This is one of two spots we shot all in the same house. The challenge was to make it look like we shot each person in a different location. It was shot on the RED Epic with ARRI Master Primes.
This is a spec spot shot on the RED. We shot for 1 day on a real submarine. The engine close ups were shot weeks later in a garage. The sinking sub at the end was about 5' long and we shot it as a miniature.
The beginning and end of this spot I shot on the ARRI Amira using Schneider Xenon FF lenses. The middle section was taken from archive footage from past shoots.
This is the 2nd of two spots we shot all in the same house. The challenge was to make it look like we shot each person in a different location. It was shot on the RED Epic with ARRI Master Primes.
Shot on the ARRI Amira. We used a snorkel system for some of the close ups of the game.
This was a project for the Milwaukee Adworkers.
Shot on the ARRI Amira. The close ups of the chips and cards was done with a snorkel system.
Shot on ARRI Amira.
Shot on ARRI Amira.
This is a national spot for Jones Dairy. Shot on RED Epic with Schneider Xenon FF lenses. That challenge was to make the cloudy day look sunny during the entire shoot day.
This is the national launch of the Berkshire Hathaway Air Care Insurance. The challenge was to shoot during the day in an open International Airport. This was shot on the RED.
National spot for Jones Dairy. Our "sun" was created with an 18K. Shot on RED Epic.
This is a national spot for Jones Dairy. Shot on the RED Epic.
A spot for the Wisconsin Department of Justice.
Shot on ARRI Alexa.
This was for the Milwaukee Film Festival. It played before each screening. We shot it in black and white using the RED ONE.
This was all shot in 2 days so the challenge was to make the winter scenes appear cold. It was about 90 degrees that day. We were limited on budget so we had to do most of it in camera.
This spot had to be shot on the main stage in early spring. It was still very cold. We had a large empty stage with no existing lighting. Given a modest budget we needed to recreate the excitement of a large concert. The animation on the stage was first shot as real action on a soundstage. We then cut out certain frames and had them cut out in acrylic. The 5 inch tall pieces were then hand painted and each sequence was shot stop motion. They were then matched using motion control to the stage shot.
Shot on the RED. We needed this to look like it was old 35mm film to match the Six Million Dollar Man show open. Look for the surgery light, it is an ARRI Ruby 7.
Shot on the ARRI Amira.