Fruit of The Loom, round two

Earlier this year I had the pleasure of once again working with Ty Milford shooting for Fruit of The Loom with the awesome agency team from Crispin Porter and Bogusky, great production provided by Vail Palmer-White.  This job was spread out over 4 days shooting in a variety of locations here in LA.

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We chose to use a high resolution 35mm camera (Nikon D800) to facilitate Ty’s style of shooting, which utilizes freedom of movement to facilitate great interaction with the talent to truly capture what Henri Cartier-Bresson would term a ‘decisive moment’.  To further facilitate this mobility we chose to use a wireless capture method to give Ty the maximum freedom.  We used two different wireless image review methods, one where we went directly to iPads which we used when we were ranging far from our established base camp area, including one trip shooting from the back of a car while talent rode a bicycle, and an alternate method where we used the capture station as a hub and relayed the images to iPads via Capture One’s Capture Pilot function.

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Check out the tears-heets after the break and in the Work section of the website

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More 2013 Tear-sheets, they just won’t stop….

This one is from a shoot at the end of 2013 with Dana Hursey for Nikita in Malibu.  This was a great shoot, straightforward and all about excellent execution.  We shot a bunch of great images for Nikita, but here is one that has already gone to print:

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Here is the view from the kick-ass digital cart:

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Pretty sweet rig!  Dana is an avid Lightroom user, he even teaches a course in it and he has a wide range of pre built image looks and a robust group of settings for his digital asset management.  So there are some nuances to Lightroom that working with Dana has helped me pick up since a catalogue environment isn’t something I normally employ.  I also discovered that I have an unusually high aptitude and inclination towards fixing anything color and/or exposure with radial filters in Lightroom, which work really well since the adjustment blends seamlessly into the rest of the image.

Getting better all the time!

Now entering spring of 2014 I sprang (pun intended, please don’t kill me) for some upgrades for my laptop kit.

The first of these was a Thunderbolt dock made by Caldigit.  Caldigit is a well known brand who make excellent equipment in areas such as add on PCI cards, and RAID controllers.  Their gear is frequently used by video DITs and, while their name is little known outside of that arena, I have known their equipment to work quite well.  Caldigit is the manufacturer of the USB 3.0 express card for my laptop, and the USB 3.0 PCI card in my now discontinued Mac Pro tower.  The dock requires a very reasonable and common 12V at 1.5 amp draw, so I can run this off of batteries in the field for a full production day if needed.

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What does this mean for you?  For cameras with USB 3 ports, like the Nikon D800 and Phase One IQ and IQ2 series backs it means less time between the click and the image on the screen, which makes everyone happy.  It also means faster backup when tethered or running cards.  This also makes everyone happy, since putting data integrity at risk is never an option, but racking up OT for watching progress bars move is simply not acceptable.

The second upgrade I made was switching out the second drive in my laptop from a 750 GB mechanical HDD to a Crucial M500 960 GB SSD.  This means that I now have more storage in my laptop kit for multi-day shoots and that data access to images from previous days will be nice and snappy, meaning no spinning wheels if the AD wants to compare selects from today with images from yesterday.

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These upgrades have not increased the price of my kits, rather the kit fee exists so that I can maintain my gear in the highest operational readiness, which means making upgrades like these when they offer an improved value to the shoot experience.

More Tears from 2013!

Another tear sheet from Ty Milford today, I promise I do work with other photographers!  This one was a job for Toyota, highlighting the Prius C Habañero.  Fantastic production provided by the always awesome Vail Palmer-White of the Photo-Group.

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This shoot was really interesting from a Digi-Tech perspective since it was pretty much the kitchen sink of my capture solutions.  The two hero shots are composite images from a tripod locked down and tethered camera (Canon 5D mk II), but the other lifestyle images also featured in the brochure spread were shot hand held with Ty’s usual run and gun wireless camera (Canon 1D X).  Regardless of the different approaches used for the different types of images we always want the agency and client teams to have an excellent and consistent image review process.

The way I accomplished that was to have Ty’s wireless 1D X send images to my Macbook Pro location computer, which was connected to my 27″ monitor, while simultaneously displaying the images in real time in Capture One and via Capture Pilot on my image review iPads.  Simultaneously, the 5D mk II was USB tethered via a hot folder to Capture One, also displaying the images on the laptop, monitor and iPads.  Using this method it is easy to have multiple active cameras send their images to the same location for review and organization.  I split the images by camera and shot, allowing me to rapidly display images from the relevant camera without disconnecting the other.

A great benefit of this was that we were able to use the wireless 1D X body to scout for good angles for the locked down camera without having to disrupt that set up and still show the AD our new angles on the full review kit of laptop monitor, 27″ montior, and two iPads.  Later in the shoot when we had different teams wanting to look at different image sets it was a snap to broadcast one set of images to the iPads while displaying the other set on the laptop & monitor, speeding our work so we finished strong with good light and even had time for a beer after wrap.

 

In other news: I have a bunch of 2013 tear sheets still pending release.  I am still awaiting a tear sheet form work with Kyle Dreier for Denny’s that has not yet gone to press.  I also hoping for a tear sheet from a job with Kevin Arnold where I was an assistant, but we used the wireless image review system on one shot since it added value and gave a real world example of the value of that system. I have been doing some recent work with Dana Hursey which has also not yet been released.  2014 here I come!

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