CSC award recipient Pasha Patriki talks with Artbeats

Q: When did you begin shooting?

A: My career in film began in 1999 and since 2003 I have been professionally shooting stock footage.

 

Q: What is your favorite subject to shoot?

A: Actually, dramatic scenes with actors are my favorite.

Firemen walking on a street

FF-FH100-15 – Firemen walking on a street

 

Q: Which camera(s) do you prefer for shooting stock footage?

A: My camera of choice is Red Epic, for it’s versatility and quality.

 

Q: What’s your favorite clip that you currently have represented in the Artbeats FootageHub?

A: It’s unfair to ask a parent which one of his babies is his/her favorite. 🙂

Woman dancing on an urban rooftop

FF-FH101-07 – Woman dancing on an urban rooftop

 

Q: What advice can you give to shooters who are just getting started in the stock footage industry?

A: Shoot as much as you can, the best you can. Learn the rules. And then break them.

FF-FH101-29_Crowd

FF-FH101-29 – Fans at an outdoor concert

 

Q: What’s the best or worst thing that happened to you on a shoot?

A: Best – Having a world-known icon unexpectedly sign your release form.

FF-FH101-34DJ

FF-FH101-34 – DJ at a disco

 

Worst – dropping camera into radioactive pool of water.

FF-FH103-31

FF-FH103-31 – Teacup and saucer fall in slow-motion

 

Q: What is the one thing you wished you’d been able to capture?

A: There is not ONE thing I wish I could capture. This is an ongoing list that transforms together with our world.

 

About Pasha Patriki:

Pasha Patriki

Pasha Patriki

Since he was 4 year old, Pasha was determined to become a filmmaker. Growing up in Moscow, Russia, he started learning the craft by playing with his grandfather’s Super9 camera. Already then Pasha was striving to create narrative pieces, not just home movies.

After moving to Toronto in 1996, he started working on various film sets as a lighting technician, simultaneously studying in the Film & Video production program at York University. Today – 15 years professionally in the business – Pasha’s work as Director of Photography has been recognized in Canada as well internationally

Almost every year music videos lensed by Pasha receive nominations at Much Music Video Awards. Pasha has shot videos for notable Canadian artists like Hedley, Billy Talent, Down With Webster, Carly Rae Jepsen, Mariana’s Trench, Finger Eleven, Anjulie, and many others.

In 2014 – second year in a row – Pasha is nominated for the Best Cinematography at the CSC awards. Last year it was two nominations – one of them landing as an award for Music Video category. Pasha Patriki is a full member of CSC (Canadian Society of Cinematographers) as well as an IATSE 667 Union member in the DOP category.

Review Pasha Patriki’s footage here.

Mark Adams discusses Rocketclips beginning

Artbeats’ customers and subscribers have evinced a lot of interest in learning more about our footage producers: e.g., how they started in the business, what challenges they met, what cameras are their favorites, what advice they would give when shooting stock footage, and so forth. What would be a better way to start off a series of producer interviews than to feature Mark Adams of Rocketclips?

rocketclips

Q: When did Rocketclips begin shooting?

A: I started as an assignment still photographer in 1978 and began shooting stock stills in 1984, by the mid-90’s shooting stock stills was my full-time living. I founded Rocketclips and picked up my first video camera in 1999, by 2001 the change-over to motion was complete.

 

Q: Your library is full of great shots of people doing various activities. What is your favorite setting for capturing this “lifestyle” footage?

A: I’ve been working a lot with a set we built. We can dress it for business and medical. Sometimes it’s a living room or a bedroom. We’ve even turned it into a clothing store and a spa.

Family connecting to social media

RC-FH183-024. – African American family using cellphone and tablets

 

Q: What are some of the challenges you face with doing studio shoots vs on location?

A: I prefer to shoot indoors. It’s easier to control the environment. Being on location allows the talent to interact with the real world, things can feel more natural but the trade off is just what you would expect; weather, dirt, sand, less than interesting backgrounds, police. Among the biggest challenges we face wherever we shoot are the logistics of managing props and wardrobe. Also camera movement is a huge challenge, especially on a budget. After years as a still stock shooter, working with talent comes very naturally. It’s all the gear necessary for shooting motion that makes us crazy.

Happy friends laughing and dancing

RC-FH234-083 – Happy business colleagues dancing

 

Q: What’s your favorite clip that you currently have represented in the Artbeats FootageHub?

A: I don’t have favorite clips. I have favorite shoots. Those are the shoots when I’m at my best and I’ve got terrific talent. I bring it, they bring it and the footage looks great.

