Week 32 of the new series CC52: A Year of Personal Work by Craig Cutler…

Title: “Food Spin Art”

Food styling: Victoria Granof.

Typography design: Mary Warner.

Format: RED ONE MX  shooting at 2k resolution 60fps.

Lenses: Century Optics 2000 periscope lens and 9.5 Zeiss rectilinear lens.

Editing: Bernice Gonzalez, Industrial Color.

Camera: Santiago Gonzalez, Industrial Color.

DIT: Ariana Gomez, Industrial Color.

Special thanks to Steve Kalalian.

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Week 20 of the new series CC52: A Year of Personal Work by Craig Cutler…

Title: “Jump Rope.”

Subject: Chordale Booker, 20 years old, 152 lbs. Open Class amateur boxer,
two-time Golden Gloves champion.

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Format: RED ONE Mysterium-X Camera; 100mm-300mm zoom lens. Shot at f5.6 & f8, 2K resolution, 100 fps.

Camera op: Santiago Gonzalez, Industrial Color.

Editing: Bernice Gonzalez, Industrial Color.

Special thanks to Steve Kalalian.

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Week 19 of the new series CC52: A Year of Personal Work by Craig Cutler…

Title: “Space Launch.”

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Format: RED ONE Mysterium-X Camera; 100mm-300mm Zoom Lens. Shot at 2K resolution, 100 fps.

Prop styling: Timmy Hardman.

Editing: Bernice Gonzalez, Industrial Color.

Special thanks to Steve Kalalian.

Additional content courtesy of NASA.gov.

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Week 14 of the new series CC52: A Year of Personal Work by Craig Cutler…

Title: “Wooden Match.”

Concept: The movement of the matches is created through the process of the burning wood. The result is they become alive by the motions they make.

Format: RED ONE Mysterium-X Camera; 85mm & 100mm Prime lens. Shot at f4, 2K resolution, 24 fps.

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Editing and postproduction: Industrial Color.

Camera op: Santiago Gonzalez, Industrial Color.

Editing: Bernice Gonzalez, Industrial Color.

Color grade & finish: Michael Dwass, Industrial Color.

DIT: Carlo Barreto, Industrial Color.

Special thanks to Steve Kalalian.

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Title: “Egg”

Concept: A film study using an egg not as food, but as an element to create a sense of patterns and moving grids.

Format: RED ONE Mysterium-X Camera; 18-50mm zoom and 50-150mm zoom. Shot at f4, 2K resolution, 24 fps.

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Food styling: Victoria Granof.

Editing and postproduction: Industrial Color.

Camera op: Santiago Gonzalez, Industrial Color.

Editing: Bernice Gonzalez, Industrial Color.

Color grade & finish: Michael Dwass, Industrial Color.

DIT: Carlo Barreto, Industrial Color.

Special thanks to Steve Kalalian.

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Title: “White, Black, White.”

Concept: A movement study that transforms “white” into “black,” then “black” into “white.”

Format: RED ONE Mysterium-X Camera; 85mm & 100mm Prime lens. Shot at f4, 2K resolution, 100 fps.

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Styling: Priscilla Polley.

Casting: Candice Hernstad.

Editing and postproduction: Industrial Color.

Camera op: Santiago Gonzalez, Industrial Color.

Editing: Bernice Gonzalez, Industrial Color.

Color grade & finish: Michael Dwass, Industrial Color.

DIT: Carlo Barreto, Industrial Color.

Special thanks to Steve Kalalian.

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Idea: Taking a pure “still life study” and bringing it to life by adding motion.

Format: RED ONE Mysterium-X Camera; 85mm Prime lens. Shot at f4, 2K resolution, 100 fps.

Food styling: Victoria Granof.

Editing and postproduction: Industrial Color.

Camera op: Santiago Gonzalez, Industrial Color.

Editing: Bernice Gonzalez, Industrial Color.

Color grade & finish: Michael Dwass, Industrial Color.

DIT: Carlo Barreto, Industrial Color.

Special thanks to Steve Kalalian.

All sketches and video © Craig Cutler.

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Water balloons take on a mythic quality in this motion piece conceived and shot by Craig, and executed in collaboration with Industrial Color. All party photos by Whitney Kidder.

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Last Thursday, we hosted a big opening-night party for “Craig Cutler: From Sketchbook to Studio,” an exhibition of Craig’s conceptual photography and the sketches he makes as he works out his ideas. The night also marked the debut of a handful of motion pieces that Craig created in collaboration with the team at Industrial Color. These short films all took rather ordinary items, like honey, a pair of forks, or water balloons, and elevated them into something magical and mesmerizing.

“I watch people’s emotional reactions to it, and when it’s over, people have this sense of release, almost like they’ve just had a massage,” says Steve Kalalian, president of Industrial Color, referring to Craig’s dancing-forks film, which is set to African-inspired percussion. “People start out leaning back in their chair, and by the end they’re leaning into the TV. They start zoning into it and become almost hypnotized.”

Craig and the Industrial Color crew worked at a fairly brisk pace. They shot for four days at Fast Ashley’s Studios in Williamsburg, a sister company of Industrial Color. Craig used the RED camera for some of the pieces and the Phantom for others. As Steve notes, the RED camera “has taken the already industry by storm,” but the Phantom is a relatively new player on the scene. New and exciting. It offers super-slow-motion capabilities—Craig used it for a piece starring some dripping honey.

From left: Bill Stockland, Craig Cutler, and David Langley, Craig's mentor.

“A lot of times people shoot with the Phantom and because it’s incredible to watch things in slow motion, they just play [the footage back] that way. It’s a linear approach,” says Steve. “We turned these linear pieces into something artistic. The honey dripping was literally a two-second shot that wound up being five minutes of film. We flipped it on its side and mirrored it to create these abstract, beautiful, flowing graphic visuals. That’s where I think Craig really elevates the game. I’ve seen a lot of people use the Phantom, but it’s more scientific. Craig’s work is very graphic, very visual, very narrative. It brings an emotional feel to this scientific camera.”

Editing took three to five days. They used Final Cut, which, Steve notes, now offers a much higher level of color correction in video. “What’s happening with photographers getting into video is they want to control the color. There’s sophisticated color tools that in the past have been very expensive, like Avid or Smoke systems. But with Final Cut’s newest color component, a similar level of color work is now available in the desktop.”

Maureen Martel and Industrial Color's Steve Kalalian (center).

Craig’s opening last week, which was timed to coincide with the relaunch of craigcutler.com (designed by Alexander Duckworth), drew a huge crowd. But even though it was so packed that people were shoulder to shoulder, Steve is right about the motion pieces having a hypnotic effect. I watched the guests watching the films, which we screened in the patio behind the gallery. At exhibition openings, you find that people rarely spend much time looking at the art; they’re more focused on socializing and enjoying the free drinks. But on this night, people paid attention.

“The interesting thing I heard big time at the event was the art buyers and print producers were inspired,” says Steve. “It’s not just something for photographers to explore. They were all getting it at that moment.”

“Craig Cutler: From Sketchbook to Studio” is on view at The Gallery @ Stockland Martel by appointment only. Please contact talentinfo@stocklandmartel.com to arrange a visit.

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Iliana Espineira of Industrial Color (left) with Stockland Martel rep Emily Leonardo.

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