fashion 2017 spring summer

- hello and welcome to thei3 lecture series hosted by the masters in digitalphotography program here at the school of visual arts. we are thrilled to welcomefilm director and photographer bon duke as tonight's guest speaker. bon is a native new yorkerand a two time graduate of sva with a bfa in photography, and a masters in fashion photography. he works as a director and is known

for his bold photographicstyle, sense of humor, and a keen eye for fashion. his wide array of creative projects includes creative directionand strategy development in design, fashion, film, and photography. he is a co-founder of the newyork fashion film festival, partner at anti/anti studio andis also here faculty at sva. bon has shot campaignsand directed films for adidas, frebal, guhring, zacposen, chloe, three point one,

phillip lim, allsaints, sax. this is a long list. carpazio, jordan, and public school. his editorial clients includew magazine, paper magazine, and the new york times magazine. so please help me in welcomingbon with a warm welcome. (applause) - how's it going? can you hear me?

good? so the way i'm gonna do this today is, i'm gonna start fromyou know how i started and as we go just go through my work and kind of where i am now currently. so as katrin mentioned,born in raised in new york, and you know entering photography actually i was a painter initially. doing color theory really you know

tedious you know painting. and i discovered photography cause it's much faster more satisfying. and you know i waslike, i should try this, took a few courses and i waslike i really want to do this. i applied to a fewschools, actually only two. one was fit, the otherwas school of visual arts. fit rejected me, whichis a good thing actually. and you know entering svakind of, it let me into

this new world of what i could do. so my first slide is actuallyone thing that was given to me from the chair of theundergrads steven fairly, which is john cage'sten rules of art school. and you know initially iread it and i was like, kind of shrugged it offbut i kept, i kinda use it almost as my guidethroughout almost my entire life even so today in the sense of working in the professional field to justhow i made my work in school.

and all i could do wasyou know in my head, i am in the safety net, i'mgonna do as much as i can so. figure out what i want todo in photography you know. and in school i actually,no one told me i could do one internship, i was just like i'm gonna do five internships,photo editing, magazine, like whatever it was i wanted to like know the ins and outs of photography. just to like you know putmy hands in everything.

see what i loved and what i didn't love. and through that i kind of,i learned, i failed a lot. like that's the one thingi'm gonna say over and over is making mistakes andfailing over and over, i was so scared of it, so scared of it, but in the end if you do fail your gonna learn how to take the nextstep to make it better or actually make it successful. so as i continued, whetherit be photo editing to

whatever, whatever itwas i really starting honing in on my voice in my, my work, which you'll see throughoutthis, this whole presentation. and what i did throughout my school year was i started assisting. now that was one thing thatwas a big influence on me because of the fact that iworked with photographers i hated, and photographers i loved. seeing how they work, their work ethic.

and i always told myselfeither i'm gonna take it or leave it, i'm gonna dothis when i start working. and it was crazy causethere was things like i would do laundry sometimes and just like what am i doing likethey're, they're like. assisting jobs you're likefifth assistant you have to do the, just the worstthings but, you know i was like, i'm never gonna make anyonedo this if there on my team. you know so years ofassisting i was assisting

a musician photographer,he was doing album covers. and i was like oh i want to do music. i want to album covers,oh that's like my dream that's what i want to do, portraiture. and as i started assistingmore and more into doing that, i started hating it more andit was more for the fact of, i think it was just themusic industry itself is such a machine thatit was like it drained me and i had to take a step away.

so in that sense i kind of, in school, i you know i figured outwhat do i actually love? well i love portraiture, ilove people, i love characters that are either, youknow whether they be real or whatever i imagine it to be you know. and i was perceiving them through my eyes when i was taking their portrait. and your probably wondering, oh how did he end up in fashion?

well actually i continuedto do my portraiture i was actually doing still lifein all my personal projects until my senior year atsva, and i had a show. something really, like awhole installation video to sculpture with like myphotos, my portraiture. and i actually got a call from the cfda, which is the council fashion something, it's like some fashionassociation it's like huge. designer, yeah you got me thank you.

