And in case anyone is unaware or on the fence about the 8mm Vintage Camera iPhone app, its definitely worth the $1.99! It has a pretty convenient straight to Youtube upload feature. Here's a quick sample I took off the highway.
Thursday, December 30, 2010
LA Rain isn't soo bad...
It's been raining quite a bit in LA, which is always a refreshing change from the sunny weather we have to suffer through most of the year. Driving up to San Francisco for Nes Years, there was even more rain and fog. When I finally broke out of the clouds, the light was incredible and I had to pull over to shoot. I snapped off a few shots in auto, and immediately the camera produced some unexpectedly cool high contrast images. So I decided to embrace that and shoot a few more.
And in case anyone is unaware or on the fence about the 8mm Vintage Camera iPhone app, its definitely worth the $1.99! It has a pretty convenient straight to Youtube upload feature. Here's a quick sample I took off the highway.
And in case anyone is unaware or on the fence about the 8mm Vintage Camera iPhone app, its definitely worth the $1.99! It has a pretty convenient straight to Youtube upload feature. Here's a quick sample I took off the highway.
Sunday, December 12, 2010
Will.i.am Interview
I am still intellectually buzzing from an amazing sit-down interview with Will.i.am of the Black Eyed Peas. I had the opportunity of shooting this as a part of an upcoming project they are working on with director Ben Mor. The interview lasted probably over five hours and Will.i.am let us in on some amazing moments.
We were rolling 4 cameras - 3 5D's and 1 7D - on an assortment of L Series lenses. Due to the nature of having that many cameras all honed in on one subject, we scratched our heads for a second figuring out how to maximize all cameras while not diverging off eye line too much. We came up with a configuration that we were finally happy with.
Another interesting aspect to this shoot was the directors request to have one camera on a 180degree dolly. Not only was this was the basis for placing the other angles, but also got us thinking on how to light 180 degrees while keeping it looking good for all cameras. Once we were on set and working, we were quickly able to determine where to set our key light and continue lighting off of that.
We were rolling 4 cameras - 3 5D's and 1 7D - on an assortment of L Series lenses. Due to the nature of having that many cameras all honed in on one subject, we scratched our heads for a second figuring out how to maximize all cameras while not diverging off eye line too much. We came up with a configuration that we were finally happy with.
Another interesting aspect to this shoot was the directors request to have one camera on a 180degree dolly. Not only was this was the basis for placing the other angles, but also got us thinking on how to light 180 degrees while keeping it looking good for all cameras. Once we were on set and working, we were quickly able to determine where to set our key light and continue lighting off of that.
Tuesday, December 7, 2010
Smashbox FACE/OFF 2010
I'm super excited to have two of my works selected to show and participate in Smashbox Studios' 2010 FACE/OFF competition. The show was created to give up and coming artists/photographers exposure, but also its a great excuse to have a good time and meet fellow photographers!
You can find the event details and RSVP on Smashbox's Blog they call YELLO.
The first piece is a photo taken a few years ago of my good friend Jimmy. I caught this moment at the end of the day and it just so happens that it was last exposure on my roll. Until recently it's been hanging above the toilet in my bathroom, so I'm glad its finally going to see the light of day.
The second piece is a stop-motion video I created during my time in Japan this summer. There is a blog entry somewhere below going over the technicals.
Hope to see you there!
You can find the event details and RSVP on Smashbox's Blog they call YELLO.
The first piece is a photo taken a few years ago of my good friend Jimmy. I caught this moment at the end of the day and it just so happens that it was last exposure on my roll. Until recently it's been hanging above the toilet in my bathroom, so I'm glad its finally going to see the light of day.
The second piece is a stop-motion video I created during my time in Japan this summer. There is a blog entry somewhere below going over the technicals.
Hope to see you there!
Tuesday, October 26, 2010
Local Natives "Who Knows Who Cares"
Here is the video for Local Natives "Who Knows Who Cares"
We shot this video back in late August on 2 7D's outfitted with the powercage setup thanks to Digital Film Studios All of our daytime setups were natural light with an occasional shiny board. We moved fast, so we could accomplish all of the daytime vignettes of the band and their friends romping around the wilderness. Boa Simon shot Bcam for the performance setup and broke off to shoot 2nd Unit for the daytime scenes.
I highly recommend checking out Local Natives' album Gorilla Manor if you haven't already.
Photos by Eric Rippin
We shot this video back in late August on 2 7D's outfitted with the powercage setup thanks to Digital Film Studios All of our daytime setups were natural light with an occasional shiny board. We moved fast, so we could accomplish all of the daytime vignettes of the band and their friends romping around the wilderness. Boa Simon shot Bcam for the performance setup and broke off to shoot 2nd Unit for the daytime scenes.
I highly recommend checking out Local Natives' album Gorilla Manor if you haven't already.
Photos by Eric Rippin
Thursday, October 21, 2010
Route 66
This past weekend I went on a photo road trip down Route 66 with some wonderfully beautiful ladies. We didn't have a particular destination in mind, we just set out towards the desert and stopped at whatever caught our eye. We ended up shooting mostly around Barstow and got some great shots.
Models:
Elizabeth Trieu
Kate Adams
Sara Weishenk
Brook Evans
Make up: Melinda Miller-Rider
Styling: Brook Evans
Models:
Elizabeth Trieu
Kate Adams
Sara Weishenk
Brook Evans
Make up: Melinda Miller-Rider
Styling: Brook Evans
Friday, October 15, 2010
Maximum Balloon - Making of
I had a nice surprise this morning to find my recent Maximum Balloon video on the front page of Vimeo. Who knows how long it will there so I had to capitalize in snagging a screenshot of the Vimeo page!
