Photo: Lisa Vironda

How are you feeling today? 

All is well, thank you!

Could you tell us about yourself?

I was born and raised in California (USA) and have released music and toured worldwide as a solo artist / musician since 2002. In 2008 I released a limited edition box set of music and vinyl titled “Seeds” which included a DVD of Super 8 music videos filmed in Oregon (USA). In 2018 I relocated to Massachusetts (USA) and in 2020 I began making short nature films using Super 8, 16mm, and 35mm film. My film work has been used in feature films, music videos by major label recording artists, and national ad campaigns.

The Long Rainbow (35mm), 2024

What drew you to analogue photography and filmmaking? Did you have any family members who influenced or passed down this interest to you?

When I was very young I found my grandfather’s 35mm camera from the 1950s. I was fascinated with the mechanics and took bad photos of flowers and nature. I did not have a formal introduction to photography until college where I was able to develop and print still 35mm photos in a darkroom. My focus was recording and releasing music after I finished school and I made a few music videos with analog footage that I found for free use via the Library of Congress archive. In 2008 I had an album of songs titled “Seeds” which I wanted to promote with a series of music videos. I attempted to shoot these digitally with a filmmaker friend but was unhappy with the results. My good friend and musical collaborator at the time (Kevin Michael Mayfield) suggested we try to film some videos on Super 8. Compared to digital, and despite my inexperience with shooting film, I felt the results on Super 8 were wonderful. Super 8 has an almost magical way of transforming the ordinary into something nostalgic. Despite the improvements in digital filmmaking I still feel there’s an intangible aspect to analog film that can’t be reproduced with digital equipment.

What does your workspace look like? 

Most of my filming is done out in nature. I would eventually like to do more interior work with sets (time-lapses of plants / stop motion animation), but for the most part other than during editing or writing music my workspace is outside. As far as my setup for filming - I have mostly moved to using an Arriflex 16SR2 (16mm) and an Arriflex 35III (35mm) camera with specialty lenses for either macro or telephoto work and Norris time-lapse motors. These cameras were built in the 80s and early 90s and tend to be the most reliable of the cinema film cameras I’ve used. Since 16mm was more of a semi-pro format many of the cameras available today need significant repairs or can’t handle regular use. The build quality on the old Arriflex cameras was in my opinion the highest of any manufacturer at that time so they seem to have held up much better than some of the cameras made by other manufacturers.

Summer Meadow (16mm) 2024

Do you have any specific rituals or routines that help you get into the creative zone?

One thing I find beneficial is to turn off, or at least, restrain the analytical part of my mind. I find I’m much happier with the results of the creative process if I don’t try to force it in any particular direction. Often the things you think you want to do or plan in advance are not interesting, but the unpredictable moments, those that can’t be planned, end up being the most moving and beautiful. Maybe the key is to approach the creative process with an open mind, being open to the world, and not letting your ego corrupt the process. 

You shoot with 8mm, 16mm, and 35mm cameras. Can you walk us through the process of developing these films? How do you ensure the quality and preservation of your footage?

Super 8 is the easiest format for those who want to experiment with analog film as you just put the cartridge in the camera, expose your film, remove the cartridge and send it off for processing. One Super 8 cartridge is about 3 minutes of film. Once the lab processes the film it is scanned frame by frame and the video files are saved to a hard drive. With the exception of 16mm daylight spools, when filming 16mm and 35mm you need to load and unload rolls of film into camera magazines in total darkness.

When choosing a lab for developing and scanning you need to make sure they can process the film type you used and determine the resolution you would like your footage scanned. For Super 8 and 16mm a scan resolution of 2K is generally sufficient, whereas with 35mm you’ll want to scan at 4k or above. After the footage is scanned I keep it stored on a shelf in a cool/dry location.

As far as maintaining quality you first have to start with a camera that has been serviced, cleaned, and has stable registration. Registration is a term for image stability. If you view footage from a camera with poor registration the image will appear to move around as the film is played back. Next you must handle the film carefully (in the dark), follow the correct loading/unloading procedures, tape the edges of your film magazines to prevent light leakage and make sure your exposure is correct by using an external light meter. Each time you load a new roll of film you should inspect and, if necessary, clean the film path and gate.

After the film is exposed and removed from the camera you send your film to a lab for processing and scanning. It’s important to find a good lab - as there can be errors in the process of developing and scanning film. When I was starting with 16mm the first lab I used had a problem with their developing process that added random green flashes to the film. More recently a calibration error on one of the film scanners caused registration issues on the scan, which was resolved by having the lab do a recalibration of their scanner.

Unfortunately there are not as many labs to choose from as there were 20-30 years ago. These days you have to be very attentive to the results if you shoot with film as so many people will assume a fault is just an “analog film artifact” that is really a fault with the camera or a mistake by the lab during processing. Very few people really know the complete process well enough to recognize and solve problems. For Kodak Ektachrome (E6 color reversal film) there are only a few labs in the USA that will even process the film so your choices are very limited.

