Using Your iPhone as a Tool in Filmmaking

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Being a filmmaker in this day and age is a dream. With new technology at amazingly low prices and the ability to immediately upload work for all the world to see, it’s no surprise that smartphones have become a tool to add to the filmmaking toolbox. Recently I’ve kept coming across articles highlighting different phone apps and new inventions that filmmakers can use for a wide variety of tasks, from scoping out the suns path to using it as a microphone. It’s stuff like this that is really making the filmmaking game exciting.

1. Apps

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A) There’s an app for everything these days. With downloadable tools right at your fingertips, it’s hard not to dream of the possibilities! I came across an article that discusses a new app by Satechi that enables you to use your iPhone as a camera remote. This is super convenient with the wireless aspect, but also means that’s one less piece of gear that you need to lug around! You can simply enact the shutter with the “regular shot”, use the “manual shot” for long exposure, or use it as an intervalometer which (I think) is extra cool because then you can then control timelapse shooting right from your iPhone!

This app is neat because it taps into the new market of recent HDSLR cameras having a wifi option, but allows you to use it with older models. Not bad, for only $44.99.

B) There are tons of apps out there that filmmakers can utilize, and you can pick and choose what you like depending on the type of filming you do. For example, I love the apps that show you where the sun will be and at what time because that really helps me visualize the image I’m trying to capture when shooting timelapses. There’s other apps that assist in storyboarding and lens options. I won’t bother to list them all, because Shane Hurlbut already wrote a great post (although 1 year ago) that includes some of the best ones.

C) One app I highly recommend however is SMAPP. It was made by the amazing production team Stillmotion, and covers lens selection depending upon content and mood, and also gives the user new and refreshing ideas to try in their “Get Creative” section. It has tutorials for your viewing pleasure and also has other useful tools, like the Shot List Tool. Pretty cool stuff, and a great way to stay organized.

2. New Toys Tools

Some companies/individuals are going beyond the software of the iPhone itself and building amazing products to use as phone accessories. I’ve seen a bunch on the market (most are kind of silly and for a niché variety) but there are two that stand out to me as incredibly innovative:

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A. If you haven’t heard of RODE Mics, come on out from under that rock. They are one of the leaders when it comes to microphones and are pretty* affordable. Their reputation reflects their amazing quality, so it’s no surprise they were the ones to come up with this brilliant tool. They built  an on-board stereo microphone that you can plug right into your iPad or iPhone. I haven’t worked with it personally, but have read great reviews. Once again, another invention that would lighten your kit!

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B. Turning your camera into a light meter. Yes, to some it may sound silly in this digital age since we can see what our shot looks like immediately in the camera, but believe it or not some people still shoot film (gasp!). Lots of big productions still shoot film, and loads of photographers only use film. But that doesn’t mean this tool could only be used for those people; some teams use a light meter for balancing out light and mathematically measuring the proper light for an interview, for example. (Stillmotion did a nice write up on why light meters aren’t dead). The cool thing is that this is still in it’s preproduction stages – the campaign to build this tool is still on kickstarter! And if the fact that it has raised $80,000 over it’s original goal doesn’t convince you, well then shame on you.

All in all, the filmmaking community is thriving and really embracing this technological revolution. It’s really fun to see new ideas transform into a reality, and the amazing way that all of these tools are becoming increasingly more accessible to filmmakers of all levels.

Would you use any of these apps or tools? Have you heard of any others that struck you as really innovative? Leave a note in the comment section!

SP

Making a video and skipping pre-production

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There’s something to be said for a non-produced video.

When I’m digging through the internet seeing what quality work has been made lately, I always stop in my tracks for the videos that were spontaneous, unplanned (or barely planned) and end up with a beautiful result. I think it takes courage to stop what you’re doing and decide to pick up a camera and make something of the situation you find yourself in.

Obviously, most of the amazing videos I’ve seen (and have featured on this site) had extensive, or at least minimal production, where the artist took time to sit down and decide what to create. They felt there was something to be said, something that needed to be shared visually with the world and they carefully imagined the best way to do so. These videos have gravity, but lack something that a spontaneous, non-produced video has.

I hadn’t put much thought to this idea until I stumbled across this video:

The filmmaker, Tim Sessler, was on a plane from San Francisco to Philadelphia and after looking through the mindless magazines the airplane offered he decided to be productive and break out his camera. Now, I’ve seen lots of footage from airplanes, and usually they’re used in a happy video montage within travel images showcasing a vacation. But this one was different.

