I made this video for Seattle chef Tiberio Simone, who needed a short web video to help find a publisher for his book, La Figa: Visions of Food and Form. He and photographer Matt Freedman have been working on this incredible project for nearly 5 years, and the results are amazing. But what’s most amazing about this video, of course, is Tiberio himself. Who else could walk into Pike Place Market and within a half an hour, literally have tourists eating out of his hand? I like filming Tiberio so much that I’m planning a documentary film that will give me an opportunity to put him in front of my camera a lot.

The technical stuff:

Audio: I taped a Sennheiser EW wireless lav onto Tiberio’s chest before we arrived at the Market, and as you can probably notice, I forgot to turn it on in the first scene, so I had to fall back to the reference audio recorded on my Canon T2i. But I remembered for all the other scenes, which have vastly better audio that was recorded onto my Zoom H4N and synced in post with the latest version of the indispensable Pluraleyes.

Camera: I put my Canon T2i with kit zoom lens on my Merlin Steadicam, and had to carefully pre-focus every scene before I started rolling, since it’s impossible to refocus with that rig when you’re rolling. I love the cheapo Canon kit lens when I use the Merlin, because it’s very lightweight, has a decent zoom range of 18-55mm, has some added built-in image stabilization that’s quiet. And the fact that it doesn’t open wider than f 3.5 is fine, because I never want to shoot wide open with the Steadicam because of the aforementioned focus issue.

For shooting in the Market, I set the ISO of the camera to 800, with the aperture around f 5.6. Because there was so much mixing of daylight with tungsten and fluorescent lights, I set the camera’s white balance to automatic and I was very happy with the results. I’ve found that getting the white balance right is very important for these cameras – the file simply won’t hold up to too much color correction, so you gotta get it close to begin with if you want to see the great results the camera is capable of.

For the last shot in the video, I carefully raised the Merlin up over my head as Tiberio walked away. Then the key part – I applied my favorite Lock and Load X filter to the footage in post, which drained the remaining wobblies away like magic. The results are pretty indistinguishable from a crane shot, don’t you think?

I made this video for a fantastic Seattle-based organization called Cultures Connecting. Their vision is to create a world based on principles of equity and justice for all. What’s not to love about that? Ilsa and Caprice, the two co-founders, were a lot of fun to work with, and I learned a lot during the project.

I shot the interviews with my JVC HM-100, using two tungsten lights: a single overhead softbox with baffles to focus the light, and a background light shaped to resemble a bridge, iconic of the work they do and part of the organization’s logo.

I shot the workshop on my Canon T2i dslr, and I was worried that the footage wouldn’t intercut with the JVC stuff. But I think it cuts fine, in part because the interviews are lit so well and is an altogether different looking situation from the workshop.

One thing I discovered in shooting this project is NOT to use the superflat Canon picture styles that are touted by some. The results, even after a significant amount of tweaking in post, are, well, super flat. Especially the skin tones, which I’m not happy with at all. I’ve since getting much better results following the advice of people like Shane Hurlbut, who advocates a simple recipe.

This is the first video I’ve cut in which I also produced the music myself. I recently finished reading Sound Editing in Final Cut Studio, by Jeff Sobel, which has an entire chapter devoted to teaching you how to compose custom music using the thousands of Apple loops included with the application. It’s actually quite miraculous how simple it is to compose simple music using Soundtrack Pro. The loops are designed to automatically match whatever tempo you’ve set, and it’s easy to line up the beats for seamless composing… even if you aren’t a musician.

I shot this 1-minute commercial video with my Canon T2i on a Redrockmicro EyeSpy with follow focus. I also used a Glidetrack, and mostly Nikon glass used with Fotodiox adapters. I also directed and edited the piece, which I made for a Seattle startup.

My favorite clip is the lengthy slow-motion clip of the girls twirling around on the twisty playground ride. For that, I shot at 60p, which I conformed to 24 in Cinema Tools, before importing into Final Cut. I mounted the camera to the ride using a Manfrotto Magic Arm, which was rock solid.

I’m starting another commercial project for University of Washington on Tuesday, in which I’ll putting my T2i to work to show how special-needs kids are finding friendship and community with “typically developing” kids in one of the school of education’s programs.