Constellations (16mm), 2023

Your work often features intimate, close-up views of nature. What challenges and rewards come with this macro approach to filmmaking?

Viewing the world in macro is like seeing a new world for the first time. Places we might pass by without a thought have an entire universe of activity if we look closely. The technical aspects of filming in macro involve high quality macro lenses, sufficient light to compensate for necessary exposure changes as a lens moves farther into its macro range, setting up the camera so it’s stable and close to the subject, making sure the camera is operating perfectly (as any issue with registration will be more noticeable in macro), and then finally capturing the subject in a way that is interesting. Many insects move quickly so pulling focus, reframing, and adjusting the exposure needs to be done almost intuitively - otherwise the subject will move out of the frame before you have a chance to film. With digital you can just keep the camera running as you make adjustments and you’ll likely capture something usable, but with the high cost of film you have to make sure your shot is perfect before you start filming. It can take hours of work to get under a minute of usable footage. It’s tedious work but it’s also meditative in a way - as you must concentrate on your work and there’s no room for thinking about the outside world. Working in this way is similar to performing a complex piece of music, or getting lost in any other difficult task. While these tasks can sometimes be frustrating and tiring, I think it’s good for you to regularly exercise your brain (and patience!) in this way.

The Night Country (16mm), 2024

Non-narrative work relies heavily on visuals and sound rather than traditional dialogue. How do you ensure your audience connects with and understands the themes or emotions you’re conveying through your films?

With so much modern art, media, and content that tries to force an emotional response from viewers I’m happy to make films that draw people out of their world for a short time and transport them into a peaceful natural environment. I want to give others something relaxing to watch that doesn’t expect anything in return but at the same time isn’t completely empty and artificial. We are currently bombarded with terrible news on a daily basis, ads telling us to buy a million products, shows that are edited to be addictive, and movies that are crafted in such a way that you are moved to feel emotions in a manipulative way. Modern media generally makes me anxious - so I want to create an alternative form of visual art that makes people feel positive and appreciative of the natural world. I believe our connection with nature is one of the most important and rewarding parts of being alive, so my goal with sound design is always with this in mind. 

What personal philosophy or mantra do you live by? How does this influence your day-to-day life and your art?

Generally I try to minimize any negative impact I have on the world, show compassion for all life, and not pursue anything solely for status or money. Our modern world is built around exploitation and the human ego, and there is very little reward for kindness, compassion, or modesty. Humans are small and insignificant in the universe; we are just a passing breeze. As part of that breeze we might cause a tiny ripple in the ocean but in the scheme of things none of what we do is very important. So what does success, wealth or fame really matter? It’s a human illusion created to trick us into believing we can cheat the universe of our insignificance. So with this in mind, I believe accepting and embracing our place in the universe is where all of our actions must begin and end. We can either despair at our insignificance and selfishly consume to satisfy our immediate needs or we can seek peace and happiness through coexistence with all life. This peaceful coexistence includes respecting animals, insects and nature as different but equal forms of life that do not deserve exploitation. 

So on a day to day basis I apply this philosophy by pursuing a career that has a small but positive impact on the natural world, making sustainable lifestyle choices, and not eating or using products derived from the suffering of animals. As far as my art - I make sure not to harm or disturb any of the nature I film and I try to minimize my environmental impact by using used and vintage equipment.

Autumn Sunrise (16mm), 2022

How do you feel about the future of AI in filmmaking and your art? 

I don’t believe the truly creative aspects of art can be replaced by AI. The real problem with AI is saturating the creative world with even more low quality work that is basically free to produce. This means that those paying money for creative projects will have the choice of using something very cheap or free or hiring someone creative for a comparatively high wage. In most cases the people in charge of purchasing creative work will choose the content that is close to free even if it’s generic and uninspired. I already see ads that look like they were generated by AI, and I have a feeling this is the direction we are headed. Unfortunately creative people are often dependent on corporate work to pay their bills and I have a feeling it’s only going to get harder for artists to make a living. On the bright side, I believe artists doing uniquely creative work will be in more demand as brands or consumers want to set themselves apart from the influx of generic AI generated content.

What current projects are you most excited about? Can you give us a glimpse into any future films or photography series you’re planning?

I have a long term plan to release a full length non-narrative nature film that combines years of nature footage, but have also been enjoying keeping things simple and not over complicating my life with ambition or more than I can handle on my own. That said, I am working on several short nature films focused on highlighting ecosystems in specific locations around New England (USA) and plan to expand this work into other regions around North America later this year. I’m also in discussions to handle the cinematography on a few interesting feature films, but those projects will likely not start until next year.

Lastly, where’s your favorite place to work?

Anywhere I can immerse myself in nature!

Photo: Lisa Vironda