The video is slow and mesmerizing. The only shots are those taken from the window seat. This filmmaker seized the opportunity of the gorgeous, eclectic landscapes below and made a hauntingly beautiful piece out of it. With captivating music, skillful editing and the use of post-production filters (blur/tilt shift effect, high contrast black&white, stabilization of shaky footage) he created a story that will be unique to each viewer. Personally, it made me feel nostalgia with also the appreciation that we are so small. I couldn’t look away.

I think for filmmakers it’s so important to be conscious of the opportunities that exist around us every single day. I’m not saying we need to make a gorgeous video out of every monotonous situation we encounter, but maybe once in awhile we should practice this. It can challenge your editing skills (to make a story out of nothing) or can just stretch your camera operator muscles by finding and filming some beauty in the random. These videos can be raw, heartfelt, or just merely an exercise of our craft.

Another video that exemplifies this type of filmmaking is a video I came across on Vimeo, with one of their “weekend challenges“. They called on all filmmakers to make a video of the process of making food. I really like this one (that won) because it’s fun, quirky, fast and silly while maintaining great image composition and editing.

I’m sure there was some pre-production involved, like going to the grocery store and deciding what vibe to achieve, but otherwise it seems to have been one person cooking while the other ran around shooting it. It can be a good way to practice your cinematography skills as well as your editing skills, and can also be a great resume builder if it’s outside of the style filmmaking you usually go for.

So next time you’re feeling productive/artistic but cannot convince yourself to start filming because you have nothing to film (this is mainly a reminder to myself!), think again! Not every video needs to be storyboarded, produced and planned. There’s real beauty in the spontaneous! Have fun with it: make a fast, upbeat video or a slow, contemplative one. Up to you and the environment you’re in!

Just don’t forget to keep creating!

P.S. I know that with the increasing popularity of Instagram and Vine, it’s easy to try to capture the moment with your phone and upload it into cyberspace, but maybe once in awhile make the conscious decision to break out the big guns and use your real camera! (another reminder to myself)

Do any of you image-capturers try to be spontaneous? Do you find some of your best work comes from it?

SP

Top 3 must-read articles for filmmakers – issue 3 with Shane Hurlbut

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Most of the time when I’m digging through the internet for video gems and new production companies to obsess over, their presence is geared towards the internet – creating viral videos, online marketing campaigns or just low-budget productions. But this weeks article is about someone totally opposite of that: Shane Hurlbut. He is a world-renowned cinematographer and often works on big-budget films, for example We Are Marshall, Terminator: Salvation and Act of Valor. He’s a pretty big fish in the pond, but the reason I decided to focus on him was because of his blog. It goes hand-in-hand with the idea I love of paying-it-forward in this filmmaking community, where he discusses what he’s learned about workflow, lighting, composition and more.

1. Storytelling through Composition

This article is amazing not only because Shane breaks down the significance of different compositions but because he also backs it up with examples from movies he’s worked on. He adds some fun little stories into his explanations, getting a bit of a “behind the scenes” look onto the set. He goes into detail on wide shots, the “cowboy” shot (which I’d never heard of prior but now see it everywhere), the two shot and, most importantly, breaking the rules. To have this knowledge is essential for anyone interested in visual storytelling, and it’s especially fun to read this article because of the support images and even a couple video examples from his movies. 

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2. Using Color Correction to Create Depth and Dimension with your HD Video

In this article, Shane discusses color awareness while shooting. A lot of people these days think “shoot now edit color later” which is a valid idea, but Shane gives a good argument for being conscious while shooting. He also discusses the difference that using existing light can have on a movie, and he uses the movie Crazy/Beautiful to exemplify this. While working on this movie, the director gave him a reference book of the look and feel he was going for, which was more than just the color palette. It’s a very interesting read in that Shane discusses the intentions for the imagery of a movie based around the characters. Since it is a movie about teenage unpredictability, he wanted the images to replicate that rather than it being a produced, Hollywood film with “correct” lighting and composition. The article continues to discuss creating light meant for the scene, and delves into different lighting options (it all gets a bit technical). I love how he prefaces the lighting discussion with the theory and practice he’s done over the years.

