Samuel Hall

Stereoscopic Anamorphic?

2011-12-15T12:47:00.000-05:00

So Star Trek 2 (or whatever it will be called) is supposedly shooting in 3D. Given JJ Abrams love of the anamorphic format I have to wonder if perhaps he's aiming to be the first (that I know of) to shoot anamorphic 3D. I would certainly be interested to see how that would work.

It would seem a technical nightmare to pull off and would require entirely new camera rigs to be developed. For one thing I imagine matching lens distortions would create some serious hurdles, especially given the "flawed" nature of anamorphic optics. I suppose it's worth pointing out that I loved the anamorphic flares in the 2009 Star Trek film, despite many of my colleagues' distaste for it.

I seriously doubt anamorphic 3D will happen on Star Trek 2 but I'd love to see someone try.

Star Trek 2 Being Made In 3D

Space Exploration

2011-11-16T10:04:00.001-05:00

Last year I spent a week visiting my mother in Flagstaff, Arizona. My 7D was still quite new to me at the time and I shot video constantly, resulting in this. This time I dedicated myself to the part of that film which fascinated and disappointed me the most. Night sky time-lapses.

Having not so much as turned on my Neewer exposure timer in over a year, I had to pretty much re-learn everything I'd muddled through the last time. This time, it being November, not September, the nightly temperature averaged around 15 to 20 degrees Fahrenheit.

Every night I'd spend a few minutes finding a decent composition, do a few test exposures and once I was happy, I'd create a new folder on the CF card, set the timer, and go to bed. When I awoke in the morning I'd usually find the camera, now frosted over, it's battery dead and the timer still going.

Below is a compilation of all my time-lapses, start to finish, from the entire trip. By no means a finished product. I'm still working out just what to do with them but I though it important to share.

While it's still fresh in my memory I'd like to list a few things I learned along the way.

Open up the iris on your lens all the way. You might think that infinite focus requires a stopped-down lens but there is so little light in that night sky and you need to gather all that you can with your photon collector. In my case that meant opening my Tokina 11-16mm to f2.8 and focusing to just a tiny bit back from the lens's infinity mark.
Set your ISO as high as is acceptable. I found that 3200 iso was about as high a noise level as I was willing to accept. I was generally shooting JPEGs at first so the noise was not easily removed. On the later time-lapses I began to experiment with RAW sequences, thus improving the noise situation.
White balance at 3800 K. When shooting JPEGs, 3800 K white balance gave me the most accurate results. Again, shooting RAW negates this concern. Your results may vary.
Be patient and do the math. If you're doing 1 minute exposures as I was, then you're getting 1 frame every minute. That means that if you leave your camera 'lapsing away for one hour you'll only have a 2.5 second video (if you're aiming for 24 fps. and you're only a real man or woman if you are).
Don't be afraid to go out of your way. The last night of our trip, my friend Sam and I decided to return to a spot we'd seen earlier in the week on our way back from an awesome cave exploring adventure. It was a 30 minute drive which we set out on at 12:30am to coincide with the moon setting. The images were great (though I only 'lapsed for an hour so the final shot wasn't terribly long) but more than that the experience of standing in a completely isolated field in the dead of night under a brilliant celestial display was one I wouldn't trade for all the sleep in the world (I'd make up for it on the flight back the next morning).

See what you miss when you're busy sleeping?

One of the absolute highlights of this trip was visiting the Lowell Observatory. There I was able to peer through the high-powered telescopes at Jupiter, The Moon and the M3 Star Cluster. I also had the privilege of asking the astrophysicists on hand every question I could think of. One such physicist, and experienced astrophotographer gave me insights which vastly improved my exposures thereafter.

The entire experience has left me with a deep passion for photographing the night sky and for learning about the universe itself. I'm currently looking into elaborating on Goldpaint Photography's "delineated" time-lapse methodologies. Specifically it's implementation with musical movements. I'm also planning several more outings to dark-sky locations. I'll be posting my results along the way.

ILM, The Optical Printer and a Lifelong Obsession

2011-10-12T15:53:00.001-04:00

In 1999 I became obsessed with figuring out how bluescreen compositing works. I was 15 years old when I saw Star Wars Episode 1 - The Phantom Menace. When I walked out of the theater I was determined to know how such a thing was done. Enough has been said about the film itself so I won't get into that here.

