June 2012 Issue of Baltimore Magazine

This month's Baltimore Magazine issue features the photo shoot I assisted with several months ago. Yes, it's finally time to talk about beaches, bikes and being free more (couldn't have said it better myself).

As I stated in an earlier post, Baltimore photographer Cory Donovan did an amazing job coordinating the shoot and everyone involved had an super time making memories at this editorial film photography photo shoot.

What you don't see in the photograph:

• The small group of kids that sat on the dock to the left to watch our lovely model in front of the camera (they would later request an autograph).
• My steel grip on the reflector to the right..."fill those shadows!"
• Walking briskly and carefully with photo equipment in a race to beat the sunset
• The ladies from Alpha Studio standing by with comb, hair spray and make-up brush

The unseen luxuries/non-luxuries of the shoot:

• The fancy spa/salon we used for proper hair styling at the nearby hotel/golf resort
• The hot, playground-side bathrooms for outfit changes
• The scenic drive through Maryland
• New friends and friendly faces
• The empty gas tank
• My name in the magazine (with an added "u" for pizazz)

Leah Voguely - Close enough!

Making Your Own Green Screen | A Creative Alliance Workshop in Baltimore

My summer education adventures have consisted exclusively of Creative Alliance workshops in Baltimore. The Film, Video and Digital department at the Creative Alliance is truly an amazing resource that grants people of all levels of experience to learn, experiment and participate in the dialogue of film making in Baltimore.

On May 26, 2012 I attended the workshop Green Screen Basics with Craig Herron. With several tubes of PVC pipe, green fleece and the right lighting, we assembled a pretty nifty DIY green screen. Along the way he explained both the high- and low-end options for construction and lighting and the specific corners that could be cut.

As we lit and tested our green screen, Herron emphasized the importance of strong, even light that did not overwhelm or overexpose the screen. He made technical adjustments to his camera, like lowering the ISO to reduce noise, and steadied his shot with a tripod. Lighting your screen and subject separately is important and makes a huge difference once you move your footage into the editing stage.

Once in Adobe After Effects, we learned about the finer details that are often overlooked and how to not settle for "that looks pretty good". As a test subject, I was transported to the Bahamas and layered into a Maryland barn still (video below).

I had never considered the green screen to be such an art or even a real "replacement" for realism. But with the right amount of technical expertise, studio and equipment (DIY or professional), you can accomplish a great deal. Herron himself is working on a film set in the Bahamas - except he is bringing the scenery to his actors in Maryland via several cruises with his wife and the trusty green screen.

Herron will be working on the set of a new indie western film to be shot in Maryland this summer. This film is written and directed by Wayne Shipley and I've been told they are looking for volunteers to be townspeople, help build sets and even audition for some main roles. Herron, in charge of special effects, will be green screening a steam engine from the 1890s into a train station set. Follow the production on Facebook or check out Shipley's other movie Come Hell or High Water on Netflix.

Over these past few weeks, each workshop I have attended has been hosted by a knowledgeable, experienced and generous instructor. These educational opportunities are held in a small classroom and allow you to easily ask questions and interact with your classmates. Take some time to view current workshops online and sign up to support this dynamic Baltimore institution.

PVC Setup

Parts assembled

Hanging the screen (or green fleece).

A light made from PVC, an extension cord,
sockets and an ice cube tray.

Yes, an ice cube tray.

Energy saving light bulbs lower the heat generated,
wattage used and help prevent burns and blown fuses.

Five bulb light for the key light.

Flagpole base.

A critical look at his creation.

PVC tripod - assembly required.

Plugs.

Lighting the screen.

Camera settings.

Clamps are a screen's best friend
(get out of here wrinkles).

Keying out the green in Adobe After Effects.

Tutorial on rotoscoping
(for those with patience).

How did we get into that barn?

Some Resources:

http://camoviemakers.tumblr.com/

http://www.md-filmfest.com/

Baltimore Magazine Cover Shoot on the Boardwalk with Photographer Cory Donovan

I agreed to assist with another Baltimore Magazine cover shoot with the local Baltimore photographer, Cory Donovan. The day of, I picked-up model-for-a-day, Kara, and headed over to meet with Cory Donovan and the other assistant, Talia Scher. 