RC-FH232-134 - Young couple making faces

RC-FH232-134 – Young couple making faces

 

Q: What¹s the best or worst thing that happened to you on a shoot?

A: The best was shooting childbirth. The worst, getting arrested for shooting with out permits.

Man being arrested

RC-FH177-2009 – Man with handcuffs

 

Q: What is the one thing you wished you¹d been able to capture?

A: One time I splurged and rented a helicopter to shoot the Las Vegas strip at twilight. I didn’t have the money for a stabilized camera mount, so they took the doors off for me and I hung out hand held, totally useless footage. I envy Phil; he does wonderful aerials.

RC-FH097-001 -  Las Vegas Boulevard at night

RC-FH097-001 – Las Vegas Boulevard at night

 

Q: Which camera(s) do you prefer for shooting stock footage?

A: Right now I’m shooting with a Red Epic and I love it. Shooting raw is like a dream come true.

 

Q: What advice can you give to shooters who are just getting started in the stock footage industry?

A: Anyone being honest will tell you that shooting stock has taken a hit from lowering prices. It’s tough to make a living solely from stock. My advice? Anyone with the skill to use a tool, whether it’s a law book, a wrench or a camera can make a living with that tool, if they are talented, committed and passionate.

Young woman doing homework and talking on smart phone

RC-FH208-104 – Young woman on cellphone and studying.

 

About Rocketclips:

Mark Adams, Rocketclips

Mark Adams, Rocketclips

Rocketclips, Inc was founded by Mark Adams in 1999.
Mark is an experienced professional photographer and videographer who lives with his family in Long Beach, CA.
He graduated in 1978 from the commercial photography program at Art Center College of Design in Pasadena, California.
He began shooting stock stills in 1984 and migrated into motion with video in 1999.
Rocketclips always uses professional talent and specializes in lifestyle, business and nature imagery.

Encounter with a Tornado

eNews Headline Image June 2014wAuthor

I am not superstitious but I find it interesting that my first encounter with a tornado happened on Friday, June 13th near Devil’s Tower, Wyoming.

My storm chasing trip started June 9th when I flew to Minneapolis to meet up with partners, Skip Talbot, forecaster and professional chaser (http://www.skip.cc/), and Jennifer Brindley, also a chaser and professional photographer (http://jenniferbrindleyphotography.com/storms/). This was to be an amazing eight-day adventure where we would see no fewer than six tornados.

Jennifer Brindley and Skip Talbot in front of Devil’s Tower (the site of the Close Encounter’s close encounter)

Jennifer Brindley and Skip Talbot in front of Devil’s Tower (the site of the Close Encounter’s close encounter)

On this day, the storm we would chase was expected to initiate in the late afternoon, so we took some time to hike and take a sightseeing trip to Devil’s Tower. Sure enough, by 4pm, a large storm sprang to life just west of Hulett, Wyoming and the chase was on.

Tornados typically form under the updraft base of a supercell thunderstorm. This is typically seen as a cloud lowering on the southern portion of the storm. As the base begins to rotate, a “hook” shape often forms on radar. This is a radar image of the storm taken from my phone as we made our approach (Yes, there’s an app for that!).

Tornados form under the updraft base of a supercell thunderstorm. This is typically seen as a cloud lowering on the southern portion of the storm. As the base begins to rotate, a “hook” shape often forms on radar. This is a radar image of the storm taken from my phone as we made our approach (Yes, there’s an app for that!).

Normally, when chasing storms in the Plain States, we are in open country, but this storm was maturing in the hilly country of the Bear Lodge Mountains. Very few highways intersect this area but we found a spot on Highway 24 about 15 miles southeast of Hulett. Our vantage point gave us a view to the northwest where the storm had just become Severe-Warned. The track of the storm was eastward, so it would likely make a close pass to our north.

Here I am filming the storm as it approached from the northwest. Skip Talbot is standing next to me. Photo by Jennifer Brindley.

Here I am filming the storm as it approached from the northwest. Skip Talbot is standing next to me. Photo by Jennifer Brindley.

The sky became dark and ominous, and the storm, which was now officially Tornado-Warned, showed obvious rotation at its base. Wind started gusting around us, and as the updraft base came closer  it became hidden by the foreground hills to our north. Little did we know that a strong tornado was at the heart of this rotating cloud. Soon it became obvious that the storm was becoming increasingly violent. White clouds were whipping across the ridge to our north. We felt a blast of hot air, then heard an unearthly crackling roar, both being signs that a tornado is very close. Strong winds forced me to move my camera to the shelter of the van.