For years I searched the internet, emailed professionals and read books on the subject. None of which I felt I fully understood. Finally, I happened upon a book called Photoshop Channel CHOPS that revealed how to perform a bluescreen comp in Photoshop using techniques similar to an optical printer. My results were disappointing. I didn't understand what I was doing.

Two years after The Phantom Menace and armed with an MiniDV camcorder, iMac, iMovie & Photoshop I made my first film. A (very short) short starring my brother and featuring one greenscreen shot. The poorly lit screen didn't key well at all so I set about rotoscoping the entire 316 frame shot. One TIFF image at a time in Photoshop 4.0. The rotoscope was taking forever so I opted to reshoot the shot with a better-lit screen.

11:37pm from Samuel Hall on Vimeo.

By then I'd started using Commotion. A once-great compositing application that's since been abandoned. With modern keying tools I no longer had to know the ins-and-outs of bluescreen compositing.

I moved on with my life.

Every so often I revisit this obsession. Trying to wrap my mind around optical, photochemical processes that gave way to this one visual trick that made possible so many of the spectacular images that have inspired me for as long as I can remember. This obsession with bluescreen shots led to an interest in visual effects of all kinds and to my current career in the moving images business.

Now, because of this video demonstration by FX Guide & Stu Maschwitz I finally understand how it worked then (the optical, pre-digital era) and now. I can't tell you what this means to me. Thank you FX Guide. Thank you Stu.

July11 Background Fundamentals Class 01 from fxguide on Vimeo.

fxguide: ILM and the Optical Printer

Help A Brother Out

2011-09-22T22:14:00.001-04:00

You've got just 24 hours left to help Koo of NoFilmSchool make his first feature film. NoFilmSchool is a site I get a lot out of and if you read this blog you will to. This is a wonderful opportunity for all of us to really put our collective money where our mouth is and support the kind of creative endeavors we all want to be a part of.

Come on. Help a brother out.

Man-child on Kickstarter
NoFilmSchool

Aquaphobia

2011-08-25T10:16:00.005-04:00

Water is an odd thing for me. To say that I'm afraid of water might be too simple. More specifically I'm afraid of submerged objects though sometimes the water is enough to cause a reaction. It's not as though I can't go outside on a rainy day or have a relaxing time by a lake (which I just spent a week doing). It's just when entering the water or seeing something under it that I become a bit apprehensive. This fear is something I think I'd like to explore further in future films.

Putting aside my apprehension I still find the image of water fascinating. I was looking for a reason to try using a GoPro camera and it seemed a good way to test it would be in a situation that I wouldn't want to put a 'normal" camera in.

I've always liked the way water was depicted in Gattaca, one of my favorite films. Greenish-black, threatening and yet somehow peaceful. Though originally I'd set out for a much different tone, I ended up channelling Gattaca pretty hard on this one. An alternate name for this post I considered was "Aquattaca".

If I went too far on the color-grading then, well good. That was what I wanted. Too often I hold myself back on a certain look because it seems to draw too much attention to itself. While that can have some merit on a narrative film, a film like this which consists entirely of images and music, I think can go a lot farther with it's look.

Despite my horrible sunburn, I'd say I definitely enjoyed my aquatic shooting experience. Any doubts I had about the GoPro have been washed out to sea ;-). It is a fantastic camera and I plan to test it's mettle, putting it in dangerous situations very soon.

Fuck you, Poseidon.

BBC's 'Outcasts' Shooting Anamorphic

2011-06-13T15:11:00.002-04:00

As I suspected from early promos BBC's new sci-fi show 'Outcasts' is breaking new ground by being the first television series to shoot with Arri M-Scope anamorphic lenses and in a 2.40 aspect ratio. Unfortunately the BBC saw fit to crop the show to 16:9 for broadcast, with only the end-of-episode promos being shown in 2.40 glory. Perhaps we'll see full episodes in 2.40 in future Blu-Ray/Streaming version? Here's hoping.

It's hard to stress how excited I am by this bold artistic choice. Anamorphic lenses are a thing of cinematic wonder. One which largely goes unnoticed by the public but has an incredibly strong impact on the viewing experience. I recently saw two excellently anamorphic films; 'X-Men: First Class' and JJ Abrams' 'Super 8', both of which had the look and feel of good-old-fashioned movie-making.

I only hope more TV networks become willing to take the plunge on exciting visual choices for a medium which more and more is gaining equal footing with it's cinematic counterpart.