and they were like, we want you to shoot for proenza schouler which isa very high end fashion line, and my response was do you have money? cause i was just, i graduatedwhen the crash happened. and even at my commencement speech, the speaker whoever it waswas just like, hey good luck. so, at that point i was just like oh well i need to makemoney, i need to like really you know, you know survive so,

at that point i said yes i'll do it. and this is where fashionwas really introduced to me. i was, did this job, i saw how fun it was. it became my vehicle ina sense of for my voice. i could use fashion to reallytell what i wanted to tell. and on top of that get paid, i was just like well this is great and, that's how i kinda kept goingthings starting coming in with work fashion related and i didn't,

at that time i was still approaching it still with my portraiturekind of perspective. you know seeing the clothesas almost secondary you know. and at that time doingmusic went out the window. i was just like forget this,music labels don't have money, whatever it's not, it's not as enjoyable because music labelsmake it hard you know. you do meet great charactersbut i took a step away from it. so entering fashion youknow it forced me to kind of

go into an audiencethat was very different from what i was used to,whether it be you know i was doing assisting photographers in celebrity portraiture through music. fashion it was a collaborative process something that was totally amazing for me. and that's one thing actually at sva in my senior year again thati learned was collaboration. i realized that i'm justthere's different departments.

there's the graphic design department. there's the film department. why am i not going overthere and reaching out? in my senior year actually, this is where i actually met katrin, i decided to do yearbook,and i was just like why not? i had like some timei might as well do it. but i met i think about20 graphic designers, which are still all my friends today.

i cannot stress how much collaboration is so it's like important to,to me and it should be to you because all my friendsthat were art directors or you know the designers at school are now creative directors art directors at add agencies, magazines,and we still work together. and fashion also introducedthat to me as well because you know there'sa team that you have to create an image designs,hair, make up, whatever it is

it's a whole effort togetherfrom b, point a to b. so i had to learn thatcollaboration process where i was so involved in just, i wanna take my portraitbe done with it, you know. tell my story but now there's a new force of energy when everyone hada kind of influence on it, and that was really important to me. and i, i cannot stressenough how important that is. you know getting feedback fromyour friends, bad or good.

and you know i continued on. and i made again so manymistakes and failures. it's nothing to be embarrassed about. you know i, you keepmoving on and you learn. so. you know as we continued with you know, when i say we i alwaysreference my team or whoever i'm collaboration with causeit's just not me you know. i started getting more editorial.

i started getting jobs through fashion. meeting amazing characterswhether the models or you know people that ilike we, we did a fashion, they call it fashionportraiture which is like a portrait but you still style it. so it was kind of coming back full circle where it was my portraiturein a fashion sense. so, here's one thing for work, and this is why i saycollaboration is so important is,

i have not done a promo in nine years. i haven't seen an email out,i haven't sent a mailer out. and you know that'sbecause it was almost like i was planting seeds witheveryone i've collaborated with. and if you make great workand you believe in it, people will always comeback to you you know. do what am i saying notsend promos out, no. i'm, it just thecollaboration really kinda, kinda flourishes some things may not grow,

some things will grow, but you never know. it doesn't hurt to just tryit and collaborate it may not work but it, it sometimesit becomes something great. i still work with one of mymake up artists from like seven years ago and it's like she's,she's like one of the best. another thing is i, i'velearned was not to be so shy. i was always so shy to talk, and i didn't know how to communicate. and that's one thing that i,

almost like not practiced but like, the more confident you areit shows through your work. the more confident you are in your work, it's easier to communicatewith others what you want and also even how you present yourself. and that's something today istill kind of struggle with but like it's when your really confident it helps you communicateand almost know your value. this leads me to value causeagain as a photographer

it could be, could bevery hard for you as what, what's my value, how do i make money? there is a point whereonce you know, you know. and you can start saying no to these jobs that are just not for you, you know. and that's one thing ilearned it took me a while to understand my own valueand integrity you know. before i was just sayingyes to everything, and i was just like wait a minute.

what, does it actually saywhat i want to say or does, do i want to actually berepresented by this work. let's see. i actually, so in school i wentfor the mps fashion program. at this point i was working and i was like why am i going back toschool i'm working already? but the reason for megoing back to school was there was a transitionin terms of my work. i was getting bored of it,that's like my biggest fear.