Jennifer Brindley catches me moving the camera out of the wind.

Jennifer Brindley catches me moving the camera out of the wind.

 

This clip shows the rotating cloud to our north at its closest point.

Rotating Cloud (720p version)

We continued to be battered by winds that were as strong as any I have felt in my life, winds at our back that were attempting to draw us toward the storm. We felt another blast of hot air. Skip assured us that we were perfectly safe in this location.

Can you see the dark funnel shape in the center of this contrast-enhanced image?

Can you see the dark funnel shape in the center of this contrast-enhanced image?

This composite image shows our location southeast of Hulett, and the radar signature of the tornado at its beginning and at its end, with the white line connecting the two showing a possible path.

This composite image shows our location southeast of Hulett, and the radar signature of the tornado at its beginning and at its end, with the white line connecting the two showing a possible path.

Soon the winds died down as the storm passed to our northeast. As we drove away, Skip commented that we didn’t see a tornado, we experienced it. That sums it up nicely.  It was later classified as a strong EF-2 with winds of up to 120mph and a track of 18 miles. Fortunately it passed over sparsely populated country so there was no loss of life and only one injury. It did destroy a mobile home, several outbuildings, and mowed down a significant number of large ponderosa pine trees.

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

This was to be the first tornado encounter in an amazing storm chasing trip and was an experience I will never forget. Over the next few months, we’ll be doing the post work on the footage shot on the Epic, and we’ll make it available as soon as possible. There is so much I want to share, plus more tornado stories will be coming in future Artbeats eNewsletters, so stay tuned!

Artbeats Top 10

The Stories Behind Our Highest Selling Clips of 2013 I’ll start with the tenth most popular and count down to #1:

10. In The Clouds

008-C026

Clip #008-C026
Camera: RedONE M
Date: March, 2010
Location: Hawaii

Back in early 2010, I got a call from Doug Holgate who was scheduled to shoot aerials for the movie Soul Surfer. He said that the Pictorvision Eclipse, a gyrostabilized gimbal mounted on a helicopter, would need to be shuttled from Kauai to Kona: that is, from one end of the island chain to the other. He asked if I would be interested in arranging a film shoot during this trip. I jumped at the chance. So, after shooting Soul Surfer, the Artbeats RedONE was mounted on the Eclipse and the next morning we lifted off from the Princeville airport on the North side of Kauai. After shooting aerials of the island, we headed Southeast toward Oahu. Over the ocean we encountered low level clouds that were practically begging us to shoot them so we obliged.

Aerial cinematographer Doug Holgate next to the helicopter with the Eclipse mounted on the front. This was shot at the Princeville Airport just before lifting off.

Aerial cinematographer Doug Holgate next to the helicopter with the Eclipse mounted on the front. This was shot at the Princeville Airport just before lifting off.

Over the Pacific between Kauai and Oahu approaching the clouds we would shoot.

Over the Pacific between Kauai and Oahu approaching the clouds we would shoot.

 

9. Washington DC National Mall

Clip #A121-C010v2 Camera: Epic-X Date: November, 2011 Location: Washington DC

Clip #A121-C010v2
Camera: Epic-X
Date: November, 2011
Location: Washington DC

In November, 2011, after months of plowing through mounds of red tape, Artbeats was given the go-ahead to film in the no-fly zone over Washington. This was a huge coup for us as we were told by many in the DC community that there was no way we would get clearance. As far as we know, this is the only time such a waiver was given to a stock footage company. We did four filming sortees: two in the evening and two the next morning. We were required to have a police officer on board, and after we landed, military intelligence officers inspected every shot looking for anything that could be sensitive to national security. They erased about 5% of our footage. Our route instructions called for us to enter the DC area low over the Potomac River from the North. This shot was one of the first taken as we were still over the Potomac. As for most of our aerial shoots, we hired Doug Holgate as the camera operator and used the Pictorvision Eclipse gimbal. We shot in 5K with our Epic-X. The lens was an Optimo 24-250mm zoom. To view a demo of the DC footage click here.

Army intelligence officers looking over our footage.

Army intelligence officers looking over our footage.

Doug Holgate filming the Pentagon.

Doug Holgate filming the Pentagon.

