Lots of exciting things in the works over at Six O'Clock Studios. An animation / live action stage show and a pilot for a new comedy being filmed. Plus, the feature film, commercial and music show filmed last year are nearing completion.. more on everything really soon!
Earlier this year, director Daniel Speers utilized the vast spaces and the green screen room at Six O'Clock studios to make his "infinite" vision a reality. His kickstarter (started a few days ago) is halfway to making it's goal. Make your pledges and help make this incredible film reach it's completion!
Film director and Temple University senior Daniel Speers contacted us (or was it his assistant Kelly?), to use the vast space of Six O'Clock Studios to build his sets and shoot his film "Infinite". Dan also enlisted the help of wizard carpenter and previous Six O'Clock Studios pro Tony DiIenno. Tony turned the 4th floor of the building from this:
Into this:
What a friggin MASTER!
Here are a few production stills to whet your appetites:
We've been wanting to write this post for quite some time: Here is a side by side comparison of two different music videos shot in the same room with no background element (except for the natural elements of the room), being utilized in two very different ways. Both bands were shot on the top floor of our video studio in Reading PA using different cameras/ lighting techniques. The room is the sizable equivalent of a city block.
The First is for Every Avenue's "Tell me I'm a wreck", shot by Steve Penta with a Canon pro-grade DSLR during daylight hours. This was set up about as close to the back wall as it gets, with the band placed at about 30 feet from the wall. Using only natural lighting, save a few light blockers and bounces, the look came out fresh and crisp. You gotta love those manual focus and low-angle wide shots.
The second is for Six O'Clock Saints' "Memento Mori", Shot by Joel Minnich and Steph Simpson on a Red. This one was shot at night with a crazy amount of front and back lighting including a heavily fogged up background, and a projector mounted under the camera. (lighting, grip and electric provided by Carbon Arc). The band was set up at about the 1/4 mark of the room, with dolly tracks set up almost directly in the middle. The finished look came out crisp, dark, and had a superb depth of field, even though the shot was closer and tighter.
This was to show what the same room using very different cameras, lighting, and techniques could accomplish. Both looks worked for the bands they were representing and both turned out amazing!
