It's a Thing Imagery

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It's a Thing Imagery

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It's a Thing Imagery is a live music, lifestyle, landscape, portrait, and anything else you’d need photographer/videographer based out of Vancouver, BC.

Open to travel! Send him a message to collaborate. Camera: Canon EOS R5

11/05/2026

Even if it Hurts.

You know what rules? When the venue Green Auto has a light colour on during Tess Anderson’s sound check that you dig, so you ask them to keep it for the set and they oblige. Love me a cyan and pink colour palette😍

Stills from my RED Digital Cinema Komodo-X on a Nikkor 20mm AI-S lens, powered by SHAPE - Camera Rig and Accessories’s 150W V-mount battery all evening. Link in bio to get yours!

11/05/2026

Probably the greatest thing I’ve learned in recent years. Head over to the link in my bio to get some SHAPE - Camera Rig and Accessories gear to help your night shoots become a thing!

10/07/2026

The final morning.

After an exhaustive four days of shooting and teaching youth workshops, Woodenball Studios and I climbed Observation Point to film the start of our final scene for the opening film of the Forks Film Festival. Kostya helped me out by carrying my drones while I carried my RED Digital Cinema Komodo-X on my DJI RS4 Pro gimbal. Not only did we climb this up for sunrise, we didn’t even have time to sleep after shooting the fairytale scene🙃

Was it worth it? You bet! We’re so stoked on how this film turned out! It’ll be out on YouTube soon enough😎

10/06/2026

Oh hello there.

10/06/2026

Let the imagination flourish.

This scene served as a gap from the cyberpunk story to the fairytale one for the Forks Film Festival opening film. Joe the Fork asked our cyborgs, Lauren 1 and Lauren 2, if they had boardgames in their future time while at the library. Inviting them over, they started playing a game that’s not at all D&D or anything similar to it 😏 After this shot, which I swear took over 40 takes to get everything dialled in, we jump into their collective imaginations of their journey to battle the dragon, led by Joe, our dungeon master.

Lighting this was pretty simple. I had my GODOX LIGHTING VL300 overhead with a Glow EZ-Lock 42” parabolic softbox, and a Nanlite Canada Pavotube 30C pinned into my SHAPE - Camera Rig and Accessories C-stand to help shape some light which was motivated by the lamp in frame left. I love this look too, the cozy interior lifestyle was easy to grade thanks to my trusty RED Digital Cinema Komodo-X.

Many thanks to our cyborgs Lauren and absolutely killing their roles as Lauren 1 and Lauren 2!

Directed and edited by: Woodenball Studios
Cinematography and colour by: 👋🏼
Production and costume design by: Daphne who can’t be tagged
Composition by: Brandon Kootnekoff

10/06/2026

The Fairytale.

This was by far our most complicated day to shoot for the Forks Film Festival’s opening film. I used literally everything I had available to me to make this work!

First, I lit the background with my Litepanels Gemini 2x1 Hard and GODOX LIGHTING VL300 on my two SHAPE - Camera Rig and Accessories 14’ light stands up on a hill just out of frame right as moonlight. Next, I set my Aputure 1000C deep in the woods as the yellow key light where our protagonists were heading to fight the dragon. I had three Nanlite Canada Pavotube 30Cs on my Shape C-stands in the woods for some coloured highlights. Though, with our heavy shooting schedule and limited charging time, two of them died partway through aside from the main magenta one that we needed most; I kept one in reserve to augment some lighting for the closeups. I had all four of my Aputure MCs as additional highlights at the base of some trees and shrubs. I also had my little handheld Ulanzi haze machine that worked only for the wide because the wind shifted the other way after that shot, making it obsolete for this setting. Lastly, we had little fairy lights inside of some cracked-glass jars for their lanterns.

The craziest part was when we had 100s of feet of extension cable running from my EcoFlow Canada Dual Fuel Generator (running on propane, absolutely deadly combo) all over the place to make this work. 横山敬祐 Keisuke Yokoyama was absolutely clutch in this operation, running up and down the hill to the house to grab whatever we needed, those extension cables included.
A mix of handheld and tripod shots made this scene flow exactly as we needed it to. My fast cine-modified Nikon Canada Inc. Nikkor Al-S lenses gave us the character and light we were after, and the shadow retention and colour of my RED Digital Cinema Komodo-X was absolutely key for this scene. Indie filmmaking at its finest!

Lauren and slayed their roles (pun intended) as the fair maidens of the forest!

Directed and edited by: Woodenball Studios
Cinematography and colour by: 👋🏼
Production and costume design by: Daphne who can’t be tagged
Composition by: Brandon Kootnekoff

10/06/2026

Cyberpunk.

We had a very finite amount of time to shoot this scene for the Forks Film Festival. Having lighting that was quick to setup, easy to move and simple to use was absolutely key! The Nanlite Canada Pavotube 30Cs are always with me, no matter where I shoot. They’re the most diverse lights in my arsenal and are so easy to use! This model I need a witi adapter to connect them to the app, but the Ils and XR series have wifi natively built into them. I also used my Litepanels Gemini 2x1 Hard to add some colour to the background and my Aputure 1000C for some overall fill. Shot, as usual, with my trusty RED Digital Cinema Komodo-X.

Many thanks to Lauren and absolutely killing their roles as Lauren 1 and Lauren 2!

