C300: Eric Coughlin Cinematography Reel

Eric Coughlin

Eric Coughlin

Veteran
My latest cinematography reel. Tech specs of what cameras and lenses were used for each project/shot as best as I can recall below.


Comments and constructive criticism welcome.


Social Silence: Amira, Angenieux 30-90 EZ T/2
Scott Stapp: C300 Mark II, Canon CN-e 35 (or 24) & 85
Shaquille O'Neil: C300 Mark II, Canon CN-e 15.5-47 & 30-105
Dave Mustaine: C300 Mark II, Canon CN-e 24 & 85
Buzz Aldrin: Canon C300 Mark II, Canon 70-200 f/2.8 L
Kate Upton: C300 Mark II (tight) w/CN-e 135, Amira (wide), Arri Ultra Prime 50 & 16
YMCA: C300 Mark II, Canon CN-e 15.5-47 & 30-105
Mark Walker: Amira (wide interview and b-roll) w/Canon 17-120 (b-roll) & CN-e 24 (interview), C300 Mark II (tight interview) w/CN-e 85
National Geographic: Amira, Canon 17-120
Donald Trump: Amira, Canon 17-120
Anthony Fauci: C300 Mark II, Canon 18-80
Sunset: Amira, Arri Ultra Primes 32 & 50
Chemical Bonds: Amira, Arri Ultra Primes 24 & 32
Spirit: Amira, Canon CN-e 15.5-47 & 30-105
Hamlet: Amira, Arri Ultra Prime 16
Quietly into the Night: Amira, Canon CN-e 15.5-47 & 30-105
Lost in Romance: Amira, Canon CN-e 15.5-47 & 30-105
Where the Socks Go: Amira, Canon CN-e 15.5-47 & 30-105
Culver's: C300 Mark II, Canon 70-200, Canon 24-70
Another Broken Egg Cafe: C300 Mark II, Canon 18-80, Canon 24-70
Athleta: C300 Mark II, Canon 18-80, Canon 24-70
DoorDash: Amira, Arri Ultra Primes
7-11: Amira, Arri Ultra Prime 32
Kroger: C300 Mark II, Canon 70-200
HP: C300 Mark II, Sigma 18-35
FedEx: C300 Mark II, Cano 24-70
Captain Morgan: C300 Mark II, Canon 24-70 & 70-200
Toyota: C300 Mark II, Canon 18-80, 24-105
Amazon: C300 Mark II, Canon 18-80
QVC: C300 Mark II, Canon 24-70 or Sigma 18-35
Verizon: C300 Mark II, Canon 24-70, Sigma 18-35
HULU: C300 Mark II, Canon 24-70, Sigma 18-35
Save the Children: C100 Mark II, Tokina 11-16, Sigma 18-35
Land O'Lakes: C300 Mark II, Canon 18-80
Analog Devices: C300 Mark II, Sigma 18-35
Forbes: C300 Mark II, Sigma 18-35
Ford: C100 Mark II, Sigma 18-35
Criterion Collection: C300 Mark II, Canon 24-70
Deontay Wilders: C300 Mark II, Sigma 18-35
Lou Holtz: C300 Mark II, Canon 15.5-47
General Electric: C300 Mark II, Canon CN-e 35
The Weather Channel: C300 Mark II, Canon 70-200 (or 24-70)
NOVA: C300 Mark II, Canon 85 L Prime
BBC: C300 Mark II, Canon CN-e 50