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3. 7 Tips for HD Color Correction and DSLR Color Correction

I love this article. Reading it in succession with article #2 really gives the audience a wealth of knowledge of color correction theory and technical workflow. They give you all the pieces of the puzzle to go try it yourself. (Disclaimer: This article wasn’t written specifically by Shane, but since it was published on his website I will still treat it as a “must-read” resources from him). Camera settings for picture profiles are discussed, mentioning how first you want to work with a “flat” image (lots of midtones, not dark dark blacks and burnt out whites) so that you have a range of tones to work with for editing. They then discuss the order in which you should deal with color correction to get the best possible image starting with de-noising and balancing the image through ending with grading and sharpening. Color correction can be a massive process, and it’s really easy to get carried away (or to lose sight of the initial image you wanted) and this article helps keep you on track, in terms of where the shadows should live and how to make sure to adjust the midtones properly for skin tones. This article is a really good starting point for color correcting your image properly and you can play with it from there. Color is a subjective topic and is a very powerful tool for conveying mood and messages, so be sure to think carefully about what you’re going for.

 

Shane Hurlbut has a lot of great resources on his website with tons of experience. His articles are always humorous and factual, filled with priceless information. He devotes lots of time to writing about these topics for the rest of us in the field to learn from, and for that we thank you Shane!

 

All photos courtesy of Shane Hurlbut

 

 

Top 3 must-read articles for filmmakers – issue 2 with Stillmotion

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When discussing the amazing educational resources that exist in the filmmaking community, you can’t just breeze over Stillmotion. They’re some of the biggest players in this game. They are a “band of filmmakers” who dedicate insane amounts of time and energy to share their experience and wisdom.

They began as a company who specialized in wedding videography, but their raw, heartfelt videos with amazing storytelling and beautiful cinematography quickly went viral. Now they are sought after for documentary and commercial work as well. 

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1. KNOW // how we found our voice

In this article, the Stillmotion team discusses the gradual process that resulted in them finding their own unique voice, one which strives to tell emotional, meaningful stories. They contributes their success to the turning point when they began asking the question “why?”. Rather than shooting images because they look cool or pretty, they instead rearranged their mentality to first shoot what held deeper meaning and contributed to the story they were trying to tell. I think this article, while specific to their experience, could be tailored to any artist. It forces you to think about your own voice, and can be a catalyst for change to become the filmmaker you’ve been wanting to become. Well, at least it helped me in that way, because my aim is to also tell deep and meaningful stories, but I think it’s worth a read for any filmmaker curious of the path that lead one company to great success.

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2. 8 tips on being a better cinematographer

One thing I love about Stillmotion is that they don’t just focus on being educational about equipment. While they do publish articles about lenses, lighting, cameras, etc., they also write about technique, theory and practice. This is just as important, if not more important. While you can have the best camera with the best tools, that doesn’t mean you’ll come out with something great.

In this article, they discuss the mentality which will help you become a great shooter. “Be focused, be present.” is something everyone should carry with them every single day. Specifically, in terms of filmmaking, this is key. To be curious, to be proactive, and to be confident are just a few of the traits Stillmotion mentions, each important in their own way. 

3. deconstructing the story // a monopod tutorial

First: this video – about shooting with a monopod – has 93,000 views. That right there should speak for itself.

As the last two articles exemplified, Stillmotion goes to great lengths to help people become great storytellers through mentality and practice. On top of that, they also tackle other topics dealing with equipment and technology. I found this specific tutorial, about the dynamic shots you can achieve with a monopod, to be exceptionally helpful. Prior to viewing this video, I always used either a tripod or a shoulder rig. Now, I can’t imagine not having a monopod. This tutorial shows how you can get stable, smooth shots, including pans, tilts, and faux dolly shots. It’s quick and easy to move around with (unlike a tripod), and no more fatigue (like from a shoulder rig)! It’s a must-have for any filmmaker doing any type of run-and-gun shooting, and is great to have for b-roll. Honestly, the only time I don’t use my monopod is when I’m doing an interview.

 

There are so many other articles and tutorials Stillmotion has created that have been immensely helpful, so I’m sure this isn’t the last time I’ll focus on them for this blog. Until then, do yourself a favor and skim through their stuff, and watch some of their pieces! Truly an inspiration.

SP

All images on this page are courtesy of Stillmotion.

