Music Video: Inverse "So Far"
Director: Donlee Brussel
DP: Daron Keet
Producer: Tommy Sobel
Executive Producer: Max Meehan
Steadicam: Tarik Hameedi
Editor: Brandon Driscoll-Luttringer
Colorist: Frank Berrios
Director Donlee Brussel and I shot this 5-minute Inverse "So Far" music video in 2 days with the minimal technical crew possible, us, Tarik Hameedi on Steadicam and camera assistant Bryan Olinger, that's it.
Donlee did his homework and had many great locations for us to steal. Los Angeles subways, Ocean Park suburban streets, Malibu, down town rooftops and the iconic Los Angeles River.
We shot on the Red One camera with Red Cine lenses. Because of the limitations of crew and equipment we utilized each location very carefully, in ensuring we maximized the production value through either steadicam movement, interesting composition or extreme wide or close up lensing to help push the visual dynamics.
We shot many scenes in magic light. Because the Red One camera's daylight settings are balanced to 5000 degrees Kelvin, a lot of the magic light scenes moved the footage towards the blue / purple spectrum. I did not bother to use color correction filters for this, as we really wanted a whole spectrum of looks, so we let the natural environment help dictate the color palette to a huge degree. In telecini we had the talents of Riot's Frank Berrios, inspired by Donlee's references, to really do a terrific color grade.
With a 5-minute music videos you really need to give the editor lots of B roll cut away shots in order keep the audience visually and continuously stimulated. I have to say I cannot remember when last I was so blown away by an editor. Brandon Driscoll-Luttringer who edits primarily for Partizan, and for a good reason, elevated the piece to it is fullest potential. I can't tell you over the years how many times my favorite B roll footage doesn't even reach the editing room "me thinks", yet alone the cutting room floor. I quiet honestly think it is only those very few and rare editors, that go through all the footage with a fine toothcomb. I shot with lots of lens flares for transitional editorial opportunities, and Brandon's deft editorial eye did not miss a beat, well at least in my humble opinion.