kind of just getting bored of fashion, and you get to kind offind what i loved again. so in this course i kindof did whatever i wanted. i actually missed a lot of classes, which got me in a lot of trouble. i missed 27 classes, i meanthis is a different program. - [katrin] you can trya different program. - but out of it all i, ireally kind of discovered what i love again whichwas, which will lead to

the video work that i have created at the end of this presentation. but i also kind of withfinding what i loved about my portfolio i finally, i, sorry they're friends. i finally my portfoliowas all over the place, and i was just like i need to edit down and to figure out who i am so, i'm gonna kind of go into detail with some

of my work that i, that i have here. so, there's one thingthat i loved which was shape and form whichfashion allowed me to do. and also portraiture ireally loved portraiture. but on top of that thenew discovery through it was motion groups, i lovedworking with dancers. so i kind of wanted to combine everything, shape, form, portraitureand like movement. colors, like colors aresuper important to me.

and through it i kind ofstarted building up my work and i still am buildingup my work right now. i haven't had a website in five years, and that's because i, ican't edit my own work. it's been, it's been a, a hassle. but, through it all the work i was making only 10% of it i actually really loved. and i would say 90% failedfor me, but that exercise of continually shootingwas super important.

it helped me kind of again rediscover what i want to do from fashion. also a lot of thestruggle was transitioning from film to digital asa lot of at that time you know digital becoming huge and i didn't know how to dodigital correctly in a sense. cause i'm talking aboutlike slr, from shooting from medium format to slrit was, it was kinda hard. but, this was a time where i would go

from trying to figure thatout, and it was struggle. because it was almost twodifferent languages for me. so throughout my work, it'spredominantly digital now. and that's the one thingthat i think i'm really happy about is actually learning the precedence of color darkening, understanding basic color theory you know, ithink that's lost sometimes in this digital world ina sense, which is fine. but you know that's, it's,i could never always get

the colors that i want indigital until i finally, you know learned over time. so this was a series for paper mag, and it was a storybased on kind of ravers, that was the theme of it. this is also for paper mag,this is a collaboration with milk make up, whichactually isn't out yet. this is also for paperfor nar, this is kind of, is a story about real womennude with nothing, nothing

retouched, well it isretouched but they wanted real women that weren'tmodels for this feature. so whenever i shootportraiture it's always super important for me to know the person, you know talk to them, find this characteristic aboutthem that i want to capture. you know i just don'trandomly want to shoot them. they really have to youknow be someone that i really want to capture.

and that's something from my early work that i've always done,finding these people. and i kind of try to trans, like transform that onto models as well you know but, for me i always kind of lookfor that one portraiture even in a fashion story. this is for w. this is unfortunately a live, this came out last week.

this is in vigmenta. it's digital, and i found one of my old contact sheets, and shocked it in. but it's funny how film is almost kind of very trendy right now you know when it's actually, kind of, ode to been great. as i go through this i want to talk about a new thing that happened to me which was the invention of thedigital slr and video.

this was important tome because of the fact that it added another dimension. it added another way of telling the story. i could actually afford to do this video through digital slr it was approachable. everyone could do it. and at that time i was just like whoa, i need to learn how to do some video here, if i have it in my hands.

high quality video too. and from that point irealized it was another way for me to kind of tell a story. which we'll get to myfirst film that i ever did, which no one has ever seen i don't think, which is gonna be interesting. this was, the story was, story for vfiles, and very youthful groupbasically we had like 40 people in the studio and it was justbasically a party all day.

there's something aboutgroups that i love. almost like a, a tribeor a gang that kind of, i kind of characterize onto my story. i was using a mixture of friends, models. but i never wanna actuallysay models are friends. i almost wanna just havethem as a character. that's the most important for me. this is for new york times. this is a story that came out last month,

and it was a, a story on septum rings. very subtle but you'll see them. so we found about six people, real people that had septums and kindadid a whole story on that. coming around back tomy portraiture again. like i always will have, iwill always do portraiture. if someone asks meportraiture or fashion story, i think i would choose to gowith portraiture you know. in the end it's not any,they're not different

