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RED EPIC Mysterium-X 5K #965
1 to 120 frames per second at 5K. 300 Frames per second in 2k.
Dynamic Range = 13.5 stops, up to 18 stops with HDRxª
Solid State media, BNC top plate, Full size XLR inputs, RED Mote,
PL mount w/ Canon AND Nikon mounts too, tons of extras. Contact me today about it.
My 4.5k RED ONE #5018 W/ MX sensor
(see details on equipment page)
5D Mark II AND 7D packages are available!
Commercials for Yamato Ya Japanese Restaraunt in Anchorage Alaska
2nd Unit Camera Operator for Hawaii 5-0
Some beautiful spots for First Hawaiian Bank, directed by James Sereno.
Awesome food shots for Eric's Deli Cafe in the California Bay Area.
2012 trailer for The Big Island Film Festival
Under the Hula( (Feature)
Awaiting (Short Film)
Jib for Ace Shoot out Celebrity Golf Challenge for Children's Miracle Network.
**2nd Unit DP for George Clooney's movie DECENDENTS.
**2nd Unit DP for SOUL SURFER the Bethany Hamilton movie.
** DP on Feature Film KNOTS
** Used my 40' Jib for The Lantern Floating Festival
**Used my 30' Jib for Merrie Monarch Hula.
** Shot the trailer for the Big Island Film Festival.
Finally a link to the Christmas Music Video I shot for Tim Savage and New Hope Christmas Music Video
I'm on Twitter now and then, look for: edgecityfilms
EDGE CITY FILMS IS THE PROUD OWNER OF
(Nikon mount REDONE, RED EPIC or with Canon DSLR cameras)
etc..... lots of fun stuff!
Recent Jobs I've done on the Red Camera:
Oceanic Time Warner Cable
Bank of Hawaii
Mobi Cellular Phone
KNOTS (Feature Film / TV Pilot)
Campaign for Swedish American Hospital in Rockford Illinois.
Anti Smoking campaign for Kinetic Productions
Mick Fleetwood for Pat and Pat Productions LA
Soap Opera "MAGIC ISLAND" for Oceanic Time Warner
W. M. Keck Observatory / Moey Inc.
Central Pacific Bank
American Savings Bank
Oceanic Time Warner Cable
UH Credit Bureau
Recent Q&A for a Class I taught for Pacific New Media July 17th:
What I love about working behind the camera is that, I love being there creating and catching the "perfect" moments that happen, the camaraderie of the crew and working with a director to realize their vision for their film or job is wonderful.
Today's film and video industry in Hawaii is completely different from when I started in 1988. When I started there were no TV series in town, and if they did come to town they were inaccessible to young folks. There were only 2-3 production companies in town doing all of the commercials that were on the air. You pretty much had to wait for someone to die before everyone could move up... All of the equipment was super expensive and also UH had NOTHING in the way of gear when I moved here in 1985. You really had to love it and beg borrow and steal to have any access to anything or any opportunity. The big commercials were all shot on 35mm film, mid sized budgets were on 16mm and the low end commercials and the ones done by TV stations were all on Portable 1" videotape or 3/4" Videotape. Non-linear editing did not exist yet and no one had editing systems except for the production companies, the TV stations and a couple of basic ones at Oceanic Community cable (before it was Olelo) and in the University of Hawaii system.
With everyone having access to some form of Camera system, whether in their phone, an IPad, DSLR, whatever form it will take in the next 5 minutes, it is an amazing opportunity to make any kind of project one can dream of. If you want your finished project to have impact, the language of cinema is still essential to know no matter what you are shooting on, so the basics still matter... it's just the format that doesn't matter today.
The good and the bad about our camera systems today... The new cameras are beautiful and the images are as clean as they have ever been. The good is the super fast turnaround to put the images to use and the depth of the image data for color correction and latitude. The bad is that the images are all ones and zeros and can be lost accidentally wiped clean very very easily and may not have a long shelf life for archival purposes due to hard drive life. On the set, being able to see so much on monitors has created issues for makeup, set decoration, and given clients / producers / directors a chance to have an opinion about every little thing they see on the monitor. In the beginning there was no video tap and everyone trusted the Director of Photography to make it amazing, then with the video tap being of very poor quality it was understood it was just for framing and not for picture quality... now the HD picture on the set is still for reference, but with the picture being so clear it has taken away a lot of the independence and mystique from Cinematographers and Dp's. I haven't done any 3d projects yet, but I'm sure it will be a staple of production from now on.
I don't have one favorite movie, but a short list of my favorite would be: Casablanca, The Matrix, A Room With a View, Gattica, Blade Runner, Hero, A Hard Day's Night, Raiders of the Lost Ark, The first season of Dead Wood, to mention a few.
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