Most likely, this page is the reason why you're here. Please enjoy this small sample of my work. And don't hesitate to drop me a note with questions or feedback; it's always appreciated, especially when it's constructive. Cheerio !
GETTING CINEMATIC SHOTS ON A BUDGET IN THE DIGITAL AGE
A limited budget or a tight schedule should not limit your ability to deliver stunning shots ;-)
By combining advanced digital cinematography techniques, a modicum of filtering, innovative workflows including post techniques like selective focus, anamorphic lens mapping and localized detail enhancement, the final image is not constrained strictly to what's in front of the camera. That flexibility is what I love about digital filmmaking.
PLAYING WITH TIME
Whether we compress full days into seconds or make things move reeaaallllyyy slow; whether we capture the heavens or night turning into day; there is something magical about playing with time. Because we can't see the world that way with our own eyes, we are giving ourselves - and our audience - "super vision" powers ;-)
A lot of consideration goes into the planning and execution of variable time shots. Managing exposure, luminance, contrast, stability, judder, battery life, media capacity, changing environmental conditions, unexpected visitors, to name a few, while putting together frames that sometimes span more than 20 stops of exposure requires a bit of knowledge, experience, and quite a few hours of work. But I think it's totally worth it when we put it together !!!
ENGINEERING DIGITAL WORKFLOWS
We have boldly entered an era where digital capture can, when done right, exceed the performance of film on most aspects, including low light sensitivity, dynamic range, color gamut and frame rate.
The downside of digital is that workflows are getting incredibly complicated. Supporting our creatives with the right expertise, which requires strong engineering/scientific backgrounds, is now crucial, if we want to fully understand the implications of the choices we make before we shoot, while we are shooting, when we are in post-production and when we archive our work for future generations to enjoy.
Even on a tight budget, we should be conscious of the impact our choices have on the displayability of the art we are creating. As display technologies keep increasing in resolution, color gamut, contrast and brightness, it's smart to ensure the beautiful assets we spent so much energy (and money) creating still hold up in the near and not-so-near future.
As just a tiny glimpse of this complex new reality, here is a clip that highlights the difference between grading from a classic, Standard Dynamic Range file versus a scene-linear, openEXR "digital negative" with all of the camera's latitude. More latitude meant, here, that we were able to preserve and tone map the highlights from the background clouds without sacrificing anything else in the image. When we graded this shot on a 4000-nit HDR monitor in HDR, it felt like I was back in Hawaii ;-)
New VR capture, gaming and viewing devices are hitting the shelves at an accelerated pace. While that commercial push favors the integration of VR devices in everyday life, the quality of experience is not always up to par; improperly produced content can generate physical stress and/or interrupt a viewer's suspension of disbelief. To achieve the highest quality possible, I designed new VR equipment and workflows that enable the capture of seamless 360 video up to 12K by 6K, HDR, and up to 120 fps, offering an unprecedented level of realism.