Top 3 must-read articles for filmmakers and freelancers – issue 1 with Philip Bloom

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The idea of “paying it forward” is extremely common in the filmmaking community. There is a huge amount of material on the internet for educational purposes, where professionals in the field discuss what they’ve learned so as the teach the next up-and-coming filmmakers. Very few filmmakers are secretive, in regards to how they created a certain shot, or the type of camera and lenses used on a shoot. I think that having an open discussion about everything in this field, from technology to cinematography is very beneficial, so as to propel quality work forward. Artists can learn from other peoples’ mistakes and take those experiences to heart and put that knowledge to use.

With that said, there are a few people (or groups of people) who stand out to me as leaders in this educational community. These people dedicate loads of time to publicize their experiences and knowledge for free on the internet.

Over time I will post several editions, each highlighting one individual or group, containing the articles/tutorials they published that were very influential to me and I believe would be of value to other filmmakers, photographer and artists.

Todays focus is Philip Bloom. He is a filmmaker who has been in the field for over 20 years and has an infinite wealth of knowledge that he shares on his blog. You can read about him here. These are 3 of his most popular articles:

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1. The camera conundrum: which one to buy?

The art of filmmaking is not just an artform anymore. Now, you have to be a bit of a nerd when it comes to cameras and technology. With the creation of HDSLRs, anyone with $700 can make a movie, and with YouTube and Vimeo, anyone can upload said video and send it into cyberspace for all the world to see. Lots more artists/filmmakers are one-man-bands now, where you write, direct and edit your own work. That means you pick/buy your own camera and you have to pick the right one for the job. There are hundreds of cameras to choose from, each unique in its own way. In this article (which is VERY long), Philip dissects all the main cameras that are in the game. He discusses canon, nikon, panasonic, sony, RED and more. If you’re new to this field/this technology, or just want to keep up with this always evolving field, I HIGHLY suggest you read this article and become knowledgable with what’s out there. (PLUS it’s a big bonding point for one filmmaker to another to be able to nerd out over these pretty toys).

Side note: as any filmmaker will tell you, though, the story is more important than the camera.  You can use a great camera to capture beautiful images, but if there’s no story holding those images together, it will fall apart. After all, you can’t shine a turd.

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2. Which…lenses to buy?

So now you’ve figured out which camera to buy. Chances are, it supports interchangeable lenses. What lenses to do you buy? Filmmakers always say “the glass is more important than the camera”. The glass is what makes the images pretty. Buy a crappy, cheap lens and that’s what your image will look like and vice versa. Personally, my lenses add up to twice what my camera costs. Good lenses never go out of style, but a camera is already outdated once you open the box. Philip’s article was extremely useful to me when I didn’t know much about lenses. He dives into lenses meant for crop sensor cameras (like a t4i or 7d) to full frame sensor cameras (like a 5d mkiii or 1dc), to the best zooms and primes. He talks about which lenses are absolutely NECESSARY to own, which ones are best for someone on a budget, and which ones give you the best bang for your buck. Before I bought any lenses I consulted this article, and he never steered me wrong.

3. 10+ steps to becoming mega successful in video production and probably winning many awards whilst becoming super rich!!

Okay so this article isn’t really what the title leads you to think. Immediately, he denounces the idea that there is any sort of “formula” or proper procedure to follow when being a freelance filmmaker. Philip shares his past experiences and the hard lessons he’s learned over the years, in hopes of sparing us. He is an open book and this post is the harsh reality to being in this field. It’s an absolutely essential read for anyone who wants to be a freelancer in ANY field! He discusses his experience tied to filmmaking, but most of the lessons can be applied to anyone doing anything freelance, for example freelance writing/blogging. Do yourself a favor and read it!

Within the next week I will continue to write about other educational and influential posts by professionals in this field. Some will have to do with technology, where my nerd roots will show, and others will be more about theory, psychology and mentality of being an artist and the art of creation.

What are some articles that you have read that have been influential in the person you are today, or the person you want to become?

SP

All images on this page are courtesy of Philip Bloom.

My Anti-Resolutions Bucket List

I’m not the type who makes new years resolutions, believing that just because the year changed so will I. I think that when people decide to “change”, they shouldn’t wait for a holiday to do so, they should start that change no matter what day it is. With that said, I have always kept lists of my goals and what I hope to achieve. It’s an amazing reminder on those unmotivated days to look back at the bar you have set for yourself. Those lists outline the absolute “best” you. The person you hope to be. One day, hopefully, soon.

