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The Premiere of our 2014 Reel and a Breakdown of our Rental Packages

Hello everyone! I know we recently updated the site with a bunch of new content just a few weeks ago, but the time has come for us to be able to officially show off what we've been up to in 2014. Check out our brand new MoVi Reel below:

Climbing Higher Pictures 2014 MoVi Reel. All footage was shot on our Freefly MoVi M10 with a variety of cameras.

Includes footage from:

The Tonight Show with Jimmy Fallon - Rollerblading Promo Topps - Huddle/Kick Gatorade - Fierce Crobot - Nowhere to Hide Buffalo Picture House - NYCB Gala Presentation Barbarian Group - Introducing the Superdesk The Horse Thing - More Like Shrek (Coming Soon!) Climbing Higher Pictures - Alice

Now normally that would be enough of a site update in and of itself, but we've also recently put the finishing touches on an updated MoVi page. The Freefly press release has been removed, and replaced with this infographic that describes our two main rental packages and the equipment included with each.

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We're looking forward to ending 2014 with a bang, and finding new and innovative ways to put our equipment to good use. Hope to see you on set in the very near future, and if you're interested in a quote, please check out our Contact page for more information.
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October Site Updates – M15 Unboxing, Brooklyn Bean Commercial, Updated “Work” Page

Hello everyone!

Its been a little while since we had the chance to update the website. Things haven’t really slowed down for us this summer, and as the weather gets colder and the NYC film industry slows somewhat, we’ll be able to post more frequently on upcoming projects and some of the cool things on the horizon.

First up, some of you might have seen our MoVi M15 Unboxing Video on Vimeo. We thought it might be a nice way of introducing our new and improved rig while running through some of the new features of the M15. We’ve also heard from other M10 owners who were happy to see the rig in action and get a chance to decide whether or not the upgrade is worth it. We now own both the M15 and the M10, giving us greater flexibility on small jobs where the budget may not allow us to run with the new bleeding edge tech. As soon as we get the chance to rig up our friend’s F55, I’ll be sure to post pictures of the previously impossible setup.

Also this month, we had the opportunity to produce and direct our first commercial as a company. The spot, for coffee manufacturer Brooklyn Bean, is a humorous play on the new Keurig 2.0 machines that require a scanned barcode before pumping your coffee. It’s Keurig’s way of trying to make money off of smaller third party coffee makers, and the initiative seems to greatly restrict user choice. “Gotta Scan Bro” is currently in post production, and we hope to have it finished by late November. We can’t show you any footage yet, but check out a few stills from the project below.

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Last but not least, we’ve rolled out new page updates across the site, including to our “Work” page where we’ve started posting completed projects as they’ve premiered online. You can check out our work on a music video for Pigeon John, an ad campaign for Depict, and our very first video for The Barbarian Group among others.

Hopefully by November we will have the necessary clearances to premiere our Summer 2014 Reel. It’s all edited and ready to go, we just can’t jump the gun for many of our corporate clients. Feel free to contact us via our Contact page if you’d like us to send along the private link.

Until next time!

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Official Release of the MoVi Short Dance Film “Alice” Exclusively on Vimeo

Today Climbing Higher Pictures LLC is excited to announce the premiere of “Alice”, our latest short film and the first to make exclusive use of the Freefly MoVi M10 gimbal. The project was developed with choreographers Erica Hart and Molly Horne as a showcase for what freedom of camera movement can bring to dance videography. The goal of the short was simple: make the camera as much of a dancer as the performers themselves.

Alice from Ryan Hamelin on Vimeo.

Work began a month or so prior when director Ryan Hamelin sat down with his choreography team to pick a song and settle on an idea that provided enough variety to avoid a more standard single location dance shoot. “I had always wanted to do a whimsical dance project of some sort", said Erica Hart. "So when Ryan had the idea of doing a dance film outdoors, I thought it was a perfect opportunity to get Molly involved. She really knows how to connect with her performers and knows how to set her pieces with the dancers in mind. As a result her choreography always turns out to be spectacular. This was our first time collaborating and when we were in the studio we quickly found that our two different dance styles were in fact very similar and the dance came naturally.” "I wanted the contemporary choreography to have a light and airy quality in order to evoke a sense of mysticism and to make the dancers seem ethereal", said Molly Horne. "The contemporary sections were breathy, with softer, grander movements. Erica and I collaborated to create a contemporary-hip-hop identify for Alice and it was exciting and surprising to see how easily our different styles flowed together."