but for me the portraituretells, says a lot more for me. we have, i have a few portraiturecommissions coming up. this is kendall jenner she's actually extremely sweet to work with. little yachty, he's a, he'sa very young rap artist that's like really blowing up right now. and this is where, gonnabring me into my next stage which is about social media, and how that's now changinga lot of things for me

as a photographer and it's a new platform that you know you can reallypush your work out on. and it's relevant, kind of important to do and kind of look at what's happening. so like the chung four or timeout. sorry if i'm going too fast i'm trying to get to the video whichis what i'm doing currently. this was an ad for aritzia,which we did stills and video. there's one thing that issuper, super important now

is actually being able to do stills and video at the same time. now the challenge here isbudget, time, you know. that's one thing that everyone'sfacing with right now. this client or whoever itis wants a video and photos on the same day, howdo you, how, you know. it's hard but it's always doable you know. i think there is, it's what people wantclients, clients want.

it's another asset thatyou know everyone will want for social media, for online, for print. you know they all kind of relate, and that's one thing thati have been constantly struggling with where aclient wants video and stills. so we will see thevideo after i get to it. so this is the conceptwas we had new york city ballet dancers come in,lot of shape and form. kind of showing textures andkind of this new collection

that they made which is active wear as using the new york city ballet dancers. this is a personal project i did based on, just masks and the idea of how you know masks are used as a form of intimidation. and it's interesting how sports use masks to kind of cover their face for protection but also intimidationdepending on what it is. so what we did with, meand the make up artist

we conceptualized and boughtactually different sorts of head protection and wekind of glamorized them in a sense to really use themas a piece for, for the shoot. it was a beauty shoot butwanted to really emphasize on this, this idea ofthe mask and protection. the beauty work. this is for paper. this was based on beautytreatments around the world. this was for new york timeslike if you notice i love,

again back to dancers i willalways work with dancers cause they understandtheir bodies so well. new york city ballet again. this is twyla tharplegendary choreographer and this was the most perfectthing i could ever ask for for a job which was one ofmy favorite choreographers in her company, in herelement, taking a portrait with movement of her company around her. i think, when i look at this image it's,

it's very it's, this representsme very well you know. and to just to, to beable to work with her. she was phenomenal. this was for allsaints, thiswas a musicians portrait here that we did in new york,local new york city musician. alright we're getting to the video. okay. get the dslr and i'm likei need to make some video. this video is my first video i ever did,

but it means a lot becauseit triggered something in my head and i was likei need to keep trying, working on this, i need toactually get an internship again and learn about video production. cause i'm the kind ofperson that wants to know and really get my hands on into things. so, this is a still life video that i did. ♫ you know that it would be untrue ♫ you know that i would be a liar

♫ if i was to say to you ♫ girl we couldn't get much higher ♫ come on baby light my fire ♫ try to set the night on fire ♫ the times you had to ♫ super simple but the ideaof having something move and just the burning of the cigarette pack for me said a lot i was like oh my god, i can say so much likewith this moving motion.

and another thing wasthe importance of music. you know it's like so literalwith you know that song but i just like, irealized that that element also pushed this kind ofdrive in motion you know. i started realizing, wowi love tarantino films, i love guy ritchie films,and the thing i love about them is the musicwhen there's like a scene that you're listening to and it's like the music just drives it home.

so that was my first video, and now i'm gonna show you my reel of just my work in general and. you know whenever i do apiece i always want to have this energy that kind of isemitted when you watch it, get's you excited and also want, i want where you want to be involved in a sense. so this is my reel, shouldbe a minute and a half. ♫ roof is falling let melove me falling i just know

♫ roof is falling let me love me ♫ gold up in my gold up in my teeth ♫ gold up gold up in my teeth ♫ don't care what you say tome i'ma bite your feelings out ♫ gold up in my teeth ♫ i missed you in the basement ♫ but your brother was agood substitute for you ♫ and if you love me loveme but you never let me go ♫ when the roof was onfire you never let me know

♫ say you're sorry honeybut you never really show ♫ and i could leave the partywithout ever letting you know ♫ without ever letting you know ♫ walk past her oh slow walk faster ♫ walk past her oh too slow walk faster ♫ walk past her oh too slow ♫ gold up in my teeth ♫ okay so, that's some likework that i've done recently. sort of outdated there'smore that i need to add.

