Ric’s unique talents as both Director and DP were put to use creating fun, driving promos for CBS’ airing of the ACM Awards. I think the following BTS shot (by Cliff Lipson) beautifully illustrates his ability to engage with the talent, (Luke Bryan and Dierks Bentley) even while juggling two roles and a setting sun on set in the Neon Boneyard in Las Vegas.
Director’s cut for CBS and the Academy of Country Music Awards. The spot features hosts, Luke Bryan & Dierks Bentley. Client: CBS Promo Produced by Moving Parts, Inc. Music courtesy of Emoto Music, Santa Monica First AC: Ian Barbella Color Grading by Sparkle Shot on Red EPIC with Zeiss CP2 lenses Location: Las Vegas Neon Sign Museum Director/DP: Ric Serena
That is the question.
I’ve been in love with visual storytelling for as long as I can remember. I love directing. I love editing. And I love shooting. As my career began shifting from editing to directing, I would often shoot my own projects mostly because I hated asking others to give their time and creative resources up for little to no pay. Kia Kiso, a friend and colleague, helped me get over that mindset, convincing me there were DP’s willing to give their time and resources because they believed in my prospect as a director.
And as my directing career progressed, I was given the opportunity to work with some incredibly talented directors of photography including Tyler Allison, Tim Angulo, Salvador Bolivar, Tom Camarda, Johnny Derango, Chuck Ozeas, Byron Shah, & Jake Zortman. There is nothing like creatively gelling with a DP on set, completely in sync with one another as to the final look of the piece.
I still shoot on my smaller, personal projects, not only for budgetary reasons, but because I like to stay knowledgeable of the photographic process, to better help me communicate with the camera department when I’m on larger jobs.
I recently put together a reel of my camera work to send out on the relatively rare occasions I’m called to shoot. I struggled with what to call the reel. In my opinion, my work and skill sets are nowhere near the DP’s I’ve worked with. My lighting skills are limited as I fancy myself more of a documentary style shooter. Initially, I settled on “Shooter’s Reel,” however, a few of my favorite DP’s responded with the note that it should be listed as my DP reel, even if I’m not necessarily pursuing that path.
I’ve gotta say… that felt nice.
I love shooting. But even more, I love collaborating. They both have their place in the future of my work. I’m certain of it.
On that note… here’s my DP reel:
A collection of footage Ric Serena has shot on a few projects over the years. Music by Matt Bowen http://mattbowenmusic.com
I met Gabriel in 2013 when my creative partner, Jen Serena, was shooting some promotional stills in the lead up to his Roll Across America. A month later, he would leave Burbank, California and roll his standard wheelchair across the United States. It was his intention to arrive to his hometown in time for his 25th High School Reunion. We had just announced the premiere of our feature-length documentary, Mile… Mile & A Half, so Gabriel was picking my brain about the process of DIY Film Distribution. Accompanying him on his journey would be a small video crew, documenting his journey, so he was keen to learn what challenges might lay ahead after the roll. I enjoyed keeping up with Gabriel during his trek across the US via Facebook. Always inspired, I couldn’t imagine walking, much less rolling across 13 states. Even had he not completed the journey, it would’ve been admirable to make the attempt.
He did make it.
Fast-forward one year later. I’d been directing a few shoots for Esquire Network with the extremely talented Chuck Ozeas as my Director of Photography. I watched as he and his camera department created some beautiful imagery on the Red EPIC, but the camera intimated me. Yes, I love shooting, but the leap from DSLR’s to a camera like the Epic made me a little nervous.
Jen convinced me to rent an Epic for the weekend to get familiar not only with shooting, but shepherding the footage through the post-production workflow. I needed to allow myself the opportunity to say that this was only a test. If I finished the weekend with only one or two great images, I needed to be okay with it. This was only a test.
I reached out to Gabriel to ask if he’d be interested in being an on-camera subject for my test. As it turned out, he was preparing for his next roll and could use some updated imagery. I rented a basic package from ShadowCast Pictures that included a set of Zeiss CP2 primes. Jay and his team were incredibly helpful, and the gear was in wonderful shape. Another friend & filmmaker, Gaston Carrizo, offered his time and equipment for one jib shot. Friend and collaborator, Sheldon Neill of Project Yosemite lent his time and expertise on the Epic, and Durand Trench volunteered his time and talent for the interview portion of the weekend.
I spent plenty of time familiarizing myself with the camera as I built it (reading manuals and forums, calling camera operator friends with any questions I had), and then it was just a matter of following Gabriel through his normal workout regiments. Throughout the day of shooting, I couldn’t help but be blown away by his energy. We were all tired, but there was Gabriel, working twice as hard to accomplish tasks as simple for us as getting out of the car. During our time at the Burbank YMCA, I found myself tiring while in the pool with Gabriel (operating the GoPro underwater which we never used in the final piece), but there he was staying afloat with only his arms. It was a humble reminder of how much I take my health for granted. The Burbank YMCA has been a big supporter of Gabriel and they were very kind to allow us the opportunity to document his workout at the gym.
The piece practically cut itself. Because we didn’t shoot too much material, there weren’t difficult decisions that needed to be made. It was just important to me that Gabriel’s reasons for doing what he does was clearly conveyed and in his voice. I did challenge myself during the edit in that I did not cut to a piece of temp music. I cut the piece entirely without music and asked the insanely talented Paul Bessenbacher of Emoto Music to see what he could come up with. His beautiful score, accompanied with a sound edit and mix by David Barnaby, color timing by Bruce Goodman and graphic design by Chris Kneller, completed a piece that beautifully communicates Gabriel’s passion.
And thanks to Jen Serena… without her confidence in me and strong belief in the power of investing in oneself, this test might never have happened.
In January of 2014, our friends at Opus Orange approached us about shooting a music video for their single, “Balance,” in anticipation of their upcoming SXSW show. Opus Orange scored the original soundtrack for our feature documentary, MILE… MILE & A HALF, and have been friends/collaborators since.
Over the course of the two days we were in the downtown Los Angeles location, one music video evolved into four as the location was just too gorgeous to not take advantage. In addition to “Balance,” I directed videos for “Artificial Heart” and “Fortress” with Director of Photography, Tyler Allison, on camera. For the single shot concept of “The Next World,” I stepped into the role of DP for very talented Director, Levi Rugg. All four videos have a unique approach to them and thematically match the energy and emotion of the songs their meant to visualize. Jen Serena even took part and shot promotional stills for the band. We couldn’t be more proud of what we were able to colloborate on.
Special thanks to Emoto Music for entrusting their baby to us, Kia Kiso for stepping into the role of Producer, Bernard Chadwick & Levi Rugg for their creative direction on Balance, and to all the many talented hands that helped shape these videos.
We wish Opus Orange the best on their first SXSW show!!
Director: Levi Shrugg, DP: Ric Serena