Related articles:
HD Magazine: BBC's Outcasts Get Anamorphic Shooting But Not Broadcast

People's Choice Award

2011-05-26T12:16:00.000-04:00

Help us win the 48 Hour Guerrilla Film Contest's "People's Choice Award". The film with the most plays wins. All you have to do is watch the film below and share!

Facepalm... 3D!

2011-05-23T12:39:00.002-04:00

Make it so-so.

Talking/texting audience members, shit sound, unending pre-show ads, bedbugs and now THIS? it's as if theater chains are trying to convince me to just watch everything at home. Link below.

Boston.com article about the misuse of 3D lenses in 2D movies.

According to the article, many of the big US theater chains are leaving 3D polarizing lenses on when showing movies in 2D, leading to a significantly darker image.

I can't understand why the theater chains don't seem to find this trend appalling and wouldn't want to address this with new policies. More and more I find myself skipping the theatrical run of a movie in favor of a more controlled and all around better experience at home.

What do you think?

48 hours at 24 frames

2011-05-23T12:16:00.005-04:00

frame grab from 'BLOOD' - a 48 hr. film

Matt Johnston of Life On A Non-Linear Timeline has posted an excellent write up of our experience making a 48 hour film for the 2011 48 Hour Guerrilla Film Challenge.

Give it a read.

Odyssey

2011-04-18T10:32:00.007-04:00

Many, many ways to watch my latest film; 'Odyssey'!

View on ExposureRoom

Don't You Dare Eat Your Cake

2011-02-15T10:55:00.002-05:00

Throughout my 10 years as a low-budget digital film-maker I've found that we are constantly faced with the challenge of having our cake but never quite being permitted to eat it too. New technologies constantly allow us to steal fire from the gods but not without getting burned.

With MiniDV we could make movies on our home computers with no image degradation, opening up a creative explosion that changed film-making and my life significantly. I had never made so much as a home movie in my life but suddenly a 16 year old film nerd could make lightsabers in his bedroom (is that a euphemism?). But the frame rate and the depth of field were respectively long and videotastic.

Then came 24p. When I first read of the Panasonic DVX-100 I thought I'd sell my organs for a chance to own one. But 24p came with a whole host of strange pulldown related issuses (until 24pA, although that wasn't perfect either). So we had our film-like frame rate but we were still stuck with heavily compressed, low-resolution images. For my own part, I went the (much cheaper) route of a PAL Canon XM2 (GL2) and used it's native 25p(50i), along with an anamorphic lens adapter to get my movies looking like movies.

Then came HDV. Finally high-definition images in the hands of regular folk. But it too was heavily compressed and used the same small-sensor technology of MiniDV. Baby steps.

From there we started the move away from tape-based to a variety of solid-state acquisition formats, most of which I avoided due to their complications and cost.

Then came the DSLR.

Finally the chance to shoot films with the beautiful short depth of field we'd all been raised on, at 24 fps and beyond. With this I was also more willing to invest in expensive high-quality lenses for my DSLR because I wasn't just using them for stills anymore. But of course there were the issues of scaling and Jell-o vision CMOS sensors. So once again we've taken a baby step forward, solving one problem while creating several new ones. But we're getting there and this is an incredibly exciting time to be a film-maker. Every day new cameras with new never before seen advantages are released and we are given the chance to make our less-and-less compromised visions a reality.

You kids don't know how good you have it.

I don't doubt that the coming years will give us Super35 sized sensors (and larger) without the compression and scaling issues of today's DSLRs but it will no doubt come at a cost. A cost which I will likely not be able to afford. So for the foreseeable future I'm going to have to settle for simply having my cake whilst remaining hungry. I could imagine worse fates. :-)

Who Cares?

2011-01-27T14:19:00.009-05:00

A question came up during a talk with Philip Bloom, Vincent Laforet & David Leitner at the Vimeo Awards which raised the issue of consistency across a variety of delivery formats. What the issue boiled down to was that we work hard to craft a very specific look for our films only to have that work maligned by inferior or poorly calibrated displays on the receiving end. Be it TV, web, mobile etc. David Leitner argued that we must come up with a standard for display technology to allow our precious vision to come through as we saw them. The problem, as Philip & Vincent argued, is that you'll never be able to control every aspect of how your audience sees your work and I'm inclined to agree.