Sunday Night Football: Amira, 17-120
Little Big Shots: C300 Mark II, Sigma 18-35
CBS: C300 Mark II, Canon 24-70 & Sigma 18-35
20/20: C300 Mark II, Canon CN-e primes 35, 50
Mary J. Blige: C300 Mark II, 18-80, 70-200
Keke: C300 Mark II, 18-80
Curiosity Stream: C300 Mark II, 70-200
Investigation Discovery: C300 Mark II, 24-70
Jeff Skinner: Amira (b-roll and wide interview) w/Canon 15.5-47 & 30-105, C300 Mark II (tight interviews) w/18-80 & 30-105
Impact Sports: C300 Mark II, Sigma 18-35
Bleacher Report: C300 Mark II, Canon 100-400 (maybe w/1.4x teleconverter)
Bose: C300 Mark II, Canon 70-200
Marriot: Amira, Canon 15.5-47 & 30-105
Hilton: C300 Mark II, Sigma 18-35
Facebook: C300 Mark II, 24-70
ACLU: C300 Mark II, Sigma 18-35
Toys for Tots: C300 Mark II, Canon 24-105
Live Nation: Amira, Canon 17-120
Ghirardelli: C300 Mark II, Sigma 18-35, 24-70
ConAgra Foods: C300 Mark II, Sigma 18-35, 24-70
Chick fil-A: C300 Mark II, 18-80, Sigma 18-35, 24-70
Oral-B: C300 Mark II, Canon 70-200
WebMD: C300 Mark II, Canon 17-120
Amway: C300 Mark II, Canon 24-70 (or Sigma 18-35)
AVON: C100 Mark II, Canon 24-105 or Sigma 18-35
Thomas Reuters: C100 Mark II & Mark I, Canon 70-200, Canon 100-400
Microsoft: C300 Mark II, Canon 24-105 (or 70)
Shawn Mendes: C300 Mark II, Canon 30-105
Raew Alejandro: C300 Mark II, Canon 17-120
Mercy Me: Amira, Arri Ultra Primes 24, 32, 50
Guitar Center: C300 Mark II, Canon 24-70
Jason Aldean: C300 Mark II, Canon 24-70, 70-200, 100-400
PitBull: C100 Mark II, Sigma 18-35, Canon 70-200
Memory Keeper: Amira, Canon CN-e Primes
A Cavalier Christmas: Amira, Canon 30-105
Immersion: C100 Mark II, Sigma 18-35
King of Hearts: Amira, Canon 30-105
Sleepwalker: Red Scarlett, Sigma 18-35
Kiss Tape: C300 Mark II, Canon 15.5-47
The Delivery: Red Epic Helium, Canon 15.5-47
Woolyburger: Amira, Canon 30-105
Jedi: Path of Promise: C300 Mark II, Sigma 18-35
Intel: Amira, Canon 30-105
The End of a Relationship: Amira, Canon 30-105
A Bleeping Actor: Amira, Canon 15.5-47
How Olivia Became a Boat: Amira, Canon 30-105
Jason Bourne Goes to Town: Amira, Canon 30-105
Roleplay Renegade: C300 Mark II, Sigma 18-35
Battle for the Paddle: C300 Mark II, Canon 15.5-47
Lost & Found: Amira, Canon 30-105
Saving Isabel: C300 Mark II, Canon CN-e Prime 24
Released: Amira, Canon 30-105
Cinematographer: Amira, Canon 30-105
 