I recently completed a pair of 1-minute unscripted commercial videos for a Seattle startup. The company makes colorful friendship bracelets designed for pre-teen girls, with a unique twist: the jewelry is magnetized and snaps into place with a distinct “click.” Have a look:

While this video was shot documentary-style without a script, it was very much driven by a concept. In developing the concept for this piece, I was inspired by the positive feedback I got from my first commercial project, I Am Becoming, which promoted a school by focusing on teachers’ stories paired with visuals shot entirely from a student’s perspective. I knew the videos would be successful if I could get the teachers to say something true about teaching.

Similarly, my goal in this case was to say something true about friendship. In essence, my goal was to create a 1-minute celebration of friendship. Making people FEEL something is much more likely to make a positive impression than trying to TELL them anything about the product, no matter how interesting.

When I presented this video to the client, one of their employees was crying by the end of the video, so I knew I’d hit close to where I was aiming. I’ll post the second video later this week.

The music was composed by Nick Torretta, who was a real pleasure to work with.

Technical details: I worked with a sound recordist to help me with audio; he operated a boom pole during the interviews, freeing me to participate fully in the interviews, which were led by my client. For the shooting part, I used a single Canon T2i. It’s the first project I’ve shot using a DSLR, and I’m thrilled with the results. The shallow depth of field really is perfectly suited for this type of work.

Lenses: I used mainly Nikon glass, with Fotodiox adapters. Nikkor 50mm f/1.4, Nikon E series 75-150 f/3.5, Canon 17-55 f/2.8 EFS. Support: Redrock Micro EyeSpy with follow focus (rented from Glaziers Camera Rentals here in Seattle). Audio: Recorded with Audio-Technica AT875, and Octava MK-012, using Zoom H4N recorder on a Rode boom pole. I used a Rode VideoMic on the T2i during filmming, but did not end up using any of the sync audio. (The birds twittering is a sound effect that I purchased from istockphoto because I couldn’t get a clean recording of birds myself in Seattle due to all the background noise caused by cars and airplanes).

I used a two-step approach in producing these videos: the first step was recording audio of the girls talking during a single session that lasted just over an hour. Then, I scheduled a second session for the filmming. When reviewing the audio, I selected the bits that made me feel something, that sounded most authentic, and dropped it in to Final Cut (with regular round-tripping to Soundtrack Pro for cleaning up files), added music, and then added video as the final step.

The sessions were entirely unscripted. The interviews were conducted by the founder of the company and I, asking the girls questions about the things they liked to do together, with the goal of teasing out why they click.

The best visual moment in this first video came as a total surprise. When I showed up for the audio interview, I noticed the girls sitting together in a swing in the back yard. Because the T2i is so small, I carry it with me everywhere. So I had it with me, even though I wasn’t planning to do any shooting that day. I pulled out the camera, dropped to my knee, steadying the camera with my elbow on my knee, and started rolling as the girls blew on a dandelion together. Again, totally unscripted, totally unprompted – it just happened. And I got it. (The lens was Nikkor 50mm at 1.4 with Fader ND).

I asked them to do it again afterward, but they couldn’t find any more dandelions, so that was it! For it to be usable, I had to stabilize the footage in post, and for this I used the amazing Lock and Load X plugin, which I’ve come to rely on heavily. It’s very, very fast – about 10 times faster than the stabilizing plugin that ships with Final Cut. Because of this plug in, I’m able to get away with shooting handheld in more and more situations than I ever thought possible. Which makes me very happy.

My entrepreneurial friends Piper Salooga and Sara Eizen, who both run their own interior design firms (Natural Balance Home and Office and Nest), teamed up with the Seattle Art Museum to host an event on March 11 at the museum gift shop. Full of can-do, they grabbed a Flipcam and decided to shoot their own video to promote the event. Then they called me and said, “Hey, we’ve got all this video…but we’re not sure what to do with it.” Here’s the result of my first editing project using someone else’s totally novice, handheld video. Not bad, huh?

Color grading (the dreamy tilt-shift in the intro and filmic-color throughout) was applied with Magic Bullet Quick Looks, an awesome plugin for Final Cut. For the music I used Sonicfire, a killer music-for-video service that lets you choose from a huge rage of beat-matched tracks. The killer part is that you download the track, then select exactly how long you want it to be, and it automatically outputs the precise length you want – with exactly the instrumentation you want (ie, you can lose the vocals, kill the drums, etc – all the the instruments are on their own layer). For $19 bucks a pop. Killer.

I used two special effects transitions – a whip-pan effect from Digital Heaven, and a flash filter that you can learn how to do in this video tutorial.