When I look back on the films that made a lasting impression on me growing up, films like Die Hard, Star Wars, Indiana Jones and Aliens, I have to realize that what I originally saw was a heavily compromised version of beautiful work. My usual viewing format was a pan & scan VHS tape (or worse, over the antenna on TV) and a CRT TV well past it's prime. What I have to remind myself is that these films, these images, these stories resonated and continue to resonate with me not because of the format they were displayed in but in spite of it. I've since seen all of these films closer to, if not directly in, their intended formats and while I prefer them this way, I appreciated them no less in their compromised form.

Perhaps we all need to take a step back and realize that we can only make our films look just so perfect. At the end of the day, if the story is great and the images support it then we've done our job well. So let's all get out there and tell some great stories through a veil of technological compromise because when you get right down to it, who cares?

Watch the video that inspired this rant below:

Lossless DSLR Workflow In Depth

2011-01-02T11:30:00.001-05:00

I've had a few questions regarding my post workflow using DSLRs with Final Cut/Premiere & After Effects so I thought I'd post a detailed breakdown. Here goes...

Shoot for Post

Start by shooting flat. There's plenty of info on other sites about this so I won't go into detail here. Just know that you can give a flat image it's balls in post way better than in-camera.

I immediately make DVDr backups of everything on the CF card(s) for data safety and archiving. Once I have my raw footage in several locations at once I then feel comfortable erasing the card(s).

"I will f@#king cut you!" - Editing

If I'm working in Final Cut I'll transcode to Prores Proxy for editing. Making sure to keep the original file names intact as they'll be needed for reconnecting to the H.264 files when I've locked my cut. I'll only be using the Prores Proxy files to make my cuts. When I'm ready to send my project to AE, I'll want to select the proxy files and reconnect to the H.264 original files before outputting to XML. That way I'll be working with the cleanest version available in AE. More on that in a bit.

If I'm using Premiere I'll just bring the original files straight in and start cutting (gotta love Premiere for that).

When I've locked my cut and I'm ready to move on to color grading I've found it's best to organize my timeline before sending it to AE. This applies when working in FCP or Premiere. The best way to get a nice, clean, cascading composition in AE from my timeline is to cut the unused parts of clips off and move everything down to one track. Otherwise you end up with layers all over the place in AE that you have to hunt down. This will save much time and aggravation.

I like to duplicate my FCP/Premiere timeline before making these changes, appending the sequence name with "for AE".

There are a number of ways to get your timeline into After Effects. If you're using Final Cut then all you have to do is export your timeline to a FCP XML file, import the XML with Premire, select everything in the new Premiere timeline, right-click and choose "Replace With After Effects Composition".

If you don't have Premiere you can also use FCPtoAE to get my Final Cut timeline After Effected. It works almost as well as going through Premiere.

Stu Maschwitz has some great AE scripts for adding adjustment layers to fit your clips and much more in The DV Rebel's Guide. A full breakdown of the AE mastering workflow can be found in The Guide. While it was designed with DV/HDV sources in mind, the DV Rebel workflow applies wonderfully to DSLR footage. David Fincher used a similar workflow on The Social Network. Seriously, get that book!

I cannot stress enough the importance of noise reduction on my DSLR footage. Neat Video Reduce Noise is what I use. Magic Bullet De-Noiser is another one. There's a lot of information out there regarding both options. A little goes a long way and I've made some of the best looking footage I've seen from these cameras with just a touch of noise reduction. See the links below for more info.

NoFilmSchool

Stu's post

AUDIO

Audio mastering is fairly simple. I usually delete the audio from my simplified "for AE" timeline and export an AIFF from the original timeline instead. This file can be imported and attached to the TIFF master in AE during a later step.

The Devil is My Master

Once I'm satisfied with my AE color grade I output to a TIFF sequence as my master. The reasons for this are many and are better laid out by Mr. Maschwitz in The Guide.

While this workflow is as close to lossless as I've seen, it is a product of it's flawed human creator(s). I've always had difficulty getting consistent results compressing directly from the TIFF master. The resulting output ends up with a gamma shift so I output a Prores HQ file for use in compression. You can do this by importing the TIFF sequence & the AIFF master in AE, add them both to a new comp and render to Quicktime.

I have observed no noticeable loss in using Prores HQ for a compression master. If anyone has any suggestions on how best to compress from the TIFF sequence please let me know.

Conclusion

Hopefully this post will be useful to people who, like me, wish to master their movie outside their NLE. After Effects is where I live in my computer and since I was introduced to this way of working I haven't looked back.

