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Crunch E. Boy

@crunchyboy16

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doodles n things

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Teasers from THE SOUND OF FEAR 🫶🏻 It’s been such a privilege to be a part of this project, and I am so proud of the festival season this short film has had. Grateful to have worked with such a talented team!

Special thanks to @aidanpaynefilm & @crunchyboy16 @kendall.cooper.casting 🫶🏻

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The artist formerly known as summer

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#JackYanChen #AssociateMemberCSC @JackYanChen

I got my start in my filmmaking journey by just making short films for fun with my friends. The path to a career was very unclear at the time.

I’ll be sharing some recent stuff and some old stuff.

Many mistakes were made. It’s important to embrace it, learn from it, and always stay curious.

Share (2020)
Dir. @directordruskeeredux
Alexa Mini, Kowa Anamorphic.
Experimented with high iso in the 1600 to 2000 range for the texture and inky blacks. Wide Shot, Key lit with DMG Lumiere in a softbox with egg crates, close up, source 4 into unbleached muslin.

Flower Boy (2019)
Dir. @anyalion
Alexa Mini, 16mm Mode. Canon 8 to 64.
Made a lut that was 3/4 stop under, so we’d over expose to keep the richness of the colour. Went for nostalgic end of summer vibes.

Like Family (2022)
Dir. @treadingthelightfantastic
Alexa Mini, Hawk C Anamorphic
Shot with a film lut and it was about 1 stop under, so we’d over expose on the day. All natural light and shaped with just a floppy and foamcore bounce. Always back lit with the sun.

To Those Who Remember Fondly (2015)
Dir. @mitchlaughlove
Shot on the c300 playing with high ISO mode. 1600 range for the street scenes. References was films by Wong Kar Wai, Leos Carax and John Casavetes. Used a lot of practicals and black wrap but somehow I still lit it with overhead softboxes, insisted on a widescreen 2:35 ratio and shot sticks and dolly. 🤦‍♂️

Give Up Charlie! (2012)
Dir. @aidanreapayne
7D with Canon L Series Zooms.
Lit with a construction light that was too yellow. We leaned into it because Wes Anderson meets Edgar Wright style. We experimented a lot, but didn’t know any better and just focused on stuff in front of the lens like props, set and blocking.

Red Dye Number 5 (2011)
Dir. @aidanreapayne
Canon 7D L series 24 to 70mm
We snuck into a garage, and got kicked out by take 3. Audio was blown completely due to the fans and we did a terrible job ADR’ing on my laptop mic. Shot as a oner with a doorway dolly and handheld operating. Lit with just arri tungstens, direct. We also named our production company Never Get Caught Productions. We were the absolute coolest.

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Bachelor in paradise #mamadelamama

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Warm welggcome to @crunchyboycomics for joining instagram!!!! Ty for this delicious submission 🍳🍳🍳🍳💛💛💛💛

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