I made this blog as an archive of my journey to becoming the filmmaker I want to be. I can look here to remind myself of previous states of mind, what has motivated me in the past and where my inspirations lie. This is where all my hard work will be documented, and it only seems fitting to update it with a list of what I want to push myself to do this year. It isn’t meant to be completed in 2013, but I am promising myself to do my best to check each one off in the next 12 months. Not as a new years resolution, but as a list of to-do’s that will help me persevere and have something to show for the time that has passed. I want to achieve so many things in life, but since this blog is dedicated to my filmmaking side I will keep it video-oriented.

1-blog once per week – sometimes life happens so if I miss a week my overall goal is 52 posts/year)
2-create a video once per month – no matter how short or long, produced or spontaneous
3-buy a new camera – 5d mkiii i’m lookin at you
4-do two freelance jobs – it’s good to get outside my job world plus networking is necessary
5-create a demo reel***
6-create a professional filmmaker website (might be a more long-term goal. Vimeo is a good host for now)
7-leave the country (I’ve only been to canada for 3 days) and make a video about it.
8-make a video entirely from GoPro footage (at least one that is semi-produced, along with other simple ones that are compilations of random footage)
9-create a video outside my “documentary” comfort zone – special effects, motion graphics, experimental?
10-attend video conferences/festivals – I plan to go to the vimeo festival again this summer but i want to go to at least one other (out of state?)
11-become more active on blogs/twitter/social media to communicate with other filmmakers and create an online presence. Also to keep pushing my pieces to been seen and search for gigs.
12-do a short with a script (I hate writing scripts so this will be a challenge)
13-do the short video on my grandma and grandpa that i’ve been meaning to do for way too long***
14-”travel” for a film shoot (outside of Baltimore)
15-get paid to travel for a film shoot (would be dream come true)
16-do at least one filmmaking challenge or contest – this will challenge myself with others peoples guidelines.

These “bucket list” items are things that I will need to really push myself to complete. Videography is already such a huge aspect in my life that there are countless other things I will continue to do simultaneously next to these tasks. I spend tons of time on the internet, keeping up with current events in this field and reading articles by filmmakers I respect. I will continue to live on Vimeo, getting inspired yet also intimidated by the massive amount of talented filmmakers that will make it harder to get my work seen. Like I said, I have so many ambitions for my life, and right now being a 22 year-old energetic, determined artist takes precedence among everything else. This is the most important thing to me. This is what makes me tick.

I have no doubts that if I push myself and work really, really hard I will get where I want to go.

And it all starts…now.

UPDATE: 2012 was a really big year for me, and this is why I’m pushing 2013 to be even bigger. In 2012, I:

-graduated college with a Film/Video degree
-quit bartending and committed myself to filmmaking
-got a full-time job being a videographer/editor
-did a cross-country road trip (currently working on the video to accompany it)
-had a public screening of a documentary that I co-directed, where 100+ people showed up
-my co-director and I won the “outstanding achievement in cinematic arts” award at my college for 2012 graduates
-completed a great internship (that turned into my current job)
-went to the Vimeo festival and got to hear amazingly influential people speak (specifically Eliot Rausch, Philip Bloom and Lucy Walker)
-made a video with all my old footage that had been haunting my hard drive – so now I can start anew!

In 2012 I checked off some major bucket list items, so saying that I’m excited for what will come in 2013 is a huge understatement.

SP

Back On the Grid

Hi internet, I’m back! I apologize for disappearing from this blog for the entire month of December. I was battling a pretty nasty cold for 3 weeks and then soon after I got better, I got hit with round 2. I had to force myself to be lazy and unproductive for the sake of kicking the illness, spending all my time drinking tea and hiding under a blanket.

Since I was out of commission for so long, this post will be an attempt to catch up with what I missed out on writing about. I’ll cover technology, video equipment, photos from my edit, and a little inspiration.