Amazingly enough, Anthea Thurston and Aimee Lin from Alpha Studio had graciously agreed to be the hair and make-up stylists for the shoot. 

We all gathered at the Baltimore Magazine headquarters for a pre-photo shoot meeting. 

With directions to Cambridge, Maryland we carpooled to the amazing Hyatt Regency resort - they had generously provided space in their spa for us to prepare for the shoot. 

While Anthea and Aimee styled the model - Cory, Talia and I scoped out the nearby Sailwinds Park. There, we discovered the perfect view; an old boardwalk bordered by rocks and water.

As the day moved closer to shoot time, the sun peeked through the clouds to create a beautifully diffused light. Cory shot in both film and digital; this versatility allowed him to get varied exposures of light and really capture the shot, literally, through a different lens.

As the sun threatened to disappear, we moved quickly to get the three required outfit changes and two locations into the day.

Once the sun fell beyond the horizon we packed-up for the day with a real sense of accomplishment. 

Overall, it was an amazing experience with some really talented people. Look out for the July 2012 issue of Baltimore Magazine for the final shot!

Cory Donovan and Talia Scher on location

Can you tell they also model?

The boardwalk

Checking out the view.

Leaving the Hyatt with the model.

Classic Schwinn bike for photo shoot.

Anthea Thurston (right) and Aimee Lin (left) from Alpha Studio

Cory in action!

Test shot with film.

Schwinn.

Reloading film.

Giving direction.

Make-up touch up.

Amazing!

Plywood Opening / Jim Lucio: Strip

On Saturday, September 10, 2011 the new gallery opened its doors in at 511 East Belvedere Ave., in Baltimore, Maryland. Plywood is a co-creation by Chris Attenborough and Sean Naftel who are also partners in the artist group Peacock. Occupying a vacant space in Belvedere Square, this new gallery space is available for artists, curators and creatives alike to come together and take advantage of the relatively new, white space:

"Plywood is a new flexible white cube project site located in North Baltimore's Belvedere Square. As part of Roving Project Plywood occupies a currently unused space, transforming it into a space for creative practice. Plywood will only occupy the location until another tenant leases the available store front." - www.plywoodsite.org

The gallery opened with a bang with a new show by Jim Lucio. "Strip" is a collection of Polaroids shown consecutively at eye-level around the gallery space. Hung with nails and clips, the photographs create a cinematic effect reminiscent of Tarantino. Passing by, you get glimpses of retro signage and fish nets; clear heels and horror movie imagery captured by instant emulsion.

The photos, a precious collection of a dying photographic art, are not for sale. But, if you're lucky, the gallery may make you an enlarged print signed by the artist. A great idea from a new gallery that is already gaining interest from the artist community.

Paper and Ink | My day at the printing plant

Recently, I received a personal tour of a local Maryland printing plant. Entering in through the offices, the warehouse space opened-up to a bustling floor of contraptions and weathered tinkerers. The smell of ink emanated from freshly pigmented paper and the floor was clean and bright. Several generations of printers occupied every corner of the space. Metal cans of ink gathered in stadium-seating shelving as a man in a branded blue shirt leafed through Pantone swatch booklets.

Collection of inks.

I enjoyed the overwhelming size of the Komori 5-color process printer. The tall towers housed gooey ink rollers of cyan, magenta, yellow, and black.

Loading paper into one end.

The 5 towers!

The paper moves through the machine.

Prints coming out the other end.

Proofing station to catch any screen errors.

In contrast, the smaller traditional printing machines buckled together like a thousand metal knuckles; punching out pristine white stationary.

My tour guide pointed out the large HP Indigo printer, "digital is the future" he said as we stepped past boxes of fresh prints.

Digital HP Indigo Printer.

5-color process ink with a tube for a PMS ink on the right.

I love ink.

Large and in charge.

Rolls of paper lower costs and increase efficiency.

The more you learn about the other processes that influence your profession, the better you will be at completing your projects at the best price and quality for your client. It's like standing on your head; take a look at things on the other side. Explore new territories and processes and, most of all, have fun!