Sundance 2012 - Vice and Folly Private Screening Series

Looking Forward

I guess you could say things have really "Snowball"ed for me in the last few weeks. Tonight, "The Chase," one of the commercials that I produced for the Crash the Super Bowl Contest was named one of the five finalist (out of almost 2,000 entries).

You can go to www.VoteForTheCat.com to register to vote. And, every time you vote, you will be entered to win a pair of Super Bowl tickets!!

Looking Back

As I sit in the office on New Years Eve, slaving away on a project, I figured I should take some time and reflect on the last year. 2008 has been a whirlwind. A year ago, I was a staff coordinator at a great production company in San Diego. I had 8 producers to coordinate for, plus working on in house projects, a steady paycheck, and a nice apartment across the street from the Del Mar Racetrack. Not to mention, I was in the middle of post for my webseries, "Zed Lapel Pin."
Then I got the crazy idea that I should go freelance. In no time, I was working on reality shows and feature films. I started doing more work in LA and eventually got hired on by my friends at Llewellyn Films producing dramatic re-enactments for an interview show.
Now that we are in the waning hours of 2008, it feels good to look in the rearview mirror and see 14 episodes of TV show, 3 feature films, 3 spec commercials shot on RED, a pilot for a reality show, and many other projects. I cant wait to see what is ahead in 2009.

The Chase

My third Doritos Super Bowl Commercial is online!!!!
Please check it out at www.crashthesuperbowl.comDirector: Chris Armstrong
Actors: Melissa Disney, Braxton Davis, Jeremy Searle, and Snowball
Production Company: Resolve Entertainment
Producers: Chris Roberts, Aaron Matthew Kaiser
Filmed with a RED ONE Digital Cinema Camera

This was the first commercial that we shot for the competition. And my first time working with trained animals.

Feel free to pass this link on to your friends!
http://www.crashthesuperbowl.com/#/gallery/video/1256/

Girl Fight

My second Doritos Super Bowl Commercial is online!!!!
Please check it out at www.crashthesuperbowl.com



Director: Wes Llewellyn with Ryan Mooney
Actors: Katie Eischen, Bethany Levy , Lonnie Colón, and William Spacer
Production Company: Resolve Entertainment
Producers: Chris Roberts, Aaron Matthew Kaiser
Filmed with a RED ONE Digital Cinema Camera

This was the second commercial that we shot for the competition and presented a fun challenge in shooting the fight sequence. The slow motion footage was shot at 120 FPS.

Feel free to pass this link on to your friends!
http://www.crashthesuperbowl.com/#/gallery/video/1244/

The Bold Burglar

My first Doritos Super Bowl Commercial is online!!!!
Please check it out at www.crashthesuperbowl.com



Director: Brad Bosley
Actors: Jeff Lorch, James McMann (Pushing Daisies)
Production Company: Resolve Entertainment
Producers: Chris Roberts, Aaron Matthew Kaiser
Filmed with a RED ONE Digital Cinema Camera

This was the third commercial that we shot for the competition and a great experiment in shooting low-light scenes.

Feel free to pass this link on to your friends!
http://www.crashthesuperbowl.com/#/gallery/video/1146/

Drinking the RED cool-aid

I know that I have been on the fence for a long time about the RED camera (now cameras). But now that I am nearly finished with post on my Doritos Commercials (which were shot on the RED One) and with the announcement today of the NEW specs for EPIC and SCARLET, I have to say I really like the RED camera. Even this last weekend while I was shooting Precepts Motorsports pre-run the Baja 1000 for a reality show presentation, I was wishing that I had a SCARLET to shoot on.
I'm not the only one drinking the cool-aid; earlier this afternoon I was discussing current projects and eating yogurt with my good friend and cinematographer Paolo Cascio, who has been fairly anti-RED since it came out. However, he just shot a PSA on RED for Tyler Perry and is very happy with how the shoot went and how amazing the footage is. You can see the PSA on his website under the "Cinematography Reel" www.pchollywood.com
We both agreed (from a producing and operator/technical standpoint) you have to approach a RED shoot like a film shoot. It truely is a "Digital Cinema Camera" not a video camera. If you try to schedule a video shoot, you will be very upset when you get behind schedule on your first day. Not to mention that when you get to post, the process is not as easy as popping in a P2 card and opening the log and transfer window. Like I just said, imagine it's film, only you dont have to ship it out to a lab for transfer, the first part of your post process is doing the work of the lab - and this is also where you start saving money because you can get these beautiful dalies in the comfort of your favorite edit suite.

Brandon Lippard Opperating the RED ONE Digital Cinema Camera for Doritos Spec Commercial