Happy 2011.

Bloom Challenge 3

2010-12-14T15:23:00.001-05:00

Open Air - Philadelphia's Italian Market from Samuel Hall on Vimeo.

Over the weekend I shot and edited my entry for Philip Bloom's Weekend Challenge 3. Open Air - Philadelphia's Italian Market. Shot entirely with one lens, the Canon EF 85mm f1.8. I absolutely love that lens. These are some of my favorite shots I've ever made.

This was my first time really trying out Adobe Premiere Pro CS5. My main reason for using Premiere was to gain the advantages of it's integration with After Effects, which I use for all my color grading but I have to say I love being able to start editing almost immediately after shooting.

There are some drawbacks. For one thing I really can't stand the Premiere Titler. Makes no sense to me. Perhaps I have too many pre-conceived notions coming from almost 10 years of Final Cut use. There's also a slight response delay when hitting play/forward/backward with H.264 files. This may be due to running it on an iMac without a graphics card optimized for CS5. Perhaps my future Hackintosh will yield better results. Beyond that though I'd say that Premiere has certainly won me over.

I definitely see the advantage of an IS lens over non-IS. It would probably be ideal to have shot this with some stabilization, other than my currently crippled tripod but there's no budget like no-budget.

Love the weekend challenges. Keep 'em coming Phil.

NoFilmschool Hackintosh Instructions
Philip Bloom's Weekend Challenge 3

30 Seconds Is Shorter Than It Used To Be

2010-12-13T09:53:00.013-05:00

Devil Trailer Parody in 30 seconds from Samuel Hall on Vimeo.

My winning entry for canonfilmmakers.com 30 second film festival. A parody of the trailer for the film Devil. Great people over there at canonfilmmakers.

I'd been really hungry to do another narrative project and this was a great way to get back into it. We shot the film after hours in the elevator in Matt Johnston's office in about 2 hours time. This was some of the most fun I've ever had making a movie. Everyone mobilized and we kicked the shit out of this thing.

It's funny to think about how my early movies were not much longer than 30 seconds and that felt like an accomplishment. These days I'm finding it quite challenging to cut something down to 30 secs while keeping it interesting and making any sense.

I'm loving the fact that owning a DSLR has really enabled me to make a lot more (hopefully better) movies. I haven't really stopped shooting since buying my 7D last August. Projects like this and Philip Bloom's weekend challenges are a great kick in the pants for procrastinators like me.

My Mind Rebels At Stagnation

2010-10-24T18:18:00.013-04:00

Been an interested few weeks for me. I had a great time meeting Philip Bloom, Jon Connor, Cristina Valdivieso, Bruce Pinchbeck and others while bowling last week. Philip Bloom's a great guy and a much better bowler than myself.

Below is an object study I shot last weekend. The score is a improvised piano piece I composed. I'm quite pleased with the results.

Duaflex IV from Samuel Hall on Vimeo.

I'd like to keep doing projects like this so that I always have something to work on. My mind rebels at stagnation. I'm currently scoring a short film by Matt Johnston and editing/scoring a ton of footage from my trip to Arizona last month. Below is one of my many timelapses from that trip.

Shed Timelapse 1 from Samuel Hall on Vimeo.

I also recently had the pleasure of composing a 10 second intro theme for Nathan Lodise's steampunk radio show.

Nate Show Intro v1 by SamHall

And I highly recommend reading The Futurist: The Life & Films of James Cameron. That guy is an inspiring badass.

Next up hopefully 2 short action films starring Sam Lodise.

Murder, She Watched

2010-09-06T00:22:00.008-04:00

Meghan loves her Murder, She Wrote. She might be the show's youngest living fan. Also, I absolutely adore her.

Murder, She Watched - Meghan Marvin Character Study from Samuel Hall on Vimeo.

I made this video for Philip Bloom's Weekend Challenge 2. The challenge was to do a character study using sync sound. I shot with my Canon 7D and recorded sound with a Zoom H4N. This was the first time I tried shooting sync sound with a DSLR and it wen't very well. It's actually somewhat freeing to take the sound away from the camera. I felt more free and light without being tethered to sound cables.

I edited this with Final Cut Pro and color-corrected with Adobe After Effects CS5. The sync process was quite easy, using FCP's "Merge Clips" feature (found in the Modify menu). It's a feature that doesn't seem to get much attention so I'll go over it here:

The easiest way I've found is to set your in-point on both your video and audio to a sync point, l like a clap-board or in my case Meghan clapping. Then, with both clips selected, Merge Clips. FCP will ask you how you want to sync, choose in-points. You'll then have a new synced reference clip in the browser, ready to use.

