a derivative of FCP or Avid. I agreed with the organic nature, look and feel that it created so it was kept in the final product. I believe it enhanced the overall production value.

I'm rarely daring enough nor have a solid reason to hold on any such shot for an extended period of time. That said, it felt natural to go ahead a do so here. It's a nice departure from all the fast paced work I usually create.

Thanks again.

The name of the track is "Dawn" and it's off of their album "Man With A Movie Camera". If you haven't heard the album run don't walk. It's complete poetry! Hopefully that doesn't sound to sappy or lame.

Their website is up top.

Great work my friend. I know you're in the NYC slaying some more film, so get it get it.

When's your day rate gonna quadruple?

Andy,

The US flag was a wonderful happenstance. I do however believe it lent itself toward the overall tone and aesthetic created within the piece. I wish I could say there's an intended metaphorical meaning but I'd prefer to leave that to yourself and the viewer. I'd hate to ruin any cinematic experience with a didactic explanation of the work.

I also realize that The Cinematic Orchestra are UK based, but their tunes are global baby. They just create alluring and haunting work.

I'm very glad you enjoyed it. Thank you.

Craig,

It was shot clean, without filtration and exposed for the mids using a spot meter. I was quite happy with the detail in the shaded areas, particularly the side of the barn. There's a wide toe to shoulder range displayed in this composition and I was very happy to see such sharpness and great grain structure. We did use some power windows in the telecine session and applied a handful of traditional filters which could have just as easily been done in the field.

Oh, I loved your vision 3 tests. Very informative. I watched them months back. Thanks for posting that. If we could all share and share alike the craft would benefit exponentially.

Thank again,
JT

Thanks. I just posted an quick experiment I did in Color on a DVCPRO HD clip with severely crushed blacks. Surprising what you can do with "only" an 8 bit codec.

I'd love to see your short projected. I know there's a lot of detail that I'm not seeing now, especially in visually interesting areas like the barn. I love texture.

Troy,
I agree with the breath of fresh air. I did this just before directing some work for Clint Mansell and the Kronos Quartet. The tracks they gave me to direct were insane and quite possibly the most difficult pieces I've had to translate to film. That said, there was a plethora of edits. Quite the opposite of this project.
Thanks for the words man.

Peace Orchestra, Green Peace, Green Peas, Peas in the middle east!

One love,
Thanks for the encouragement Adrian.

Rusty,

The track title "Dawn" and the actual cinematography taking place at Dusk was unfortunately a stroke of coincidence. I wish I could tell you otherwise. This project was conceived out of a spontaneous reaction to a beautiful sunset.

In regards to the opening sequence, the edit and flash frames were done in camera. Not intentionally but as a result of Nickolas Rossi (Director of Photography) setting his frame and me asking him for a longer lens. The result was left in the project because I thought it complimented the organic nature of the film stock and lent itself to the piece.
It's also a reminder that the individuals I collaborate with quite often provide input that far exceeds my own. I actually prefer the initial composition and lens choice made by Nickolas but there I was ready to muck it up.

Thanks for your interest and kind words.

Technically it's two shots as there's an edit within the first few seconds of the track.

Wendell,

Thank you thank you for the positive words!

The location is along US 395 in Bridgeport, California. I've made that drive from Reno, Nevada to Los Angeles dozens of times and have always wanted to photograph it. The track seemed to fit so I put it into cyber space.

I'm a big fan of Cinematic Orchestra. I was turned onto their work in 01' and have followed them since. Stay in touch.

JT

Keith,

You probably didn't miss the point. It just wasn't your cup of tea. I appreciate the fact that you at least felt compelled enough to share your reaction with me. That's all I could ask for. Your honesty.

At least we both enjoy the tunes of amazing artists!

Yeah. Rock on man.

Thank you for viewing the project.