Directed and edited by: Woodenball Studios
Cinematography and colour by: 👋🏼
Production and costume design by: Daphne who can’t be tagged
Composition by: Brandon Kootnekoff

10/05/2026

I think we should turn back.

When you get to use everything in your arsenal for a scene and it comes together better than you’d hoped, nothing feels better.

Back when I was a camera trainee for ICG 669 (only last year lolololol), I took advantage of being able to ask the several DPs questions about what they were doing and how. Many were eager to answer as they all love their craft! I used everything I knew about lighting direction, highlighting the background, colour, and motivation both from a story perspective and a technical lighting perspective I learned from them.

Fast forward to this summer: I get to DP and colour the opening film for the Forks Film Festival with my good friend Woodenball Studios. I had my Nanlite Canada Pavotube 30Cs out in full force, all the Aputure I had gathered, my oldest light I owned — the GODOX LIGHTING VL300, every single SHAPE - Camera Rig and Accessories stand and product I owned at the time, my EcoFlow Canada Dual Fuel Generator powered by propane to light the major lights, and every ounce of knowledge I had to light my first big, open forest, night scene.

With the help of Kostya, Daphne and 横山敬祐 Keisuke Yokoyama, we lit this scene as best as possible. Lauren Carnahan and Lauren crushed their acting roles, helping perfect this scene we all worked so hard to throw together. My RED Digital Cinema and Nikon Canada Inc. Nikkor AI-S lenses were essential for bringing this all together too!

The craziest part? Kostya and I didn’t even sleep this night. I switched over from my handheld setup to my gimbal one, we packed my drones, and we hiked up the local mountain to Observation Point, and filmed the sunrise for our final scene.😤 Oh, then I drove to Vancouver from Christina Lake after a ten minute nap😅

Directed and edited by: Woodenball Studios
Cinematography and colour by: 👋🏼
Production and costume design by: Daphne who can’t be tagged
Composition by: Brandon Kootnekoff

10/05/2026

Take the first step.

We had a lot of fun with this scene. Not only was this the most technical lighting setup I’ve ever done, but the shooting of the scene itself was a blast!

Our protagonists approach the dragon just beyond the woods, its stomps and roars shaking them to their very core. As they seek shelter behind a pile of rocks, unsure if they should continue forward, Joe the Fork reminds them that to conquer their fears, all they need to do is take the first step.

I decided to use yellow as the key light coming from the woods for a multitude of reasons. First, I was greatly inspired by a scene in The Witcher where Ciri first meets the elves. They had this ethereal yellow light that added a warm glow yet wasn’t a usual colour found in the middle of the day, and in our case, night. I also wanted to show off Aputure’s 1000C’s BLAIR-CG light engine. Lastly, I loved the idea of them heading towards a golden yellow dragon off in the distance, portrayed by a portal of sorts at the end of their traverse through the woods.

With our limited time and equipment, I feel very proud of this scene and how it shaped up. I do wish I had a few more Nanlite Canada and Aputure and several more stands to hold them, but we definitely made it work well with what we had!

Lauren and slayed their roles (pun intended) as the fair maidens of the forest!

Directed and edited by: Woodenball Studios
Cinematography and colour by: 👋🏼
Production and costume design by: Daphne who can’t be tagged
Composition by: Brandon Kootnekoff

10/05/2026

The Fairytale.

This was by far our most complicated day to shoot for the Forks Film Festival’s opening film. I used literally everything I had available to me to make this work!

First, I lit the background with my Litepanels Gemini 2x1 Hard and GODOX LIGHTING VL300 on my two SHAPE - Camera Rig and Accessories 14’ light stands up on a hill just out of frame right as moonlight. Next, I set my Aputure 1000C deep in the woods as the yellow key light where our protagonists were heading to fight the dragon. I had three Nanlite Canada Pavotube 30Cs on my Shape C-stands in the woods for some coloured highlights. Though, with our heavy shooting schedule and limited charging time, two of them died partway through aside from the main magenta one that we needed most; I kept one in reserve to augment some lighting for the closeups. I had all four of my Aputure MCs as additional highlights at the base of some trees and shrubs. I also had my little handheld Ulanzi haze machine that worked only for the wide because the wind shifted the other way after that shot, making it obsolete for this setting. Lastly, we had little fairy lights inside of some cracked-glass jars for their lanterns.

The craziest part was when we had 100s of feet of extension cable running from my EcoFlow Canada Dual Fuel Generator (running on propane, absolutely deadly combo) all over the place to make this work. 横山敬祐 Keisuke Yokoyama was absolutely clutch in this operation, running up and down the hill to the house to grab whatever we needed, those extension cables included.

A mix of handheld and tripod shots made this scene flow exactly as we needed it to. My fast cine-modified Nikon Canada Inc. Nikkor AI-S lenses gave us the character and light we were after, and the shadow retention and colour of my RED Digital Cinema Komodo-X was absolutely key for this scene. Indie filmmaking at its finest!

Lauren and slayed their roles (pun intended) as the fair maidens of the forest!

Directed and edited by: Woodenball Studios
Cinematography and colour by: 👋🏼
Production and costume design by: Daphne who can’t be tagged
Composition by: Brandon Kootnekoff

Address

North Vancouver, BC

Website

https://www.itsathingimagery.com/

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