but from that first videoi instantly was like i need to do this, ineed to jump into this. i started researching, iwas looking at websites like showstudio, i was like whoafashion film what this is, amazing this is, it blew my mind. the problem is i went to photo school and i was like wow, shit i need to, i need to learn basically everything. and the minute i graduatedit was such a gamble.

i was like working randomjobs assisting still, but i took on an internship. i took on an internship that paid nothing. it was a film productioncompany that did fashion films. it was the best choice i ever made. production and film for me was, it's totally different from photo. but the creative processingwas so beautiful. and again collaboration,the collaboration on film

was a thousand times moreimportant than photo. because every piece matters. and that's when i startedlearning about file production and getting my hands intolike everything film. and i finally then wroteone of my first films. it was one, a written film that i did which was based off of teddy boys. and i was like i have this slr, i'm gonna try and get a team together.

done this video with my teamthat was super important to me. - [voiceover] so the foreign mockling is kind of a teddy boy. he wears sick fashion, speedy socks, skin tight drawing pants, and stiff shirt collars. well he wears a waist coat, but he don't wear thedouble breasted coat.

he wears the one buttoncoat finger-tipped right. and he has one handkerchiefin the top of his coat. and he has a duffle coat,it took kind of a bit slashed so that doesn't matter. (upbeat music) ♫ bow out ♫ let's punk ♫ i dare ♫ let’s punk

♫ oh ♫ and he's got, kind of cuthis hair cat black hair. and he looks like theeinstein in the front and dare at the back. and every night he wears a chief cat, and he looks marvelous. well he's the boy of my dreams, and if only i could marry him, well i'll be the luckiestgirl in the world.

- so realized how much morei could tell in the story when i wrote it and i just kept going. and going, and going. i started running with videos and how i could use itwith fashion clients, and it was becoming so big at this time. and it was actually adoor for me to kind of really break in where topfashion photographers were. they, they had the market in stills,

but the film i kind of, itwas like well here's my chance to kind of really carve my own path. the film you're watchingright now is a ballet piece that i did for nowness, and it's with a collaboration with chloe. and from that point on igot so much work from people were reaching out for fashion films. but the problem at the timewas they didn't understand the budget that werequire for fashion films.

and i just kept going with it. and you know dancers were,they were easy to work with. they really show the clothing in such a beautiful way, with emotion. and from that point on ikept working with dancers live and still you'll see, as my work, as we go through you'll seei always go back to dancers. anyway it's the struggle between shooting stills and videos, whichis more complicated.

but things are changingand budgets are actually properly getting going to, toward video. i cannot stress enoughhow important video is to just do as a photographer,it's such an important asset. almost expected you know with our devices so easily used for recording. people want it, clients want it. it's, it's unavoidable to kindof you know, it doesn't hurt to try really and have smallassets that are motion.

which leads me to social media. i shrugged off instagram, iwas like i don't need this. i don't care about it,it doesn't matter to me. who, who cares about followers? who cares about whatever it is? i was, this is where i waslike common sense, i was 26. and i was just like, ahhh,i feel like i'm complaining about new technologicalsocial wave of things. am i getting older?

i was but, the thing is youhave to really, not adapt, but you have to kind ofevolve just a little. don't lose yourself in itbut still evolve with it, and instagram at the timei was just doing like stupid posting social whatever it was. and i wasn't curatingit, but i realize today that it's such animportant thing to curate. it's almost like myportfolio it's almost as if i'm at a gallery whatimage is going to be next?

what, what is my layout, what is you know it's almost the same thingas when i was working with art directors andwe were laying magazines, almost the same thingbut in a digital forum. everyone is using it. and at the same time videoon instagram was being put up and i was just like hang onthis is what i'm about to do and now i can put it up? that's where thingsstarted shifting for me

and really payingattention to social media. so, these upcoming things that i've shot were based online as an asset, but it gets more viewson social media itself. because it's just easierto kind of put up there and people will watch it. so whenever i go in, i shootthis film, i do a whole video. but then from that pointon the video i break down into social media assets, content.

clients love it, justsay assets and content. they like love it to themit's like morbid reality you're just rewording everything and you get more, more money really. so this is the new york times,you saw this film earlier. which i broke down stills and then from that prospect we did a, a take of the choreograph,choreography we did on video. we're going to the next piece which i'm

actually gonna try to start again. i got this job because i knewthe client from social media. like we followed each other we, we followed each otherswork which is crazy. cause i'm just like wait a minute. i didn't send my portfolio, ididn't send anything to you. we're just friends on,on instagram and we, we like each others workand i got this job for it. so this is for publicschool and oliver peoples.