First off, camera talk. For awhile now I’ve been thinking about upgrading my camera. Not only for the full-frame look, but also because I’m not sure how much longer my T2i will be with me. On my road trip, I really put it through some tough times, by constantly doing timelapses and dealing with severe weather change. Within 24 hours our sleeping environment changed from 30 degrees to 120 degrees. It was periodically shutting off and restarting, and would shut down every time I adjusted my aperture. My T2i has been good to me the last 2 1/2 years but I think it’s about time to trade it in. I absolutely love the 5d markiii, which is the camera I use at my job. I have wanted to buy one for myself, but with it listed (body only) at $3500 I’m weary because as of right now it would just be solely for personal use. So, long story short, I was very excited when Canon announced the 6D. It would be their entry-level full-frame and at $2000, I knew I could afford it. It’s basically the full-frame relationship of the T2i to a 7D (less controls and menu options, but still the same great image). But here’s where it goes downhill: I eagerly awaited reviews afters it’s early December shipping date, and it seems unanimous that the image in video mode isn’t worth it. The moire is awful, almost worse than the 5d mark ii’s. That means any footage with lots of detailing, for example a brick building, would be unusable because of the colorful “banding” that appears. On that point alone, I decided to wait, save up money, and get the markiii someday in the (hopefully) near future. Bummer.

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On a good note, this past month I got my hands on the Glidecam HD2000. We ordered this stabilizing system at my job and I couldn’t wait to get it up and running. Before ordering it, I’d read tons of reviews and watched loads of test footage and we’d decided that because of its low-impact nature it would be perfect to add to our tool bag for documentary-style footage. It immediately adds production value to any video, where we can achieve perfectly smooth shots while walking behind someone, for example. The day it arrived we watched a few how-to videos on balancing the system, and within an hour we were outside the building acting like children with a new christmas toy. It was amazing how-even though we were novices-we could get amazing images right away. Of course it will take lots of practice to become a pro, but for all intents and purposes, we could get great shots right off the bat. So, overall, I would definitely recommend this (relatively) cheap stabilizer system to anyone looking to add production value to a low-budget or small-crew shoot. The only downside is that it is quite exhausting to use for long periods of time and our arms were tired very quickly. If we start using it more and more, we will probably invest in a chest mount so we can attach it to our body. I’ll try to upload some of our test footage and post it on here so you can take a look.

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Okay, so moving right along. I feel it’s important to add videos to this blog that exemplify my interests and goals not only for myself to look back on, but also for my readers to get into my head and see where my interests lie. In this sea of text I believe a video can more clearly represent my goals and the direction in which I am striving to head. So, here’s a video that I look up to for it’s beauty, simplicity and simultaneous complexity:

This video contains all the factors that inspire me and motivate me to push myself. First, the cinematography is gorgeous. The camera dances with the man in a melodious way. The viewer isn’t focusing on any quick cuts or shaky real-ness, therefore allowing you to breath and become enveloped in the story in this fairytale-like land. Also, using a RED never hurts. 

The voice-over is so soft that it forces the viewer to lean and sit on the edge of their seat, therefore participating and feeling more connected with the story. The audio mixing is perfect in this piece, slowly swirling between the song (Sigur Ros never hurts, either) and the whispering voice. None of the editing in this piece is jolting or out of place, which allows me to get lost every single time.

Third, he used timelapse! As you already know, this is one of the things that makes me tick. It’s usage in this video is perfectly placed and relevant to the story. It’s hauntingly beautiful; the viewer cannot look away.

These key points, like I said, are what drives me. The simplicity of the camera and editing allow the strong storytelling to really shine through and be the focus. The quiet but meaningful VO adds depth to the plot and enforces the connection of the viewer to the man. As I have mentioned in previous posts, I highly respect filmmakers who use timelapse in their piece accurately and only to add to the story. A timelapse that is few and far between in a solid piece has much more gravity than one sprinkled loosely throughout just for the sake of adding it. I highly recommend everyone watches this video, in its entirety, on widescreen with audio pumping. Oh, and the actor is Aidan Gillen from The Wire. Baltimore pride!

 

Alright, next up is a status update for my road trip video. Since I was sick for basically over a month, editing and all post-production were halted. But in the last 24 hours of finally feeling like myself again, I have been working on the script. Hopefully once that is finalized, editing will become a bit easier and I can pump this video out by the end of February. That’s my goal. Ideally I’d like to have it done much sooner, but I’m going to allow myself leisurely color correction and fine-tuning so it can be something I’m proud of. Until then, here’s some more stills from the edit:

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It feels good to be back and writing again. Keep checking in and let me know if there’s any videos you think I should see!

 

SP