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In the photo studio for the teaser poster

So I’m back after a few hours in the photo studio where AD / Photographer David Roya took pictures for the teaser poster for the Epic SciFi Adventure. It felt like the good old days when I was making my short film Enter Faith as Jakob also was on set, shooting some footage behind the scenes for the release for the teaser poster, the official website and most important the title of the Epic Film Adventure we’re in the making of. Simon, my co writer, head of the Art Department and prop maker acted out for the poster, wearing our key insignia / prop for the film.

David will now start the production and designing the poster, locking him self in a dark room with Photoshop for the upcoming weeks so everything will be awesome, nice and ready for the release the 23rd of December. Me, Simon and Marcus will continue making storyboards and Jakob will tag along from now, following us as we continue pre production.

The clock is ticking down towards the release date. Stay tuned for more upcoming information!

Color grading Dcore using ACES

Here’s the Before and After version of my commercial that I color graded for Dcore.

It’s shot on RED Epic in 4K using RedCode 5:1, ISO800 and framerates ranging and ramping from 25 to 100fps. It was edited in Final Cut which I then later Debayered in RedCine and exported as an OpenEXR image sequence to DaVinci to support ACES color science. I color graded on my Sony LMD4251TD and did the final check up on a 2K Christie Roadie HD+35K. And it looked fantastic.

The video features Raw image from the Epic vs OpenEXR output from DaVinci.

"Someday you're all going to die and not too long from now, you will gradually become the old and be cleared away. Sorry to be so dramatic, but it is quite true. Your time is limited, so don't waste it living someone else's life. And most important, have the courage to follow your heart and intuition. Stay Hungry, stay foolish."
  • Digital storyboarding
  • Maya PreViz
  • Analog storyboarding
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  • Speaking dialogues

Pre Production

So, it’s been a while since I made a post here so thought I’d give y’all an update!

Me and my cowriter Simon has since last finished the script for our epic sci-fi/adventure feature and we’re now in heavy pre production, which is by far one of the best stages to be for me as a director, seeing your baby grow. What we’re doing right now is that Simon is storyboarding the script. Wow, that sounds like a lot of storyboards? Well, yes. It’s a roughly 2hr film so he’s making about 1000 different storyboards which he at first drew at hand, the analog guy he is but I finally made him accept that it is 2012 so I made up a nice workflow; I made a 1.85:1 storyboard in Photoshop which I then saved in Dropbox. Then on an iPad using Sketchbook Pro, he import the frame, do his magic there making a storyboard and then save that frame back to Dropbox. I wrote a little script and with the Automator, as soon as a new frame pops up in the folder where he saves a new storyboarded frame, it ingests into Final Cut and I’ll then ad it to my timeline and speak in the dialogues to the storyboard. For the more complex shots and scenes we use Maya to make an animated PreZiz which I animate on the things Simon builds in Maya since he’s the Concept director for the project. And soon we’ll have the whole film, edited with dialogues, storyboards and previz. After that, we’ll perhaps tweak the script a bit, then pick out what we like the most and the most essential for the plot, head out and shoot a trailer. And you’ll see lot’s more of that later.

What’s the movie called? We’ll hold on to that for the time being but it’s an awesome title and you’re gonna love it! For the time being it’s “Untitled epic film adventure”.



Final draft

Today marked the day when me and Simon after six years of writing, editing and tweaking finished our long anticipated script for our upcoming feature film! Now we’re in the process of pre production and Simon is making roughly 1000 storyboards for me to previz with Maya. Along that some preliminary props are in production as well. Very exciting times!

Grading Bubbleroom using ACES

I was assigned as a DIT for the new TV commercials for Bubbleroom.se shot in Stockholm with South African supermodel Charlbi Dean Kriek. Assigned as the DIT and later on Colorist and with the use of the RED Epic I pretty much decided which workflow we were going to use. Last time I did something similar with for Match Fashion with the same set up in New York so this time I really wanted as a colorist to use the ACES (Academy Color Encoding Specification) system. Primary I color graded for TV with Rec709 specification and it looked great. Then later to have it screened on a 4K Christie DLP, I did the debayering in Redcine-X Pro with Open EXR and instead of DaVinci YRGB I utilized the DaVinci ACES color science in DaVinci Resolve. Using ACES, it’s wonderful to having the entire gamut instead of narrow gamut like Rec709 or sRGB making it virtually impossible to either limit or clip colors and having such possibilities while grading in DaVinci. Usually using the LMD 24″ grading monitor from Sony, with some good contact at Sony I was able to try the 42″ LMD monitor, rather then the OLED screen and grading in 42″ is one hell of a difference!
And here you can find the commercial in it’s prime!

Here’s some pictures from the set.

The TVC was directed by Andreas Troedsson at AFOS. Shot by Andrés Rignell. DIT & Color Grading by my self.



Flymote is no where near a term in film making, so I’m coining it!

Reversed, -mote from remote and Fly from the term “On the fly”, flymote is a solution I made up very quickly for a project that I’m editing. The plan was to get the footage on a hard drive via mail and editing the 6 days needed to meet the deadline but when when Murphy’s law comes around and sets the planning 2 days behind and the actual day for filming is on the scheduled day for editing and the client refuses to move the deadline forward it’s time to think outside the box. So how do I edit something that’s being shot at the moment to still obtain my scheduled editing time so I don’t have to sit and edit from 7Am to 22PM, which isn’t really that creative?

The material is being shot on RED One. The location is a film studio in Stockholm. I’m in my editing suite in Malmö 600km away. So I sent the team my laptop with Redcine and a script I wrote with a folder made in Automator. So basically for every take the team makes, it gets copied to an external hard drive connected to the computer. My script locates the new R3D files and ingests it into Redcine and makes an Apple ProRes Proxy 720P @ 25fps file and outputs it to my automated folder, there it automatically uploads the proxy file to my FTP server in my editing suite and ingest the file to my Final Cut Browser with automatic refresh I’ll see every new file on the fly. I have a 100/100 Mb broadband in my suite and the client on the field uses the Wifi with around 25/8 Mb so from the instant the camera saves a new take the process starts and for a 15 sec take I have the clip roughly 2-3min later (about the same time it’ll take me to write this post) 600km away, editing the commercial. 5min after the the production team has a wrap I’ll be done with a rough cut uploaded to my server viewable on the clients and the crews iPhones, Ipad or android phones. The client might even approve the cut on his way home which by the day tomorrow I’ll have the hard drive at my studio ready for online and grading.

On the fly, remote. Flymote!

That’s how I do it.

RED Epic 300fps at 2K

I was assigned as a DIT for the new commercials for Match Fashion which we shot in New York over the midsummer. Three days of intence shooting which the material I later took with me to my studio in Sweden and edited than later on graded on my DaVinci. Great thing to be the DIT on something you’re going to grade later on. The full control over the picture you get of being in the loop all the way. Perfect!

Anyways, we shot it with the brand new RED Epic which features HRDx shooting in 300fps over 2K resolution. I was in the pre production for my own short film Enter Faith at the time and which I needed a high speed camera that shot native 2K or more so after we wrapped up the commercial, we tried the Epic out of all it’s features to see just how Epic it was.

Sure using 2K we got the equivalent of a 16mm camera and less DOF but seeing yourself running in 300 FPS in 2K with the water in the air is breathtaking! Truly wonderful camera. All of its promies features though wasn’t yet operational. I really wanted to try to load a look from the RED Cine into the camera and shoot with it but that wasn’t yet possible until a few months later on. But the RED Epic is still Epic shooting in native 1.85:1 at 5K. Awesome!