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Got rice? 😈🩸🍚🗡️

Poster drop for @kaninfilm. Coming very soon.

stills by @julieeelogan
design by @e.rasto

Some of the best and funniest lines from @kikehndez’s interview we produced for @flightclub last year.

Congrats to the @dodgers and @kikehndez on getting the W on Opening Day! ⚾️ #dodgers #baseball #productioncompany

F1 is back! Here’s a couple clips from one of the shoots we did with Dropbox last year and the McLaren drivers Lando Norris and Oscar Piastri. Adding a breakdown of how we did it below.

This “sign the lens” trend got really popular last year and I was lucky to have prep time to test and execute it the way I wanted. Hopefully others find this helpful.

First and foremost I’m not a DP but I do like figuring out the mechanics of how to achieve something.

The references given to us were from broadcast tennis. First thing I noted was these are usually done outdoors so tons of light and second they use broadcast cameras. These cameras and sensors have deep depth of field so things in the foreground and background stay sharp. Ideal for watching any sport.

That is how the signatures and the players would be in focus. On mirrorless cameras sensors are larger and have a shallow depth of field. You’ll see this on some NBA and NFL broadcasts now on the court and field.

Each lens has a something called a ‘minimum focus distance’. I took note of what that distance was onthe lens we used and tried to put the plexiglass as close to that distance as possible. That means we also needed a larger sheet (11”x14”) so the edges of it wouldn’t be visible.

Additionally since we’d be indoors I wanted a strong enough light so we could be at f7 or f8 so we’d see the signature and driver clearly. Being wide open at 2.8 or lower would require us to potentially pull focus in the middle of the shot from the marker to the driver. Not ideal. Luckily we used the FX3 so shooting at the high base ISO made this easy.

The other thing I found in my test was reflections. I solved this with a scrap of black fabric that I wrapped around the gap between the plexiglass and lens. A black Uniqlo t-shirt also works very well.

The last thing is the pen. It’s opaque not translucent. Dry erase markers wouldn’t work for this. So I went to Baller Art Supplies and grabbed a few pens to test. Penco paint pens worked great.

On to the actual shoot itself. We have extremely limited time so more prep on-site was needed to ensure this went smoothly.

Continued in comments!

F1 is back! Here’s a couple clips from one of the shoots we did with Dropbox last year and the McLaren drivers Lando Norris and Oscar Piastri. Adding a breakdown of how we did it below.

This “sign the lens” trend got really popular last year and I was lucky to have prep time to test and execute it the way I wanted. Hopefully others find this helpful.

First and foremost I’m not a DP but I do like figuring out the mechanics of how to achieve something.

The references given to us were from broadcast tennis. First thing I noted was these are usually done outdoors so tons of light and second they use broadcast cameras. These cameras and sensors have deep depth of field so things in the foreground and background stay sharp. Ideal for watching any sport.

That is how the signatures and the players would be in focus. On mirrorless cameras sensors are larger and have a shallow depth of field. You’ll see this on some NBA and NFL broadcasts now on the court and field.

Each lens has a something called a ‘minimum focus distance’. I took note of what that distance was onthe lens we used and tried to put the plexiglass as close to that distance as possible. That means we also needed a larger sheet (11”x14”) so the edges of it wouldn’t be visible.

Additionally since we’d be indoors I wanted a strong enough light so we could be at f7 or f8 so we’d see the signature and driver clearly. Being wide open at 2.8 or lower would require us to potentially pull focus in the middle of the shot from the marker to the driver. Not ideal. Luckily we used the FX3 so shooting at the high base ISO made this easy.

The other thing I found in my test was reflections. I solved this with a scrap of black fabric that I wrapped around the gap between the plexiglass and lens. A black Uniqlo t-shirt also works very well.

The last thing is the pen. It’s opaque not translucent. Dry erase markers wouldn’t work for this. So I went to Baller Art Supplies and grabbed a few pens to test. Penco paint pens worked great.

On to the actual shoot itself. We have extremely limited time so more prep on-site was needed to ensure this went smoothly.

Continued in comments!

F1 is back! Here’s a couple clips from one of the shoots we did with Dropbox last year and the McLaren drivers Lando Norris and Oscar Piastri. Adding a breakdown of how we did it below.

This “sign the lens” trend got really popular last year and I was lucky to have prep time to test and execute it the way I wanted. Hopefully others find this helpful.

First and foremost I’m not a DP but I do like figuring out the mechanics of how to achieve something.

The references given to us were from broadcast tennis. First thing I noted was these are usually done outdoors so tons of light and second they use broadcast cameras. These cameras and sensors have deep depth of field so things in the foreground and background stay sharp. Ideal for watching any sport.

That is how the signatures and the players would be in focus. On mirrorless cameras sensors are larger and have a shallow depth of field. You’ll see this on some NBA and NFL broadcasts now on the court and field.