Great lighting. Great composition. I'm pickiest about interviews. I think you struck a nice balance between making it interesting and keeping it natural.
 
Wow you have been very busy. Fantastic visuals.

Did you edit this by yourself? I find the pace a bit too fast and too Uniform. the speed could have a bit variation imho. I probably would do it without the black bars and the text. It’s too fast for reading and it distracts from the great images. Just my 0,02€
 
The projects are so impressive that you could just hand the list in, and that would be enough for some producers. No clips necessary.

Going along with what Clermond said, though, I was so focused on the pictures that I did not realize that there was anyone famous in your video until the presidents showed up. I wasn't reading the subtitles at all. (Maybe most of you caught on at Shaq. I'm sorry, I'm not into sports. I am a child of the 80s and 90s, though, and I did listen to Creed. I've seen Scott Stapp before in a TV interview, and yet I still didn't realize it was him until my second viewing. Then I also saw that, in fact, most of the names were familiar.)

The hardest thing as an editor is judging the pace for the first-time viewer, since you know the footage like the back of your hand. Fast cutting is fine, and I'm not sure you need to slow it down. I'm sure that you can think of commercials or music videos where the cutting was even faster. I think what you will find, though, is that normally over that fast cutting there is no voice-over or subtitles. People can handle fast cutting as long as that's all they need to focus on, as long as they do not also need to process secondary "streams" (narration, subtitles, etc.). Then you need to slow that stuff way down. I myself have done the same thing. I was trying hard not to bore the audience. Then at a test screening with some friends, they were like, Whoa, that is overwhelming.

Again, I'm not quite sure you need to adjust the cuts. It may be just a graphic design problem (which is an art unto itself). There may be just too much variation. Let's see, the subtitles vary by: alignment, color, font, size, and background. It's especially easy to miss the ones superimposed over picture, instead over a simple, black background.

You might consider making a permanent black matte on the bottom or even on the right or left side. This would require you to crop your original compositions or make the frame larger overall, outputting a video in a custom aspect ratio. Either way is fine. I'm just saying, style the subtitles more uniformly. For example: left-aligned, white text, black background, same size, same font. (Logos are okay. Logos actually speed up recognition.)

---

These are all suggestions for your next reel. It's just me being a perfectionist. As it stands, it is nicely done, and I'm sure it will attract plenty of work.
 
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Yep it is a very impressive haul of work well executed.

Maybe you should get an editor in - I guess you have the cash. The music is horrid and visually its just a bombardment of nicely lit MCUs - The thing needs some form and not to be a 'listicle' - maybe you have some sweeping vistas to open and close with, open with a slow creep, build up to choppy mayhem then pull it back.

As a hirer (im not) Id want to see you can shoot around a subject - as well as it being good for the edit.

Also maybe a bit more losing of older projects.. it seems that you are an adequate DP and an excellt corporate commercial operator, lose the colour channel clipped bad drama. To me the opening is poor and im getting a feeling of competence when I see the girl with weights and the first IV (whichi is chopped to fast)

and get help fast with font choices

-the pan flash - horrid clipp - lose 4 frames
 
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Nice images. Nice body of work. And I agree with Morgan, most of the cuts are too fast, especially with the graphics. You can’t take it all in and process it fast enough. It’s one of the biggest complaints I have with shows that require subtitles for certain scenes(usually with characters speaking a foreign or made-up language) . They don’t give you enough time to both read the information AND take-in/appreciate the visuals.

Other than that, my biggest change would be the slow-mo vanity shot at the end. Lose the fire behind your head/over your shoulder. Just go with something simple and almost cliche, like a big Arri light fixture or the like firing towards the lens/you. The fire/flame just comes across in this instance as cheesy and pretentious and trying to be overly dramatic. If it was some sort of scene in an actual movie/show or done tongue-in-cheek in the right piece/context(and you may have been doing it that way) or even an actual shot of you while operating for real and that had really been happening around you, but it just doesn’t feel right here. You’re the DP, the cameraman, the cinematographer. Not the action hero who just came out of the building that exploded.
 
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Hey Eric,

Not certain where to start as I wrestle with promo decisions all the time as well. From my perspective, everyone so far is right. It is truly amazing on numerous levels and at the same time too much, and way too fast.

Combatentropy has a point - "The projects are so impressive that you could just hand the list in, and that would be enough for some producers. No clips necessary."

So my great insight is to carefully cull it visually to allow the viewer to really experience your visual/operational talent. Focus on the very best with few (if any) overlaps. Pace it more slowly and edit to a planned pace and direction (use style, type of work, project genre or any thoughtful guidance to tie the piece together so it ends with a sense Of "I must see more of what this gyuy can do!"

I also agree with R&R about you not being an action hero (though you may very well play one in reel life (pun intended) given the scope and volume of work chronicled here.

Lastly, though I have never commented in a thread where you have participated, I have consistently admired your no-nonsense approach (even if your humor is sometimes drier than mine) and really am in awe of the work you have presented here. Congrats, it seems you are an edit away from really creating a show-stopping reel!!

Best!!

Bill
 
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