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When it came time to casting the part of Alice, everyone involved knew she had to be just as talented at acting as she was at footwork. “Katherine McManus is that girl", said Hart. "She's a triple threat. She's a terrific dancer, an actress, a singer and our perfect Alice. I've been watching her dance for the past two years and knew she could not only pull off the part, but bring her own spin to it." Hamelin agreed, adding that “she comes across as incredibly relatable, and we weren’t going to have a lot of screen-time for the audience to get to know her. We had to buy her transformation on the Highline and believe that she could become the leader of this group of dancers after running scared for most of the short. I really think she pulled it off.”

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The short had its share of technical challenges too, choosing to photograph the project on a 5D Mark III with the Magic Lanter Raw Hack enabled. “Neither Erin [Director of Photography], nor I had ever shot with the hack before this, and we actually ended up having to borrow extra cards from my roommate just because of the sheer amount of data we were recording", said Hamelin. The Magic Lantern hack allowed the filmmakers to pull RAW image data out of the 5D in the form of still image sequences that have to be processed in post. The benefits of this method include a much higher quality image, as well as greater latitude between shadows and highlights, something which became invaluable during the naturally lit shoot. “We didn’t have the budget or the manpower to set up much in the way of lights and reflectors, and the way we were moving the camera, it was hard to know what was necessarily going to be in the way or in the corner of a frame from shot to shot.”

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Hamelin and his partner Erin Trout worked closely together to execute some of the more complicated setups. “Erin pretty much spent the shoot glued to her monitor with our 1st AC, Dan Rampulla, huddled in next to her. She would use the MoVi’s remote control to maintain a consistent frame as well as execute fast movements and pans that are impossible for me to do while trying to keep my balance. Dan used her monitor to pull off of, and the whole thing worked really well. Having two operators who work well as a team and who know the rig inside and out is really the key to getting the best takes with the rig.”

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When it came to locations, the filmmakers settled on the iconic Bethesda fountain in central park, the Highline park on the west side of Manhattan, Brooklyn Bridge Park, and a subway train. On the first day of shooting the crew arrived to find the Bethesda fountain had been taken over by an event crew who had erected large tents and brought in equipment for a major event. "We just didn't have time to scout another location", noted Hart. "We ended up moving to The Mall and it worked out great. The dancers where able to adapt to the additional space and explore their movement. It was a lot of "structured improv" so I just had to guide that process." The Highline staff, a source of concern going into the shoot, seemed to be as entertained by the dancing as the crowd that gathered at the railing to watch. “One of the Park Rangers told us that they get excited when things like this happen on the Highline”, Hamelin said. “It gives the people visiting the park a story they can share with their friends, and maybe it’ll convince them to come back or donate to the Park Services.”

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The night of the final day of shooting was the pivotal subway scene. “I knew we needed to be able to film on the subway platform as well as in one of the train cars. We decided to go all the way out to Coney Island at around 1am on a weekday in the hopes of having an empty car to ourselves,” said Hamelin. New York City law forbids photography on the subway as part of their pledge to homeland security. There have been numerous cases of cameras getting confiscated and even arrests. Larger productions either spend thousands of dollars to rent out a train for their shoot, or, in the case of Darren Aronofsky’s Black Swan, they use a DSLR and steal the footage.

“Because of the MoVi, which looks kind of like a weird futuristic weapon in its own right, we were very concerned about raising suspicion on the platform. It ended up being a lot of hiding the rig behind trashcans in between takes, and avoiding security cameras wherever possible,” said Hamelin. Because of the tight security, the platform elevator that takes Alice up to the Highline was scheduled as the last shot of the production. “The elevator was rigged with multiple cameras inside and an additional camera on the outside above the door. There wasn’t a way to avoid them so we just had to hope we’d get away with it. It was really a one take situation, and when we didn’t get stopped after the first attempt we got a couple more for safety and then exited the station.”

