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Here's a video I shot for Huffy Corporation demonstrating a new kids product called the Green Machine. I shot this with a Sony FS7 and a set of Rokinon prime lenses. A really nice camera to work with.


This is a promotional video produced by Todd Ruel for an iPhone/iPod Touch app called Paint Pro™ by Figure 8.

It’s a mobile app that samples a color and cross matches between paint manufactures using the internal camera

or an external sensor.


I edited this video using Premiere Pro CC and After Effect CC. It was a great opportunity to get better acquainted with Premier after years of editing on Final Cut Pro and Avid.


I discuss this experience in more detail below in my TECHSPEAK blog.


This is a music video I directed, shot and edited for the Cincinnati band, Copper. It's my first experience shooting with a DSLR. I used a Canon 5D with a set of Rokinon prime lenses For lighting, I used KIno Parabeams, a gem ball and an Arri 650 Fresnel. Everything was recorded on an Atomos Ninja using ProRes422 HQ compression.

Final editing was done using Adobe Premiere and Lumertri Color for grading. For two shots where I needed to make the devil character's eyes red, I used Davinci Resolve. The motion tracking in Resolve is second to none.


My first all animated video. Recently, I've been doing a lot more After Effects work and started experimenting with some visions I had for this song. The thumbnail image for  the video was actually the first shot I animated. One thing led to another and I decided to do the entire song, which as it turned out, was the longest song on the record. It was a lot of work but well worth it.

I'm a fan of The Birthday Massacre. As a friend of mine once said to her husband one evening over cocktails,

"it's the band Gary has a crush on". Funny and kind of true. I went to see them play in Detroit recently and gave them this video to use as they wish.


The video was entirely animated in Adobe After Effect

and images I downloaded from the web. The final editing was done in Adobe Premiere.



I recently completed this music video for the funk artist Freekbass. I shot this with a Panasonic HVX-200 and edited it in Adobe's Premiere Pro CC.


Everything went quite smoothly within Premiere with no issues. I had some fun compositing a needle on the end

of a syringe in a few shots using After Effects. The seamless integration between AE and Premiere made

this process pretty easy.


For the final color grading, I used Adobe Speedgrade.

I was able to send my sequence to Speegrade to make all my grading decisions. There's some great looks and it's easy to create your own and save them. SG makes it easy to simply click on a saved look and it's applied to the clip. Once done, I saved the SG project and all my graded clips showed up on the Premiere timeline. Cool!


Here's a video I directed, shot and edited for a video contest for The Birthday Massacre. Recently, this Toronto based band posted a contest to make a video from any song from their new record. After much procrastination, here it is. Of course, it doesn't hurt I really dig this band too.


Starring in this video is John Van Eaton who played a kidnapper and Hayley Powell who played a run-away. Shot on location over two days in Newport KY and Cincinnati.


A very special thank you to my friend James Rosenberger who let me borrow is very nice Panasonic HPX-500 P2 VariCam HD camera and lights. Without it, I couldn't have pulled this off. And, thanks to John Van Eaton for his creepy basement, props and creative input.

Initial editing was done in Final Cut Pro.  I decided later I wanted to change the look of the video to make it appear colder and darker. I imported an XML of my timeline and project from Final Cut to Adobe Premiere CC and used Color Finesse within After Effects to color grade all the shots. It worked great. Color Finesse has some nice presets like the Bleach Bypass look which I used to the exterior shots. It was easy to use too.  Which is always a plus in my book. On top of that, the seamless integration between Premier and AE made this process pretty painless. The only downside to re-editing in Premier was there were a few of the transitional effects in FCP no longer available to me.

I had to create a few work-arounds for those effects.  Other than that, I was pretty pleased with the work flow and capabilities available to me.

Further Down The Premier Rabbit Hole (I need a flashlight)

Todd asked, “What did you learn?”


Feeling like a child being punished for giving the dog a Mohawk, I was suddenly thrust in to child/father roll play.


Well, dad…I learned Adobe’s Premier Pro CC is a very powerful editing tool while simultaneously missing a few basic feature.


Allow me to explain.


Recently I edited a promotional video for an iPhone/iPad app for my good friend and colleague, Todd Ruel.  You can see it here. This was another perfect opportunity to run Premier though its paces and find out in a project (that’s not a music video) as to how it behaves.  It behaved more or less as predicted but there were a few astonishing quirks.



Down The Rabbit Hole with Premier Pro CS6

In my last post about this subject I discussed the differences between Final Cut Pro 7 and Premier Pro CS6.  Now have jumped into that Premier rabbit hole and have more to report.


Recently, I directed and shot a video for a music video contest for the band The Birthday Massacre.  It was a labor of love for me not only because I like the band but I absolutely love making music videos.  It is one of my passions.  I created a story and a treatment and over a weekend I shot it with a couple of friends with a borrowed Panasonic HPX-500 P2 camera and some lights from my great friend and colleague, James Rosenberger.