I figure this is a good occasion to provide a bit more informative look back on the video, as the Behind the Scenes posted somewhere below in my blog shows a much more glamorous view of the set (as these things tend to do).
For this song Carlos came up with a really awesome concept that gives a fresh take greenscreen by taking traditional objects found in daily life, painting them green, and keying them out to put imagery inside (that imagery had yet to be fully determined going into the video). That idea fused with the artists desire to have a video in which he "receives a letter inviting him to a house party in Heaven" pretty much sums up how this video evolved.
The budget was extremely tight and therefore only allowed for one day of production. So our approach going into this video was highly focused on moving quickly and making sure we got all our shots. We all all admitted and understood this video's selling point was the greenscreen gag. Having a glossy or polished look was something that was unrealistic with our shooting schedule, and we hoped that a slightly unrefined the approach would further the greenscreen effect.
We chose to make use of the front-lit spotlight approach that has been pretty common in music videos recently. This was something that was portable and quick to set up, and for this we used a 200w Joker HMI with a few battery belts. We scouted in downtown Santa Ana and chose locations that were already sufficiently lit on their own, so with the addition of our one light we were ready to go. We matched our lights with the location lighting, gelling them with Lee's Urban FX Sodium Vapor and Mercury Vapor gels with the intention of doing an overall correction to the image in post to get the colors looking a bit more neutral.
One of the bigger challenges we faced was determining the best way to light the subjects. With keying greenscreen, of course its important to minimize shadows, which we anticipated would be especially difficult at night. Opting for front light wasn't the most aesthetically pleasing route to go, but it gave us the least amount of shadows and avoided any difficulty in hiding lights that would've been scene in some of the steadicam moves.
The video called for 6 so NIGHT EXT's and a large NIGHT INT. sequence that all had to be packed into a 12 hr day. Surprisingly or not, we didn't make our day and some of the NIGHT EXT's had to be left for pickups with a body double. Thanks to everybody owning a 7D now days, it wasn't hard to pick up a camera and get the remaining shots we needed.
Big thanks to the crew for putting in the extra hours on a super long and exhausting day of production.
Without further adieu, here is the video:
I figure this is a good occasion to provide a bit more informative look back on the video, as the Behind the Scenes posted somewhere below in my blog shows a much more glamorous view of the set (as these things tend to do).
For this song Carlos came up with a really awesome concept that gives a fresh take greenscreen by taking traditional objects found in daily life, painting them green, and keying them out to put imagery inside (that imagery had yet to be fully determined going into the video). That idea fused with the artists desire to have a video in which he "receives a letter inviting him to a house party in Heaven" pretty much sums up how this video evolved.
The budget was extremely tight and therefore only allowed for one day of production. So our approach going into this video was highly focused on moving quickly and making sure we got all our shots. We all all admitted and understood this video's selling point was the greenscreen gag. Having a glossy or polished look was something that was unrealistic with our shooting schedule, and we hoped that a slightly unrefined the approach would further the greenscreen effect.
We chose to make use of the front-lit spotlight approach that has been pretty common in music videos recently. This was something that was portable and quick to set up, and for this we used a 200w Joker HMI with a few battery belts. We scouted in downtown Santa Ana and chose locations that were already sufficiently lit on their own, so with the addition of our one light we were ready to go. We matched our lights with the location lighting, gelling them with Lee's Urban FX Sodium Vapor and Mercury Vapor gels with the intention of doing an overall correction to the image in post to get the colors looking a bit more neutral.
One of the bigger challenges we faced was determining the best way to light the subjects. With keying greenscreen, of course its important to minimize shadows, which we anticipated would be especially difficult at night. Opting for front light wasn't the most aesthetically pleasing route to go, but it gave us the least amount of shadows and avoided any difficulty in hiding lights that would've been scene in some of the steadicam moves.
The video called for 6 so NIGHT EXT's and a large NIGHT INT. sequence that all had to be packed into a 12 hr day. Surprisingly or not, we didn't make our day and some of the NIGHT EXT's had to be left for pickups with a body double. Thanks to everybody owning a 7D now days, it wasn't hard to pick up a camera and get the remaining shots we needed.
Big thanks to the crew for putting in the extra hours on a super long and exhausting day of production.
Without further adieu, here is the video:
Monday, October 11, 2010
2010 MTV EMA's
I have had the pleasure of shooting bits and pieces of promotional material for the upcoming European Music Awards. The bulk of the promos were shot out of the country, so it was our job to shoot the "celebrity cameos" which had to be produced in the US. We only had a small window of time with the artists, so each job would consist of a half day in which we would spend about 2-3 hrs setting up, then 15min - 1 hr with the artist shooting the material. Each job only required us to get one or two shots, so we could spend a good deal of time lighting and making sure we were matching the look of the promo. This is the first time working with 3ROUNDBURST who has done a wonderful job in producing these projects. The director was my good friend Carlos Lopez Estrada, who is responsible for directing the bulk of my music video work. Here are some stills from the shoot:
The Kesha shot was the first one to make it in the promos. Its amazing the amount of work the post team did in rotoscoping to glamorize the shot. Our location was a fairly plain hallway in which lighting and set elements were painted in to give the shot a glossier look that wasn't practical to achieve during filming. Here is a before and after:
You can see Ke$ha in this promo
The Kesha shot was the first one to make it in the promos. Its amazing the amount of work the post team did in rotoscoping to glamorize the shot. Our location was a fairly plain hallway in which lighting and set elements were painted in to give the shot a glossier look that wasn't practical to achieve during filming. Here is a before and after:
You can see Ke$ha in this promo
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