Peckhammer
Member
I just finished up the post-production on a mini documentary about a Seattle guitar-maker whose client list includes Jack White, Jimmy Page, Joe Perry, and many other well-known guitarists.
PRODUCTION:
American Luthier was shot on a series of Thursday nights -- after Parsons repair shop was closed -- using a Canon T2i camera with a series of vintage Nikkor lenses purchased on eBay, and one modern Canon EF-S 17-55mm f/2.8 IS USM lens . The second camera was a Canon XH-A1, which had been my work horse used to produce fourty-two episodes of my web series, Peckhammer TV. In the spirit of keeping things simple, both cameras were used as they came out of the box, sans rigs and rails and follow focus systems.
POST-PRODUCTION.
Editing was done on Premier Pro CS5, with a Colorista II plug-in. The sound track is a multi-layered fabric of narration, environmental sounds, foley work, and film score created in my home studio. I'm one of those guys that believes sound is more important than the images, although both were critical in this piece. The film score was further enhanced by the contributions of Michael Chorney, a self-taught musician, composer, and arranger who generously donated 'SHABAZ' for use in scene four of the film.
So here is the result: http://www.americanluthier.us
>--
Peckhammer
PRODUCTION:
American Luthier was shot on a series of Thursday nights -- after Parsons repair shop was closed -- using a Canon T2i camera with a series of vintage Nikkor lenses purchased on eBay, and one modern Canon EF-S 17-55mm f/2.8 IS USM lens . The second camera was a Canon XH-A1, which had been my work horse used to produce fourty-two episodes of my web series, Peckhammer TV. In the spirit of keeping things simple, both cameras were used as they came out of the box, sans rigs and rails and follow focus systems.
POST-PRODUCTION.
Editing was done on Premier Pro CS5, with a Colorista II plug-in. The sound track is a multi-layered fabric of narration, environmental sounds, foley work, and film score created in my home studio. I'm one of those guys that believes sound is more important than the images, although both were critical in this piece. The film score was further enhanced by the contributions of Michael Chorney, a self-taught musician, composer, and arranger who generously donated 'SHABAZ' for use in scene four of the film.
So here is the result: http://www.americanluthier.us
>--
Peckhammer
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