My life as a filmmaker has blessed me with the privilege of seeing some of the most surreal and timeless places on the planet. These images of our Sacred Earth set to music are my way of sharing some of the magic I've experienced along the way...
"Terra Sacra" ~ Latin for Sacred Earth.
Terra Sacra Time Lapses is a short film featuring remote landscapes and ancient monuments from around the globe. These images were photographed during my assignments and personal travels between 2006-2012.
I've combined my favourite shots from these trips into non-narrative film that touches on a theme close to my heart: Sacred Earth.
The visuals are driven by an original score by composer Roy Milner (roymilner.com). The six-minute film is a journey through three distinct Acts: (I) Primordial Earth (II) Past meets Present and (III) Eternal Universe.
This film is a personal project to share the beauty and awe I witnessed at these locations. I hope viewers will be moved by the intangible power of our Terra Sacra.
Endless thanks to Art Wolfe for hiring me to as the cinematographer for the public television series Art Wolfe's Travels to the Edge and taking me to the ends of the Earth where most of the shots from Terra Sacra were made. Art, you are an inspiration and the most driven photographer I have ever known! I learned so much working on this show with our amazing crew and have stories to tell for a lifetime! artwolfe.com travelstotheedge.com
Never-ending thanks to friends and colleagues Ian Herring and Maija Leivo of Parallax Film Productions for permission to us shots I took for the television series Ancient Megastructures (National Geographic Channel / History Television) and Battle Castle (Discovery/History Television/ BBC). These assignments provided unprecedented access to some of the world's most iconic ancient landmarks parallaxfilm.com
Infinite thanks to my amazing wife Deddeda for her love and constant encouragement to pursue this project.
Most of the time lapses were shot with a Canon 5D at the maximum resolution using a TC-80N3 intervalometer. A few shots were taken with a Canon 7D and Canon 5D mk II.
All images are single manual exposures, no HDR composites.
Original full resolution images were colour corrected and processed in 16-bit in Adobe Bridge using Camera Raw and exported as JPEG sequences at maximum quality. The rendered JPEG sets were then opened in Quicktime Pro as image sequences and exported at their native full resolution (up to 5K) as Quicktime movies at 23.98 fps with the Apple ProRes 422 (HQ) codec. The ProRes 422 (HQ) files were then edited in Final Cut Pro 7.0.3 on a ProRes 422 (HQ) timeline at 23.98. The master file is ProRes 422 (HQ) 1920 x 1080.
Selected time lapse sequences were also processed using Adobe Bridge and LRTimelapse to smoothen aperture flicker apparent in some shots with large depth-of-field.
If you are interested in licensing any of the shots from the film, please contact me so I can direct you to the appropriate agency.
I would love to revisit many of the locations in this film and other powerful sacred sites around the world to create a feature-length "Terra Sacra". The film would combine real-time, slow-motion, and motion control time lapse imagery - all in stereoscopic 3D. If you are an angel investor, potential sponsor, broadcaster, distributor or someone deeply passionate who would would like to get involved, please don't hesitate to contact me.
Get more info, pictures, guidebook and wallpapers to download on the Petzl webiste: http://bit.ly/KXSV8O
Last fall, from October 26-30, 2011, more than 600 climbers gathered with our team for Petzl RocTrip China. All participants discovered and enjoyed more than 250 brand new pitches on unbelievable limestone especially prepared for the event.
Among the highlights of the film, watch Dani Andrada’s first ascent of the extremely difficult 7-pitch Corazon de Ensueno (8c/5.14b), a route he put up in 2010 over the course of two trips to the area to prepare for the RocTrip. For this outstanding feat, Dani was awarded Climbing Magazine’s prestigious Golden Piton.
Other sequences include Steph Bodet and Arnaud Petit sending their project, Lost in Translation (8a+/5.13c), Gabriele Moroni’s first ascent of Coup de Bambou (9a/5.14d), as well as other images of spectacular climbs up and down the valley.
More infos, pictures, guidebook and wallpapers to download: http://bit.ly/KXSV8O
Starring: Steve House
Produced and Directed by: Tyler Stableford
Cinematography by: Tyler Stableford and Draper White
Associate Producer: Kate Rolston
Editor: Dave Wruck
Assistant Editor: Ben Thomas
Field Audio: Ben Thomas and Matthew Van Biene
Riggers: Hayden Kennedy and Matthew Van Biene
Music: Paul Fran-zik
Sound mix: Coupe Studios
See more by Steve House and his award-winning book Beyond The Mountain at: stevehouse.net
‘Rescued by Love’ was a concept pre-wedding shoot that I thought of after hearing Kyra and Melvin’s life story. I really wanted to create a sequence of images that represented their journey. A few months before the shoot the main visual started to form in my mind. I quickly put pen to paper. The problem was that it was going to be difficult to create.
I knew I wanted to see Melvin carrying Kyra in the rain as if he had rescued her from some danger. The main problem was the rain. I couldn’t guarantee rain for the day of the shoot. If I were outside in the rain then my equipment would ruined. Solution....I needed a rain machine. Renting one became a very expensive option. So I started to scan the internet for ways to create one. I am no DIY king, so I had to man up. The rain machine cost me about £200 in total.
I wanted the scene to be dark and dramatic, so I had to shoot either at night or in a studio. Shooting outdoors at night would be tough as I needed running water and oddly a guarantee of no rain so as not to damage my gear. The option I needed was a studio with very high ceilings, a rig and would be flexible enough to allow running water! I found East End Studios 3 days before the shoot.
A key consideration was lighting. I thought I would go back to my video roots and use continuous light. It meant that I could see light as we built the scene, but more importantly my team of helpers could see too. Most of my team would have little experience but they could see the effects of the light as I called out, “left a bit!” The light would also help me with focusing too. Modeling lights on strobes just wouldn’t be powerful enough in such a large space.
These photos were shot using my trusty 5DmkII with the 70-200L 2.8 IS (MkI). The image from above with Melvin screaming out to the heavens was shot with the 24-70L
A special thanks to VIVIDA team members Marta and Toby and the successful applicants who got the opportunity to come and assist. Also shouts outs to Shireen MUA for the makeup and to eastendstudios.co.uk/