Shot on EPIC M-X: FreddieW in “Skyhook”

Shot on RED Epic + Kowa Anamorphics by DP Jon Salmon for RocketJump. Directed by friend of 3GR Dez Dolly and Matt Arnold. Colored by Narbeh Tatoussian at Blacklist Digital.

Watch the behind the scenes here.

1st AC — Shaun Dixon
2nd AC  — Alicia Varela
Gaffer — Fernando Montes
Best Boy Electrician — Josh Coffman
Electrician — Danny Franco
Key Grip — Frank Garbutt
Best Boy Grip — Jason Gray
Grip — Michael Rha

Shot on EPIC M-X: Chevy “Engage The Unknown”

Directed by Brent McHenry. Produced and Edited by Nick Wenger. Shot on RED Epic + Angenieux Optimo DP Zooms, GoPro Hero 3, and Canon DSLRs by DP Adam Bricker.

Color: Narbeh Tatoussian @ Blacklist Digital.

Aerial Operator: Adam Goral

Roller Blade Operator: Armando Colunga

1st AC: Chloe Weaver

Shot on EPIC M-X: “The Kings of Summer”

Directed by Jordan Vogt-Roberts. Shot by DP Ross Riege on RED Epic + Panavision Anamorphic glass.

Colored by Narbeh Tatoussian at Blacklist Productions.

Released in theaters this weekend in New York and Los Angeles.

Shot on EPIC M-X: “xPhobia (x, Marie)”


This project was brought to me as part of a 4-part campaign put on by Cornetto, an Italy-based ice cream company. By the time I was reached, they had already chosen three London based RSA directors and were looking for a fourth director in the US. The stories all had the common theme of a new romantic relationship and all had a cupid narrator. I was giving a short story written by a 17-year old British girl and asked to adapt it however I saw fit for my installment.

It was a pleasure to be offered a paying job and to be able to tell an extended narrative story. It’s quite uncommon to have this opportunity. After so many years of commercial and music videos, it was great to have time to really spend on a character and work on interactions between actors. Telling a longer story with no limitations, allowed me to finesse the more subtle elements of storytelling that I hadn’t used in a long time. Production was a blast, we shot for three days in a few different areas of Los Angeles and Long Beach. It was great fun to play with old cars and see the inner workings of a junkyard.

It was my first time shooting anamorphic and instantly fell in love with it. Particularly these lenses, the Kowas, gave such a unique texture to the image that I didn’t expect. The bokeh is unreal, super stylish and the flares are very cool. Instead of a hard blue line, these lenses produce a glowy white line that is much softer than other anamorphics. It didn’t scream “I’m anamorphic, check this out!” instead my favorite aspect was the softening it did to the HD image. We shot as often as possible into large lighting sources (windows, the sun, etc) to keep this light haze over every shot, which I think gave it a fresh and consistent look. When these sources weren’t available we used hazers to keep the look uniform. I knew early on that I wanted to shoot the entire film handheld. We also decided early on that every shot would be from the main character’s perspective. This rule that we set for ourselves dictated a lot of camera positions and especially how to cover the action. Every time we broke the rule the shot instantly felt wrong. It was a very cool learning experience.

Overall, I’m happy with how the film came out and the freedom that Cornetto gave me to tell the story however I wanted to. They were very hands off, which is something that would never happen working with an American company. For better or for worse.

Producer: Sean-Michael Smith
Director of Photography:  Stephen Pierce Ringer
Gaffer: Trevor Crist
Key Grip: Jeffrey Carolan