Behind-the-scenes images and blog post HERE.

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Client: Canadian Women’s Foundation

Production Company: Kith & Kin
Director / DOP: Goh Iromoto
Line Producer / Location Sound: Courtney Boyd

Camera Assist: Jason Kraus

Editor / Sound Design: Tom Mountain Jr. @ Upstate Post

Colour: Goh Iromoto

Online: Jason Smith @ Upstate Post

kithandkin.ca

Behind-the-scenes images and blog post HERE.

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Agency: BBDO

Creative Director: Peter Ignazi / Carlos Moreno

Art Director: Alice Blastorah


Copywriter: Neal Khosla
Agency Producer: Sarah Moen

Production Company: Kith & Kin

Director / DP: Goh Iromoto

Executive Producer / Line Producer: Courtney Boyd

Assistant Camera: Jason Kraus

Editor: Tom Mountain Jr. @ Upstate Post

Colour: Jason Zukowski @ Notch

Sound: Aaron Gaistman & Cory Revesz @ Toronto Sound

Online: Jason Smith @ Upstate Post

kithandkin.ca

Earlier this summer I worked on a spot for United Way that explored the idea about what makes a community. When I first saw the script from the creative team at BBDO, I instantly knew that this was the kind of project I had been yearning for – one that would really let me capture a feeling of authenticity, a strong cinematic visual aesthetic, and all the while getting to venture out and explore the various parts of our city. It was a chance to channel the inner Malick & Lubezki that had been brewing inside.

The concept of the creative was to capture a diverse range of places and people that help build strong communities. We shot for six days from sunrise to sunset, meeting people of all different ages and ethnicities. Getting to explore areas that I hadn’t seen or heard of in the city I live in was a great experience. Making new friends was undeniably cool as well. You hear about certain films and directors who use local non-actors in certain projects, and there’s definitely something refreshing and unique about it. I’ll never forget the seniors’ yoga class that took place at Rexdale Community Hub. It was a class comprised of mostly South Asian men and women. The women wore traditional salwar kameez’s, and the men wore casual dress pants and shirts. It was no yuppie yoga class. But it was still energetic and full of life. Something that I don’t think I could’ve easily replicated in an artificial set.

From a technical standpoint, it helped that we had a lighter load of film equipment that allowed us to move quickly and not be so intimidating to the various people we filmed. We shot on the Red Scarlet along with a variety of lenses – Canon, Rokinon, Zeiss Super Speeds. We had the Scarlet rigged up quite mobile while still allowing us the necessities to capture quality film. It was also the first time we brought in an Easy Rig. While it may look a bit strange (sort of like a hangman stand), the Easy Rig is quite the incredible tool for this style of shoot. Not only did it provide comfort throughout the long days as it takes off a big portion of the weight off your arms and onto your core, but it also allowed me to film with nice balance of smoothness and camera shake without it being too jittery.

I want to send a big thank you to everyone who was involved and helped. To each individual of every community that put in their time and effort to help put together a beautiful tapestry of how a community is woven together through their daily efforts and enthusiasm. I also must thank my small but solid crew. Couldn’t of done this without the help at Kith & Kin, dedicated Line Producer Courtney Boyd, and top notch Camera Assistant (and, well, everything!) Jason Kraus. On the post side, also want to thank Upstate Post for quality editing, and Notch for a beautiful colour grade and transfer.

Overall, this was one of my favorite productions to work on. And a piece that I’m quite proud of. It’s always cool when a creative endeavour can help one grow in many different ways.

Check out the spot HERE.

Last summer we visited friends in the Appalachian Mountains in North Carolina. Finally got some pics up.

 

 

New spot I worked on for Molson Coors Light. Enjoy.

Behind-the-scenes images and blog post HERE.

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Agency: BBDO
Creative Director: Peter Ignazi / Carlos Moreno
Art Director: Deborah Prenger
Copywriter: Nancy Crimi-Lamanna
Agency Producer: Jennifer Morrison

Production Company: Kith & Kin
Director: Goh Iromoto / Michael Alberstat
DP: Goh Iromoto / Michael Alberstat
Line Producer: Kendra Vamplew
Gaffer: Adam Crosby
Food Stylist: Ian Muggridge

Editor: Tom Mountain Jr. / Goh Iromoto
Colour: Bill Ferwerda @ Notch
Sound Design: Chris Tait @ Pirate
Online: Daryl Shaugnessy @ Axyz

kithandkin.ca
gohiromoto.com
alberstat.com

Some BTS pics from our recent Coors Light Iced T shoot. Had a solid crew as usual. Fun toys as well. Milo crane. Phantom Flex. Innovision Probe Lens. Was a great experience to team up with Co-Director Michael Alberstat again who is super talented when it comes to understanding product shots.

As all intricate table top shoots would require, there was a great amount of prep time and testing involved in making sure we get the shots we need.  Countless hours spent on testing the liquid behaviour, liquid consistency with temperature change, ice movements, foam consistency, glass and can sweat textures, etc.  And even still, to achieve the 15 seconds of beauty shots, we had a shoot day that lasted 18 hours!

