[media id=45 width=600 height=370] This music video for Arkadia Picture was shot on 35mm Film on a houseboat in beautiful Sycamouse, BC. Produced by Alex Galanis and Directed by award winning Stephano Barberis with cinematographer Ron Williams C.S.C. The video echos the sentiment, “When life is rough go sit on the lake and put some alcohol on it”. You heard it from Gord Bamford and his band. Happy summer.
The final video for Faber Drive, “You And I Tonight” with cinematographer Danny Nowak C.S.C, Key Grip Mike Branham of Best Film Services, and lighting by TALCO. The video was directed by Colin Minihan of Digital Interference and produced by Shawn Angeleski. Rain Effects by BrantFX. [media id=44 width=640 height=380]
TALCO returns from 3 weeks filming a movie in Edson, Alberta! The feature film, BELOW ZERO — starring Terminator 2’s Edward Furlong, horror legend Michael Berryman, and supporting actress Kristin Booth — takes place in a butcher shop where a captive writer (Furlong) gets twisted into dementia when confronted with a deadline he cannot face by his agent (Kristin). Blurring the lines between a depressing reality and a beautiful macabre, the writer’s angst manifests in a gruesome character of his own creation (Berryman) while the writer himself explores a sick fascination with the butcher’s son, a pecular little boy named Golem. [nggallery id=6] We filmed in a small highway town far from infrastructure which challenged us to improvise. We originally built extended hood rigs on our vintage picture trucks using scaffold pipe and sliding cheese plates, but the gravel roads proved to be too shaky with the old truck suspensions. We had no stabalizers so we ended up building our own process trailer from a flatdeck base, ground up. The night exteriors ended up being a simple task done in a minimalist way using cinematographer Norm Li’s 4k Airstar Helium Balloon Light. A photo of which from us even ended up on Norm Li’s website.
TALCO was DOP for a Trevor Linden television spot introducing the Captain Canuck as the new spokesperson for Clearly Contacts. [media id=39 width=600 height=360] The commercial was created by the good people at GiantAntMedia.com with Cinematography by TALCO’s very own Josh Alkoff .. The graphics were done by Faction Creative. This 30 second spot promotes Clearly Contacts as a source for low cost eye glasses. With the launch of the advertising campaign on television you can now see Trevor Linden photos from the shoot on the front page of clearlycontacts.ca. We treated this product endorsement shoot as if it was Trevor Linden’s first time on a film set. The lights were backed off and soft to be less obtrusive. We keyed with a 10k fresnel through a 12×12 diffusion frame. We goalposted a 5k fresnel chimera for his eye light above the camera. The only hard light was a 2k fresnel jawline kicker from low off Trevor’s right side. It was carefully kept away from the direction he gestured to the computer graphics.
Following up the first video we posted in January, ‘More then a Man‘ we’ve done a second for Scatterheart. This one is a new single, ‘The Free’. Produced and Directed by the band — Featuring Aeriosa Dance Society. Cinematography by Randy Ché . We filmed this at the Scotia Bank Dance Center with a combination of movie lights and hanging theatre lights. The band was keyed through a 6×6 frame with two Mini 9-Lights. We used a block and tackle to rig a flybar of Source Four Pars in the background so we could adjust the height quickly and easily based on the camera angle to spike the lense (accentuated by Randy’s streak filter on the camera). The coloured wash was programmed into the house lighting board using convenient motorized color scrollers. [media id=38 width=600 height=400]
Here’s a video from last year, shot at one of the abandoned buildings in the 240 acre Riverview Mental Health complex which still actively houses clinically insane from all over Canada. The video is Caspian, “Amnesia” featuring Belly and its directed by multi-Leo award winning director Matthew Schilling. [media id=37 width=600 height=330]
Factoring in 41 years of inflation since Woodstock ’69 LOVE has somehow managed to stay free in Canada suggests, The Higgins, in their first single from their second album, Dreamers Like us, which is scheduled for release in Spring 2010. [media id=33 width=600 height=330] Official music video for “Free Like Love” by The Higgin. Directed by multiple award-winner Stephano Barberis and produced by Arkadia Pictures Inc. Scroll down for a technical lighting summary of the setup. Lighting Summary: We rigged the stage for cinematographer Ron Williams C.S.C with a 4×8′ softbox above the band. The rig consisted of 3 blondes and a frame of 216 diffusion. It was built with pipe and burtons from a goalpost allowing it to “pendulum” down so the angle of light would be less overhead and more in the eyes of our talent. Due to the weight of the rig our goalpost consisted of three 20′ schedule 40 pipes (1 1/2″ Aluminum) joined together into a triangle formation using Modern Studio Equipment mini-truss brackets. We cranked the rig up in super-crank roller stands (12.6′ max height). The wheels on the stand allowed us to roll the entire rig closer to the camera to make the lighting more frontal for the closeups. Of primary concern to Ron was beauty lighting for the band’s two female musicians. In addition tot he softbox over the stage we filled from over the heads of the crowd using a 10k fresnel through a 6×6 frame of half grid cloth. We used solid blades and flops to cut most of the spill off the crowd so it would project over their heads into the eyes of our band. There was also two tungsten units on the ground through diffusion frames to fill from below the stage in front of the band because that was the direction they would look down at the crowd. These units were hidden from camera between the crowd and the stage on the ground. Technical Notes: If doing a similar rig consider using a specialized truss lifting support from the theatre/live event industry in place of super-crank stands. They are usually load rated much higher then super-cranks and some of them can go upwards of 20′ in height which would be a huge asset if the stage was any higher (compared to 12.6′ for a super-crank stand). Also consider using real truss for less sag across the span. We used ropes and pulleys from the truss of the studio to safety our rig but if you didn’t have access to a lift to get up there you’d certainly want to make your truss more rigid.