♫ oh la la la ♫ i ♫ won't ♫ compromise ♫ live a life ♫ on my knees ♫ you ♫ think ♫ i am nothing

♫ you've ♫ got ♫ something coming ♫ because ♫ i hear god's whisper ♫ calling my name ♫ it's in the wind ♫ i am the savior ♫ sing it again

♫ savior ♫ oh la la la ♫ so from that point on iactually still work with them, and actually got another job which you'll see after this video. actually i'm gonna, i'mgonna continue actually. i feel like. so, this is the nextvideo i did with them. and this is one of my latest pieces,

which is with jordan at public school, the same client for all of the pieces. (dribbling) this is inspired by the nike commercial with dribbling from the 90'swhich you guys remember. (hip hop music) so, social media is really powerful. secondly, another thing is, is i'm gonna go back to collaborationi said that over and over.

it's like i have one of thebest producers in house, she's here she's likewithout like if you have anyone that you collaborate with, like you know you'll know ifthey're gonna you're gonna like really work well with them. and without her it bereally impossible to really put all this film stuff together. and also my cinematographer,a cinematographer is super important to do video.

if you be able to kind ofdirect, your cinematographer is your right handperson to kind of really you know project what you want to show. without them it'd beimpossible to do any of this. i'm gonna skip causei feel like, like yep. this is for caapezio, fullcircle again with dan. this is with maddie ziegler. this came out two months ago. (orchestral music)

(rock beat with deep base) so that was my recent work. i'm gonna wrap it up in termsof the latest thing that is has opened a new door forme, which i think everyone should really just lookinto and consider which is. this is me in virtual reality,i'm experimenting with it. it's another layer, it'slike a fifth dimension now. it's like six, it's like insane. it's now changing how i tell a story.

social media, virtualreality, it's a new platform a new place where your work,my work, whatever it is. it's really you know it'sbecome so big these past few months that it's gonnashift how we tell stories. that being said, you know one thing i heard at a conference by, anyway the idea was you know you know medium is a message about a commercial. right now it's user as a message for me,

and he said that and itmade so much sense because it is based on these users or people sharing work with eachother or making work, collaboration or whatever it is, and that's something to besaid with this digital age, with social media and virtual reality. so hopefully you'll see someof my work in virtual reality. i don't know it might suck but, it's something to pay attention to.

and just to play around with if you can. - [voiceover] so all ofyour like, your photos and your videos they allseem like so thoughtful and they all have a story. when you're working withclients do they usually have a story that you have to tell? or do you come with them,or do you come to them with a story or like whatkind of collaboration is that? - so it really depends.

so the client, okay here's the thing, sometimes when theclient has so much money, and they are like we wantthis you're like okay. i will do it you know. but majority of the times thereis a base, there is a base guideline that they will give you. or a theme or like idea, they're like oh we want to do something with suits and movement, run with it.

so a lot of it i actually put together and make a treatment for. and i really you know bring things into fruitionand detail when i, whenever i work with these clients. so they may have a generalidea of what they want. but then i build out more in detail with when i work with them, whetherit be stills or, or video. it's always good to have,i guess whenever you pitch

the client always make it really concise and clear in your mood work orwhatever you present to them. if that makes sense. - [voiceover] so you saidwith your still photography and your still work portraiture was the biggest thing even with fashion. do you find that stillwhen you do video or has it moved closer to movementwhen you've moved to video? or is there something moreimportant than those two?