Part of what I’m most proud of too is that we were able to achieve every shot in the spot live. We didn’t rely or have to go to 3D animation to achieve some of the more technical shots. Call me old fashioned, but there’s always some sort of magic when imagery like this is able to be captured in an analogue fashion. A great experience overall.

Check out the spot HERE.

In the previous article, I discussed a little about how we shot the Lost Days short creative piece.

In this post, I’ll talk about how we achieved the ‘look’ of the film in post.  Given that we shot everything on the Canon 5D mkII, several have been asking as to how we achieved the texture and skin tones of the film.  From the beginning, my co-director Regina Garcia and I had a good idea of how we wanted the piece to look, which helped with the overall process.

In this sense, it was definitely the way we shot the piece that helped.  We had the camera picture style setting set to a customized Neutral setting based on Stu Machwitz’s recommendation from his blog post (click here).  This helped us maintain the dynamic range in the shadows and highlights that we needed.

In a lot of projects, I often go through the route of processing the footage through a dedicated colour grading application such as Davinci Resolve.  In this particular case though, due to our time limitations and overall size of the project, we decided to use plug-ins within our NLE application.

I’ve been playing around a lot with Red Giant’s Magic Bullet Looks 2.0 and Colorista 2.0 for a while now and this was the plug-in of choice here.  The new Looks 2.0 combined gave us a great amount of flexibility to create the overall look with powerful colour curve features.  In most cases it was a matter of lifting the blacks and dampening the highlights in each colour spectrum (red, green, blue).  We then used Colorista for power windows, any keying, and other similar minor tweaks.

While we used a work flow that was completely within our editing platform, we were still able to deliver a very rich texture and colour grade that definitely changed the overall tone of this film.

View the film here:
http://allthingsgoh.com/2013/02/lost-days/

 

Some behind the scenes images from the recent creative short I released – Lost Days.

We filmed this project up in Flesherton, Ontario.  It was a minimal crew, but thanks to each and every one of them, we all multi-tasked and was able to achieve a quick and efficient workflow. By using DSLR cameras it also helped us achieve an effective workflow and image.  The lightness and compactness of the camera allowed us to move from location to location quick, but also film the scenes while moving and roving with the actors – to help us achieve a visceral and intimate feel.

We used the Canon 5D mk2 camera with Zeiss ZE prime lenses for the most part.  Most scenes were shot hand held or shoulder mounted using a custom rig.  In some of the scenes, we used the Kessler Cineslider along with a motor and the Oracle for consistent movement. For me, it was the combination of handheld movements juxtaposed with tracked sliding shots that gave the piece a nice contrast in emotions when viewing the separate scenes.

In post-production, one of the most influencing aspects to the final images was the color grade.  The before and after is quite drastic, and despite the fact that we shot on a DSLR, we were able to achieve a look that is rich in texture and feel.  More about this in my next post.

View the film here:
http://allthingsgoh.com/2013/02/lost-days/

 

Lost Days is a short film about the endless days of discovery and adventure that are an intrinsic part of the innocence of youth.

Behind-the-scenes images and blog post HERE.

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Director: Goh Iromoto / Regina Garcia

Director of Photography: Goh Iromoto / Regina Garcia

Production Company: Kith & Kin

Talent: Madison Van Rijn / Devon James / Jordan Ross

Camera Assistants: Paul Bucci / Carmen Cheung

Hair and Makeup: Ashley Roche

Wardrobe: Stacy Troke

Editor: Goh Iromoto
Colour Grade: Goh Iromoto

Sound Design: Goh Iromoto

Title Animation: Jason Smith
Credits Design: Regina Garcia / Gord Peterson

Special Thanks: Michael Alberstat / Mike Croft / Phillip Miglieri / Ken Johnson

Song Title: Soon, My Friend
Song Artist: M83

Album Name: Hurry Up, We’re Dreaming

gohiromoto.com
reginagarcia.com
kithandkin.ca

 

 

 

 

 

Some stills from my recent shoot in Bonaire for Scuba Diver Life (www.scubadiverlife.com).

While the main portion of the shoot was for a web video, we also attended a workshop with well-known underwater camera sales and education company Backscatter. If there is ANYTHING you need to know regarding underwater filming equipment, these guys are the place to go. Hands down. They’ve been involved in aiding cinematographers and photographers from all over the world, including National Geographic, Holly wood movies, BBC, etc.

I had never shot macro underwater before, so the guys from Backscatter were extremely helpful in setting me up with all the gear I needed – which happened to be the new Sony NEX 5n, an incredible little mirrorless camera that also shoots video in 1080p at 60 frames per second!

I hope to be uploading a video shortly.

Shot on:
Canon 5D mk2 / Sigma 15mm f2.8 Fisheye / Sony NEX 5n / Sony 30mm f3.5 Macro