Venetian cinematics and time-lapse

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I’ve been making cinematic stills for a while now, and have had this niggling feeling that they felt too static – after all, cinema implies motion. Sure, it’s possible to capture a pose of dynamic imbalance in a subject where they’re clearly caught mid-step or similar, but that doesn’t always work if the subject isn’t moving much (but obviously isn’t completely still, because humans normally never are). This series is an experiment to do blend motion, mood, and above all, the idea of intransigence and just passing through – which most of the people in Venice are doing.

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On Assignment: new car launch, part II


30s cut – for air

Continued from part I.

Right after the last file was returned from the retoucher, checked and sent off, I packed myself up to go on the tech reccie for the next part of the job: the TV commercial. Unusually, I wouldn’t be behind the camera this time: instead, I’d be occupying the folding canvas director’s chair. (I was surprised they existed, too). Read on to see life behind the lens from another angle…

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From stills to motion: my experience

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I could get used to this.

A few weeks ago, I made my little directorial debut in the form of a TV commercial for Nissan. Unusually for this industry, there was no agency involved; I developed the board with the client and we dealt directly. I suppose that’s also how I landed up being director. The dust has settled, the post-shoot euphoric rush has somewhat calmed down, and I’m now able to put some coherent thoughts together on the whole experience and what it means for my career in the long term.

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