 

8. Arizona Sunset

Clip #SE124 Camera: Mitchell 35mm Date: September 1998 Location: Near Flagstaff Arizona

Clip #SE124
Camera: Mitchell 35mm
Date: September 1998
Location: Near Flagstaff Arizona

A year after our first pyrotechnic shoots in 1997, I rented a Mitchell 35mm motion picture camera with a Norris intervalometer and took it to Arizona to film time-lapse storms and clouds. This was long before any digital camera had this capability. In fact, seeing a full-size motion picture camera on the side of the road was a rare event and captured a lot of attention wherever I went. The footage from that shoot went into the White Puffy Clouds, Storm Clouds, Light Clouds & Fog, and Sky Effects collections. Over the years the Sky Effects clips have been the most popular of the four. This particular shot was taken from a highway viewpoint just West of Flagstaff. It is one of the oldest shots in the Artbeats library and the oldest on this list.

 

7. Cloud Aerial

Clip #CF433 Camera: Sony F900R Date: April, 2007 Location: Somewhere over Arizona

Clip #CF433
Camera: Sony F900R
Date: April, 2007
Location: Somewhere over Arizona

Cloud Fly-Thrus has been a great category for Artbeats over the years. Unfortunately, POV cloud plates are very expensive to shoot and also risky, as the film maker may not be able to find the right kind of weather. In April, 2007, for instance, we spent five days chasing around the country looking for the right kind of clouds.  The challenge is to find cumulus clouds with well-defined shapes that are lower than 14,000 feet.  Above that altitude the pilot can no longer use Visual Flight Rules and must get tower permission for every direction he flies.  Also, ice forms on the front glass too easily at higher altitudes.  After trying Utah, Colorado, Texas, and Arizona we found the best clouds in Oregon, ironically directly over the area where I live. To film our cloud fly-thrus we use the Wolfe Air Learjet 25 outfitted with a nose camera mount plus the Vectorvision system, which is a periscope tube that extends down out of the belly of the jet. The above shot was taken using the nose camera mount. We typically use both camera systems whenever we contract with Wolfe Air.

Prepping the nose camera on the Wolfe Air Lear 25

Prepping the nose camera on the Wolfe Air Lear 25

Doug Holgate checks the 1/2” thick optical glass that covers the front of the nose mount. The glass was pitted and needed to be replaced at the last minute.

Doug Holgate checks the 1/2” thick optical glass that covers the front of the nose mount. The glass was pitted and needed to be replaced at the last minute.

Me in front of the Lear at Salt Lake City.

Me in front of the Lear at Salt Lake City.

 

6. New York City Aerial

Clip #A106-C036C Camera: Epic-X Date: November, 2011 Location: Downtown New York

Clip #A106-C036C
Camera: Epic-X
Date: November, 2011
Location: Downtown New York

In November, 2011 we set up a week-long aerial shoot in the region surrounding NYC. The main goal was to capture NYC and Boston, but we were also able to fit Washington DC into the itinerary, as we found out last minute that we had been granted the flight restriction waiver. This particular shot shows our movement traveling southeast over the Financial District, starting over Wall Street and ending at the East River. To view our New York Aerials demo click here.

The Epic rig on the Eclipse.

The Epic rig on the Eclipse.

The AStar Eurocopter ready to lift off from our base at Newark.

The AStar Eurocopter ready to lift off from our base at Newark.

 

5. Downtown LA Aerial

Clip #005-C036 Camera: RedONE Date: October, 2010 Location: Downtown LA

Clip #005-C036
Camera: RedONE
Date: October, 2010
Location: Downtown LA

When I got word that Pictorvision was testing out a new 3D camera rig for their Eclipse gimbal, I asked if I could be their first customer and run it through its paces. We set up the shoot for October 2010, in the LA area, with two prep days and one shoot day. At the end of the second prep day, we decided to take the camera up for some evening shots downtown. This was one of those shots. The direction of movement is south, looking down South Figueroa Street. Although this was shot in stereo 3D, the most popular sales have been of the 2D version.

Annette Gaillard (Artbeats camera tech) doing prep work on the two RedONE cameras.

Annette Gaillard (Artbeats camera tech) doing prep work on the two RedONE cameras.

Stereographer Ken Corben and OptiTek founder Jacek Jakowicz calibrating the lenses.

Stereographer Ken Corben and OptiTek founder Jacek Jakowicz calibrating the lenses.

Annette Gaillard(Artbeats Tech) and Jake Capistron (Pictorvision Tech) Rigging the Eclipse.

Annette Gaillard(Artbeats Tech) and Jake Capistron (Pictorvision Tech) Rigging the Eclipse.

