Old Ghost Japan

Over the course of my career, I’ve been lucky that every few years the stars align and I get the privilege of working on a true unicorn of a project. By “unicorn,” I mean a project that ticks every box: great clients, great collaborators, an amazing destination, and—most importantly—wonderful creative.

This project was exactly that. A dream collaboration with creative director Michael Williams (ACL & ACL Golf), The Fliers Club, and Titleist.

The brief was to help develop the first film in a travel series that featured golf while staying true to the brand’s ethos and adventurous spirit. During pre-production, we put together rough scripts, story structures, and shot lists, while keeping the creative flexible enough to allow for detours and new ideas once we were on the road. It was incredibly refreshing to work on a project with a longer runtime—one unconcerned with six-second deliverables or rigid format constraints.

In an age of wireless monitors, Zoom feeds, and video village, it was equally refreshing to be trusted by the team to do my thing and shoot this project in a truly documentary style. Leaning on my many years of international experience, I put together a streamlined camera package: an ARRI Amira as A-cam and a Blackmagic Pocket Cinema Camera 6K Pro as B-cam. Knowing the entire look and coverage was on my shoulders, I brought just three lenses—a Zeiss Standard Prime 20mm, 40mm, and 100mm. Simply put, that’s all you need to shoot a well-styled documentary.

While my career has primarily focused on DP work, I’ve learned that I’m also pretty good at producing documentary projects overseas. From shooting chefs in Italy, to motorcycles in India, to trekking Kilimanjaro, I’ve now produced projects on four continents, often in some pretty wild conditions.

With the help of Tokyo based fixer and producer Masato Yamada, we put together a tight seven-day shooting schedule, hitting Tokyo, Kawana, and Osaka—then back again by bullet train. The toughest part of the job was dealing with Japan’s heat and humidity. We shot in mid-September and unfortunately caught a heat wave, which made the exterior golf days especially exhausting. Thankfully, the Fliers Club team always had a cold beer waiting for me at dinner.

Below are some of my favorite stills from the project. To watch the full 17-minute film, head over to The Fliers Club.

 

Drone Video & Photography by: Omar Rawlings

Fifty Fifty

I absolutely love creative collaborations—especially when they build upon years of working together. No one does it better than director and photographer Moriah Sawtelle. I’ve been working with Moriah for the past few years, and whenever she calls about a project—whether commercial or a passion project—I always make it a top priority.

For her latest fashion shoot, Fifty Fifty, she approached me about shooting a western… in Manhattan. I loved the challenge. To bring a bit of a vintage look, we shot on Zeiss Standard Primes, Zeiss B-Speeds, and a Helios 58mm old-school Russian photo lens.

A huge thank you to Sean Nejman from Bird Dog Lighting for also always being game to jump aboard any project with Moriah.

Here are a few of my favorite frame grabs from the project.

 

Food, Food, and more Food!

One of the earliest short films I directed that gained attention was about a salty motorcycle mechanic. The short, Liberty Vintage, earned a Vimeo Staff Pick and really helped propel my work from the documentary world to the agency world. And while I still love filming motorcycles, I now often find myself in kitchens (and studios) more than garages.

Somewhere over the last decade, thanks to some truly wonderful creative partners, I have carved out a niche within the food and chef world. Filming in a kitchen is a lot like filming in a garage—so much action, so many textures, and so much nuance in the process. I absolutely love filming food and beverages… and at the end of the day, New York City is one of the best places to do it!

 

And because everyone loves BTS, here are a few.

Jameson” Black Barrel Holiday
Director: Moriah Sawtelle
DP: Andrew David Watson
Arri Amira with Cooke Panchro / i.

Dairy Farmers of Wisconsin
Creative Director: Randall Schoonover
Director/DP: Andrew David Watson
Arri Alexa35, MiniLF for tabletop.
Arri Amira, Mini and LF for 3 camera shoot.

Westholme Esme
Creative Director: Alex Hopson
Director/DP: Andrew David Watson
ARRI Mini & Amira
Cooke Panchro / i
B-cam opt: Spencer Meffert

Did you notice a trend? Yest, I love shooting food with Cooke Panchro/i — Honestly I should have invested in a set years ago. The warmth of the Cooke, but the reliability of modern lenses are why I often pick the newer re-issued Cooke Panchros for food.

 

Nobody Sees a Flower

Nobody Sees a Flower - I love love love this project!  Form the creative mind of @moriah.sawtelle comes this fun little passion project.  Moriah’s work always blows me away and I absolute love working with her because of her attention to detail and distinctive visual style.  Moriah pulled together an extremely talented bunch of folks for this project and no creative decision was left to chance.    

I shot this project on my ARRI Amira with a mixed of Standard Speeds and B-speeds (with a 1/8 BPM).  The lighting approach was extremely simple and I used 2 lights at most.  

The project was beautifully finished by  @robsbessette @color_refinery. Huge shout out to @arianenorbel who was absolutely wonderful to work with and had such a positive and chill 


Director - @moriah.sawtelle
DP: @andrewdavidwatson
Stylist: @heathernewberger
Florals: @tferrodesign
HMU: @ericvosburg
Talent: @arianenorbel @wilhelminamodels
Color facility - @color_refinery
Colorist - @robsbessette