I have been studying sound – soundscapes, opera, music, particularly soul, funk and rock – intensively. By studying sound, I want to be able to marry music with filming. What I strive for, as an artist, is to create something visually that you can watch over and over, like music.Read More
First and foremost, brands need to reflect the environment in which they operate.
You see, in my opinion, it’s about the experience. The ability to bring filmmaking to branding is key. The client has their needs, dictated by analytics and demographics, and so forth, and it’s my job to imbue and execute their vision with my skill sets, vision and approach.Read More
Herein lies my own contribution to the body or work—The Chase. I studied the masters. I blended an undercurrent of narrative with techniques from Vic Armstrong (stunt legend), Dan Bradley (second unit director of the Bourne films/Quantum of Solace), Spiro Razatos (second unit director of Fast and Furious films). I also wanted to pay tribute to the original car chases: Bullitt and Rendezvous. I looked at Tony Scott’s BMW film The Devil for stylistic inspiration.
Further, I was influenced by Sergio Leone’s For A Few Dollars More. As Leone replaced swords with pistols, taking from Kurosawa’s Yojimbo, I saw the car chase as exchanging pistols for cars. As in Leone’s film, the duel was re-upping each other’s skills. This was a duel in a different form.Read More
With the help of a professional stunt team and top post-production houses in Hollywood, Ribeiro created The Chase as his own high-quality showcase that harkened back to the BMW short film series from the early 2000s. “To some degree, it’s a very fancy business card,” Ribeiro said. “The images are quite good, and I didn’t even use the camera’s full 4K capabilities.”
To achieve a cinematic look, Ribeiro paired the GY-LS300 with an Olympus ED 12 40mm f/2.8 lens. Ribeiro used the camera’s built-in LCD display to frame shots without an external monitor, while the zoom lens allowed him to get the shots he needed without changing lenses. “I’m all about efficiency,” he noted. “If you have a bigger or heavier camera, you end up getting less cutaways, less insert shots, less texture for the edit because you can’t move fast enough. I was able to manipulate settings with the JVC camera that you’d normally have to do in post.”Read More
Hearing about the death of Vilmos today struck me pretty hard…We weren’t very close but we had a mutual understanding of each other as men, more so than as professionals. Hollywood is and always will be a business. But Vilmos was one of the guys who kept his integrity and put his life on the line to become the man he is and was.Read More
When making an action movie, sequence, script, the one missing element is, culture. If that is missing, it’s dead, especially in the 2nd unit realm.Read More
With certain fight/stunt coordinators, some will break down a fight into beats. There’s a tempo. Sometimes the tempo is altered to make up for lack of talent, or in the case of Hong Kong style shooting, they will change the frame rates to simulate speed.Read More
We’re heading for an experimental phase in filmmaking … there’s no longer a “right” way to make a film as the venues, equipment, social media, technology, etc. have changed and, for the most part, are available to everyone. Because of this, there are going to be certain things that are lost, in my opinion. The tough guys of the past, the Lee Marvins, Charles Bronsons, Robert Mitchums, John Hustons, and Sam Peckinpahs are somewhat gone, and the Western, which symbolized the land of the free and the sovereign man, has faded away. I’d like to make known some pictures that have influenced me in such a way that they left an indelible mark on me.Read More
Some years ago the combination of doing Search & Rescue, Heli-logging and studying Native American mythology/tracking gave me the eyes to see and feel the land. The wind, clouds, leaves colors, soil texture/impact, sound of the birds…all tell a story and is much more accurate than most modern devices, as nature has been around a lot a longer. The ability to observe is almost gone.Read More
Here’s a chase and fight sequence we shot, in five hours, using two top stunt professionals and one camera. In 2nd unit, we’d consider this type of shooting a level above pre-visualization (previs). Previs i a critica too for designing action sequences. Sometimes all a script will say is, “…and they fight.” So videos like this allow us to experiment with choreography, and save time and money, before we get on set. In this ca, this video was an exercis n creating atmosphere, mood, and tempo. And we wanted to create something fun on the fly!Read More