I doubt this is big news to anyone but I found it surprisingly easy and fun to play with.

Thanks to all who've watched, commented and liked the film. Special thanks to Philip Bloom for getting me off my ass to make something over the weekend :)

Garbageband?

2010-09-03T09:57:00.014-04:00

I get funny looks from people when I tell them I use Garageband to score movies. There's a misconception that Garageband is only useful for mixing around loop tracks for your iMovie projects. I'd like to say that this isn't so.

Hidden behind Garageband's cartoonish appearance is a set of powerful tools. For a person like me whose a marginally skilled musician but doesn't have much interest in audio engineering aspects of other tools like Logic, Garageband is both simple and complicated enough. Using Apple's Jam Packs and a USB MIDI keyboard, I have a huge variety of software instruments for use in my usually orchestra-heavy scores, without ever touching a single loop.

Guns for Justice 2: The Revenging from Matthew Johnston on Vimeo.Short film I scored with Garageband.

Like anything, it's not the tools you use but what you do with them. Garageband made possible my dream of scoring movies without expensive and cumbersome equipment. I've produced some pretty decent and creatively satisfying stuff with it and frankly, I'm tired of the scoffs.

Big, Big Action! by SamHall
Action cue from Mother Superior: Let There Be Lead.

Go Fox Yourself

2010-07-26T11:11:00.007-04:00

The news that Bear McCreary will not be returning to score the upcoming 2nd season of Human Target has me baffled by the seemingly bottomless pit of stupid over at Fox.

As if previous WTF fails by Fox didn't convince me, I had begun to have hope that the renewal of Human Target might point to a different direction for the company with an anit-aircraft machine gun constantly pointed at it's foot.

I absolutely loved every second of the show's 1st season and Bear McCreary's score was a huge part of that. I wouldn't have even known about the show if not for his involvement and McCreary's own blog entry on the subject indicates that none of his Emmy nominated themes will be present in the 2nd season.

This is a stupid move. Even for Fox.

A Festivus For The Rest of Us

2010-07-09T15:11:00.006-04:00

Mother Superior has been selected to play at the 2010 Action On Film International Festival, Friday July 23rd at 10pm.

Writer/Director Matt Johnston will be there so if you happen to be in LA, check it out

Boredom + 7D + Guns = Movie!

2010-07-09T14:24:00.001-04:00

Guns for Justice 2: The Revenging from Matthew Johnston on Vimeo.

The Hand of Unspecified Deity

2010-05-24T22:12:00.005-04:00

Hand of God from Samuel Hall on Vimeo.

View on ExposureRoom

Atlantic City Is A Terrible Place

2010-05-20T19:00:00.010-04:00

You will never find a more wretched hive of scum and villainy...

Last weekend myself and Nathan Lodise drove an hour out to AC to get one shot. It was supposed to be a background plate with a greenscreen-shot foreground element. We ended up getting both background and foreground in-camera.

There are no bathrooms in AC. We had the bright idea to try one of the local bars. A biker bar full of people of indistinguishable gender. Nate, in classic Nate style, yells "Hey! Can we use your bathroom?". The bartender sized us up for a second and simply said "No." in a "We don't serve your kind here" way and went back to what she was doing. Frankly, I don't understand her reaction. We clearly did not have any droids with us.

I don't think that anyone sets out to be in Atlantic City for an extended period. People just get stuck there and the dead stares of burned out gamblers and drug addicts told me all I needed to know about New Jersey's ocean paradise.

But alas, we got the shot, plus a few others and, shoes heavy with sand, got in the car and got the fuck back to civilization.

I have some additions to make as well as color correction but it should be up on the intertubes next week.

In the mean time, have some birds:

Birds from Samuel Hall on Vimeo.

Editor's Reel 2010

2010-03-30T22:07:00.003-04:00

Editor's Reel 2010 from Samuel Hall on Vimeo.

A compilation of my my best an most recent work as an editor.

Portable Sodium Vapor

2010-03-22T19:13:00.006-04:00

For those interested, here is an iPhone/iPod version of Sodium Vapor.

Right-click the link and download the linked file for to be able to use it.

3/23/10 12:29AM

Mother Superior too.