- that's, that's a good question. i think when i think ofmy portraiture translating into video it's almost mewriting up a character. you know that's myportrait of them you know. movement helps, it's like a,movement is more of the visual energy that i want to push thatthis character that i wrote is kind of you know havingyou know the movement's more like, it's a feelingwhere the character is the portrait of themthat i write it for.

does that make sense? - [voiceover] hello, whenyou're contracted to do a a video project do you do thepost production work yourself or do you contract thatout to a post house? or what's the process likefor a video based project. - it depends, i'm usually like again like i love me knowing everything. i even like taught myselfhow to do video editing. and i can do it to a certain extent.

and if i do it in housei do keep that money. why not? but if it's a really bigjob i will source it out and a video editor youjust don't want to give it to any video editor youwant to like really find the person that understands your story. you know that they, you sit down with them and you explain even before you shoot you explain your treatmentyour, your story to them

so they're in that mindset. it's almost like finding a good retoucher that understands how you wantit to be retouched you know. so whenever, if you ever do source it out, find someone that kind of canhelp you polish it off in, in a way that you want causesome editors they just, they see things differently you know, so. - [voiceover] yeah, in facti have one more question. i mean what is the time frame usually for

let's say for the lastvideo that you showed, it's like the pre-production,the production, and the post. what's the time frame interms of i guess the whole, the whole project the completion of a project from beginning to end? - sometimes, okay so thelast video that was just seven months, seven monthsof like pre-production to concepting to shootingand post production. that was because of the bigger client.

sometimes i've done videos in two days. she knows, this one,roxanne, she's my producer. there's one video i didn't show you which was this adidas, this adidas one. we produced in, sheproduced it in two days. and sometimes you know that'swhen you have great team. here's the thing there's,there's a saying which is you can only choose twofast, cheap, or good. you can only choose two, soi would always choose time.

if i could get more time the better. gives you more preparation, so. - [voiceover] yes, thank you. - [voiceover] your lightingis really beautiful, i'm thinking it's allreally beautiful but, the still photographyit seems like you have a large bag of tricks could you talk about your lighting a bit. - sure, so i assisted,which i learned a lot

of lighting from you know assisting like, i'm actually a very simpleperson in terms of lighting. i like to light, on secondthought, i like to light big. in a sense where almostrecreating a big source whether it be throughlike a 12 by 12 shooting you know strobe throughit and like softening it, and then i cut down, i never add light unless i really need tobut i make a big source. and then i almost carveout the light after.

so i try to keep it really simple. sometimes i have one light, maybe two. so bigger then cut it down. - [voiceover] hi you,your public schools piece with the basketball andthis piece carpezio, the choreography was really important but the music was actually more important. did you use the, when you,when you shot the video in each one were youshooting without sound, one?

and two did you use themusic, the soundtrack that you were, that's in the piece to help you direct a, the choreographer? - so, so he's asking aboutduring the choreography he, he states the choreography isless important than the music is that correct, is that what you said? - [voiceover] did replayingthe music help you a lot through the shooting of the film?

- ah, so, okay. we actually i always try tocome with the music beforehand no matter what, it sets the tone. you know it's movement youcan really feel it when you, when you have the music already made. a lot of the music is composed. so what i do is i actually try to find similar tracks that i would really want composed like to really kind of emit

this energy when the people preform. so on set we, the music is very important, very very important cause itkind of cause the driving force i can't you know onthis, this carpezio job we didn't play anything classical at all. we played something verysimilar and very heavy, to really get the girlsto feel it you know. and it also, it also helpsthe set edit too you know cause that edit will dictate that,

the flow of the piece you know. - [voiceover] looking at your progression from stills throughvideo now into 3d world, where do you think you'regonna find yourself in 10? are you gonna furtherto dramatic directing? are you gonna stay in the worldof virtual reality and 3d? or you gonna do a mixture? - i think we can do amixture but i'm actually now considering, consideringwriting my first feature film.

i really want to try. i think there's a labor oflove when i, when i write it. i might take time to finish it but, this is all great and allbut like i wanna really, i think i wanna tryfeature films you know. that's my next step. virtual reality is likean experiment you know. i just like different toolsfor like telling story telling. - [katrin] well on thatnote on i hope when

you have the world premier you'll have it here at sva at the theater. i want to thank you,it's been fascinating. - thank you so much- [katrin] and appreciate it a great deal, thank you.