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The post-production process took a little over a week. The project had been storyboarded in such a way that individual shots naturally led in and out of each other on predetermined music cues. This allowed the editing to occur much faster than it would on a more conventional production. "I think it looks great and it really shows all of the hardwork Ryan put in it to pull it off", said Hart. "Ryan and Erin knew exactly what they were doing and it was a joy working with such a positive team of artists. The audience is in for a real treat!" “I just really hope viewers enjoy themselves watching it, and I’m incredibly proud of all the people who donated their time to make this project happen", Hamelin added. "We couldn’t have done it without help, and I’m totally in their debt.”

Check out the finished short at the top of the page, and below is a brief look behind the scenes of the shoot:

We hope you enjoy “Alice” and let us know what you think in the Vimeo comments.

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Site Updates and MoVi Selects

Hello everyone,

It has been, admittedly, quite some time since our last site update. 2014 has been a very busy year for us so far, and we've got a lot of new content we'd like to share with you.

First and foremost, we've updated the MoVi and Work portions of our site with new videos and examples of our recent work. Many of the projects we've been a part of still require us to keep our work private, at least until after a given project has been formally released. This is also a large part of the reason why we have yet to debut an exclusively MoVi reel, as many of the shots we'd love to include are still wrapped up in our nondisclosure agreements.

However, you'll notice that our Work page now includes a variety of new content, content that I've reposted here for ease of viewing.

Below you'll find a collection of what we like to call "MoVi Selects" which serve as mini-reels of raw footage from various projects. The shots should demonstrate the camera moves each project required, and reveal the varied applications of our Freefly MoVi 10.

More clips will be provided over time, so check back in to see the latest highlights.

 
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“The Final Illusion” Achieves Picture Lock

Its been a long road, but we've finally made it. Just last week, my editor (Evan Scott) and I locked the final cut of The Final Illusion. Without credits, the film runs 7:14, a bit under our initial goal of an 8 minute cut. Now the other post-production departments kick into high gear, as our sound design, musical score, and visual effects all begin to work in earnest. My hope is to finalize the film by the end of 2013, and though I'll be busy on set for much of December, I have faith in the work that is already underway.

I wanted to take a moment and thank everyone who's been involved in the production, many of you since the first days of principal photography, and the many more who joined the shoot for a day of additional shooting over the summer. This has been, more than any other project I've undertaken, a hugely collaborative effort, and if it wasn't for the hard work and dedication of so many people, including all of you who donated to the IndieGoGo that allowed me to fund the development of our 35mm film, there would be no movie to show.

My sincere hope is to have a finished version ready to distribute to the cast and crew before Christmas, at least through a private Vimeo link, with physical copies to follow shortly thereafter. I can guarantee there'll be plenty of interesting stuff on the Bluray/DVD including a slew of deleted scenes and some extended versions of the sequences that you'll see in the final cut. Everything really took shape in the editing room, and even though we made a lot of hard cuts, I think we've arrived at the strongest possible version of the film.

There will be more updates regarding post in the next few weeks, as well as festival submission announcements early next year. Hope you all stay tuned for updates.

Thank you again,

-Ryan

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Acquisition of the MoVi 10 Gimbal System

Today is a proud day for the company, as we announce the final acquisition of the Freefly MoVi 10 Gimbal system. Announced at NAB 2013, the motorized gimbal can handle a payload of up to 12 lbs. and allows the operator to achieve shots previously only available with costly steadicam rigs and some which cannot be captured in any other way.

We've added a MoVi tab to our top menu bar, and you can find more information about the rig on that page. Feel free to contact us for a quote regarding the rates associated with renting the rig and our operator team by using the contact form here.

I'll leave you with a BTS video of the first shoot with the rig, helmed by the talented Vincent LaForet.

MōVI BTS from Vincent Laforet on Vimeo.