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#JasonGeorge #AssociateMemberCSC @jasongeorgedp

That’s it for my time! Thanks so much to the CSC for the privilege of sharing on this amazing platform / forum- it is an awesome space for inspiration and enjoyment.

For my last post:

Cars.

1. Porsche on location shooting; “cars light themselves”…..this project was achieved on location.

2. Chrysler; studio set build; this one we achieved practically (almost entirely in-camera)
by building a set in a studio .

3. Ford VR shoot; this one was a VR deliverable; we used an OZO camera on an Aerocrane and had a vehicle on a turntable in studio ; the final experience had the viewer tracking into the car, while the doors opened, and then entering the drivers’ door, which then transitioned into the interior experience.

What will be next in our biz!?

Best wishes,

JG

#JasonGeorge #AssociateMemberCSC @jasongeorgedp

Short Film: The Cycle of Broken Grace

Here are some stills from a short film that I really enjoyed shooting with Director Tufford Kennedy; he wanted a cinematic look for this short drama. The story is bathed in cool light for the most part, with hints of red and warmth as accents inferring a dichotomy of emotions/ behaviors . We used what resources we had available and everyone worked hard in cold conditions to make it happen. Where there is a will, there is a way!
Color by @walterbiljan

#JasonGeorge #AssociateMemberCSC @jasongeorgedp

Commercials: Nutrience / Bell Raptors: Phantom Shoots

Here are two spots that look fairly simple, one on black, one on white, and they were more-or-less, one-shot jobs.

For Nutrience, Director Adam Massey wanted the dogs and cats to come running full-tilt towards the camera, so I tried to achieve at least a T8 @ 1/2000 sec; or an even deeper stop and sharper shutter; how can this be achieved? Lots of light and a pitch-black runway / BG.

For Bell Raptors, the shot called for an athlete dunking a ball on a white background. A pro b-ball player can cover quite a bit of ground and leap pretty high in the air, so it wound up being a fair amount of space to light. Mike Harwood from Whites brought over a 30K Lab Light for us to use as well; this is a flicker-free , daylight source that dumps an insane amount of light for either 5 seconds or 10 seconds. It plugs into a 20 amp circuit! This gave us an extra stop when added to our key light: two 18K’s.

Sunglasses a must….lol

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