Each lens has a something called a ‘minimum focus distance’. I took note of what that distance was onthe lens we used and tried to put the plexiglass as close to that distance as possible. That means we also needed a larger sheet (11”x14”) so the edges of it wouldn’t be visible.

Additionally since we’d be indoors I wanted a strong enough light so we could be at f7 or f8 so we’d see the signature and driver clearly. Being wide open at 2.8 or lower would require us to potentially pull focus in the middle of the shot from the marker to the driver. Not ideal. Luckily we used the FX3 so shooting at the high base ISO made this easy.

The other thing I found in my test was reflections. I solved this with a scrap of black fabric that I wrapped around the gap between the plexiglass and lens. A black Uniqlo t-shirt also works very well.

The last thing is the pen. It’s opaque not translucent. Dry erase markers wouldn’t work for this. So I went to Baller Art Supplies and grabbed a few pens to test. Penco paint pens worked great.

On to the actual shoot itself. We have extremely limited time so more prep on-site was needed to ensure this went smoothly.

Continued in comments!

In celebration of yet another incredible season of @industryhbo, here’s some work from @redgaskell ft Haley Clay aka @kiernanshipka in full @celine for @thelaterals holiday cover.

#IndustryHBO

Kain na tayo.

@kaninfilm

Meet our cast:

Monica Joelle Ortiz as Encar

Erik Luminarias as Ding

EJ Cabasal as Boy

Jessica Cabasal as Ina

Photos by @redgaskell

Kain na tayo.

@kaninfilm

Meet our cast:

Monica Joelle Ortiz as Encar

Erik Luminarias as Ding

EJ Cabasal as Boy

Jessica Cabasal as Ina

Photos by @redgaskell

Kain na tayo.

@kaninfilm

Meet our cast:

Monica Joelle Ortiz as Encar

Erik Luminarias as Ding

EJ Cabasal as Boy

Jessica Cabasal as Ina

Photos by @redgaskell

Kain na tayo.

@kaninfilm

Meet our cast:

Monica Joelle Ortiz as Encar

Erik Luminarias as Ding

EJ Cabasal as Boy

Jessica Cabasal as Ina

Photos by @redgaskell

Kain na tayo.

@kaninfilm

Meet our cast:

Monica Joelle Ortiz as Encar

Erik Luminarias as Ding

EJ Cabasal as Boy

Jessica Cabasal as Ina

Photos by @redgaskell

We’re excited to announce a new short film project by writer/director @greengaskell is in development with production set for later this year. @redgaskell will be producing.🩸🗡️

We’re excited to announce a new short film project by writer/director @greengaskell is in development with production set for later this year. @redgaskell will be producing.🩸🗡️

“BULLET TRAIN” music video dropping tomorrow!

#ruareyou

Went to Miami for Flight Club's Friends & Family featuring @trippplej

Director: Green Gaskell
DP/Producer: Red Gaskell
Edit: Green Gaskell
Color: Red Gaskell

Latest episode featuring @lidojunior for Flight Club's Friends & Family.

Director/DP: Green Gaskell
Producer: Red Gaskell
Camera Operator: Tiki
PA: Gabe Masinas

Edit: Green Gaskell
Color: Red Gaskell

We produced a new in-store interview series for Flight Club called 'Friends & Family'. First episode featuring Ice Trae.

Director: Red Gaskell
DP: Green Gaskell
AC/Swing: Pierce Harrison
Edit: Green Gaskell
Color: Red Gaskell

We are proud to present the latest project directed by @redgaskell and @greengaskell. Through dance and a bit of comedy this piece highlights the studio space we work out of in Los Angeles.

Directed by Red and Green
Shot by Red and Green
Edited by Red and Green
Lighting by Red and Green
Performed by Red and Green
Set Dec/Design by Red
Choreography by Green

Shot at @opisinaoficina
Produced by @rgstudios.co

Made this last year to launch the @easportsfc 24 soundtrack on Spotify. Very cool to see it in the wild by Penn Plaza in NYC.

Thanks to the team @najeebtarazi, @aesethtics, @langanfilms, and @redgaskell. Shoutout to @bearderic for bringing us on.

Made this last year to launch the @easportsfc 24 soundtrack on Spotify. Very cool to see it in the wild by Penn Plaza in NYC.

Thanks to the team @najeebtarazi, @aesethtics, @langanfilms, and @redgaskell. Shoutout to @bearderic for bringing us on.

Made this last year to launch the @easportsfc 24 soundtrack on Spotify. Very cool to see it in the wild by Penn Plaza in NYC.

Thanks to the team @najeebtarazi, @aesethtics, @langanfilms, and @redgaskell. Shoutout to @bearderic for bringing us on.

Made this last year to launch the @easportsfc 24 soundtrack on Spotify. Very cool to see it in the wild by Penn Plaza in NYC.

Thanks to the team @najeebtarazi, @aesethtics, @langanfilms, and @redgaskell. Shoutout to @bearderic for bringing us on.