 

4. Fiery Ground Explosion

Clip #016-C003 Camera: RedONE Date: February, 2011 Location: Myrtle Creek Oregon

Clip #016-C003
Camera: RedONE
Date: February, 2011
Location: Myrtle Creek Oregon

Pyrotechnic effects have been a crucial part of our library since the very beginning. In fact, the success of the ReelFire and ReelExplosions collections launched the Artbeats Digital Film Library in 1998. That represented the first of many pyrotechnic film shoots. In February of 2011 we continued this tradition by shooting pyrotechnics with a 3D stereo rig holding two RedONE cameras. The shot list included many fire effects such as this gasoline-based ground explosion. This particular shot took place on a ten-acre field in a rural area of Southern Oregon. We dug a hole about a foot deep and several feet wide, then placed a gunpowder charge in a plastic bag holding a gallon of gasoline, and put the bag in the hole. The purpose of the hole was to direct the explosion upwards, sideways and away from the cameras and crew. The powder charge contained an electrical squib that could be ignited from a safe distance. We placed the tripod about 80 feet from the “bomb”, then rolled the camera at a speed of about 60fps and ignited the charge. The resulting explosion was incredibly bright, hot, and noisy. Similar to clip #5, this was shot in Stereo 3D; however, the most popular version is 2D.

Placing the bag containing the gasoline in the hole. The powder charge with electrical wiring can be seen on the ground.

Larry Linton, our pyrotechnician, places the bag containing the gasoline in the hole. The powder charge with the squib wiring can be seen on the ground.

The crew and camera rig. From left to Right: Tina Torres, Donald Barrows, Diane Barrows, Sebastian Rabern, Phil Bates, Annette Gaillard.

The crew and camera rig. From left to Right: Tina Torres, Donald Barrows, Diane Barrows, Sebastian Rabern, Phil Bates, Annette Gaillard.

 

3. Spinning Globe

Clip # EV102A Source: Computer Generated with Satellite Data Date: July, 2000

Clip # EV102A
Source: Computer Generated with Satellite Data
Date: July, 2000

This is one of the oldest HD clips in our library and the only clip on the top 10 list that comes from an outside producer. Although we don’t publicize the names of the producers we represent, I can say that he comes from a highly respected Hollywood Effects company, and at one time, theirs was one of the globes in a Universal Film Feature Logo. This clip and those from the entire Earth Views Collection have retained their popularity for over thirteen years now.

 

2. Timelapse Clouds 

Clip # A072-C038
Camera: RedONE
Date: May, 2010
Location: Near Elk City, Oklahoma

In May, 2010 we contracted with a Storm Chasing Tour company to take us on a 10-day trek looking for tornadoes in the Midwest. This tour company had a perfect record of finding tornadoes for every tour they did. Unfortunately, our tour was the first one to break that record. Although we did not find any tornadoes, we did get some great cloud and storm shots, and this is one of the best. It is also the longest running shot in this list at 1 minute, 14 seconds in length. To see our storm demo click here. (This demo contains more footage from this shoot and others taken that same year.)

Annette scanning the sky while we were acquiring this shot.

Annette scanning the sky while we were acquiring this shot.

 

And finally, the top selling clip of 2013:

1. Cloud Aerial at Sunset

Clip #CF402 Camera: Sony F900R Date: April, 2007 Location: Somewhere over Southwestern Oregon

Clip #CF402
Camera: Sony F900R
Date: April, 2007
Location: Somewhere over Southwestern Oregon

After 5 days spent filming clouds.

Inside the cabin of the Learjet, I found it easiest to direct by communicating directly with the pilot and pointing where I wanted him to go. In the foreground the camera technician monitors the Vectorvision camera (another F900) pointing down and out the belly of the aircraft.

Inside the cabin of the Learjet, I found it easiest to direct by communicating directly with the pilot and pointing where I wanted him to go. In the foreground the camera technician monitors the Vectorvision camera (another F900) pointing down and out the belly of the aircraft.

Yours truly with Learjet Pilot, Tom McMurtry. Tom had distinguished career with NASA as a test pilot and flight director. He also co-piloted the 747 Shuttle Carrier Aircraft. He is an amazing pilot and one of the nicest guys you could meet. It was an honor to fly with him.

Yours truly with Learjet Pilot, Tom McMurtry. Tom had distinguished career with NASA as a test pilot and flight director. He also co-piloted the 747 Shuttle Carrier Aircraft. He is an amazing pilot and one of the nicest guys you could meet. It was an honor to fly with him.