This is a spec spot for Powerade directed by Andrew Neel and featuring his sister, Elizabeth Neel. I was the DP, we shot it on Super-16mm on an Aaton in Vermont, just at the start of winter, literally. We shot for 3 days, the first day no snow, then it snowed. The Fischer dolly got stuck in the soupy mud and multiple pick-up trucks were involved in getting it back out. I used my Bolex for the helicopter shot because it was lighter, which made a difference in that tiny chopper. The door was removed, I leaned out to shoot. We pulled most of the color except the blue in the film to tape transfer at DuArt. Because it was an exterior shoot we focussed on camera movement rather than lighting for visual interest. Gaffer Carl "Boogie" Schroeder was instrumental in all of the moves.
This is a short clip from the feature length film "Life in Bed" Directed by Nick Lindsay. I was the Director of photography for the film. We shot just about everything in a loft in Brooklyn, greatly aided by the fabulous production design skills of Linda Keil. We shot on 35mm film on an Arri 35BL. We took an adventurous approach to just about everything, including shooting through colored gels with projected slides backgrounds.
Myopia was directed by Nancy Bardawil and Paul Andresen. I was the Cinematographer, and I shot it with my hand crank 35mm DeVry and hand processed the B&W film. The piece is based on a performance piece that Nancy Bardawil had done. The man in the back is David Yow from the band the Jesus Lizard. All effects are in camera done with lights and reflections.
This is a clip from the music video for Veruca Salt's song "Seether". This was my first paid music video gig as a Director of Photography. I shot it on 16mm film with my Bolex and an Arri. We shot non-sync which was a headache for the editor Katy Maguire later on in terms of syncing the picture up to the music.
This is a short film I made, "The Dreaded Beard". It features Matt Winch as the hapless pognophobic fellow pursued by the beards, and a voice over by famed musician James McMurtry. I shot the film MOS on 35mm B&W film with my prism viewfinder Eyemo camera fitted with a Nikon mount. We shot the film in Brooklyn.