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✨STOKED to share that our latest short CONNIE & CLYDE is premiering this weekend at the always incredible @micheauxfilmfest in Culver City!

✨Beyond humbled that it is NOMINATED for:
🏆 COMEDIC SHORT @celestechaney
🏆 COMEDIC WRITING @chriselong
🏆 COMEDIC PERFORMANCE @laurenkyle
🏆 COMEDIC PERFORMANCE @yourpal_austin

✨STOKED to share that our latest short CONNIE & CLYDE is premiering this weekend at the always incredible @micheauxfilmfest in Culver City!

✨Beyond humbled that it is NOMINATED for:
🏆 COMEDIC SHORT @celestechaney
🏆 COMEDIC WRITING @chriselong
🏆 COMEDIC PERFORMANCE @laurenkyle
🏆 COMEDIC PERFORMANCE @yourpal_austin

✨STOKED to share that our latest short CONNIE & CLYDE is premiering this weekend at the always incredible @micheauxfilmfest in Culver City!

✨Beyond humbled that it is NOMINATED for:
🏆 COMEDIC SHORT @celestechaney
🏆 COMEDIC WRITING @chriselong
🏆 COMEDIC PERFORMANCE @laurenkyle
🏆 COMEDIC PERFORMANCE @yourpal_austin

✨STOKED to share that our latest short CONNIE & CLYDE is premiering this weekend at the always incredible @micheauxfilmfest in Culver City!

✨Beyond humbled that it is NOMINATED for:
🏆 COMEDIC SHORT @celestechaney
🏆 COMEDIC WRITING @chriselong
🏆 COMEDIC PERFORMANCE @laurenkyle
🏆 COMEDIC PERFORMANCE @yourpal_austin

✨STOKED to share that our latest short CONNIE & CLYDE is premiering this weekend at the always incredible @micheauxfilmfest in Culver City!

✨Beyond humbled that it is NOMINATED for:
🏆 COMEDIC SHORT @celestechaney
🏆 COMEDIC WRITING @chriselong
🏆 COMEDIC PERFORMANCE @laurenkyle
🏆 COMEDIC PERFORMANCE @yourpal_austin

✨STOKED to share that our latest short CONNIE & CLYDE is premiering this weekend at the always incredible @micheauxfilmfest in Culver City!

✨Beyond humbled that it is NOMINATED for:
🏆 COMEDIC SHORT @celestechaney
🏆 COMEDIC WRITING @chriselong
🏆 COMEDIC PERFORMANCE @laurenkyle
🏆 COMEDIC PERFORMANCE @yourpal_austin

The Possible Life is coming back to SLC next month at #zepfest2025!!

Link to schedule and tickets in bio ✨

Thank you @zepstonemedia 🙌

Looking to scratch your Grizzly Night itch? Catch two of our stars on the big screen this month! 🤩

Thrilled that The Possible Life was selected for the Utah Film Festival.

Wednesday, Jan 8 @ 5pm.
Trials of the Mind and Soul block

Tickets and passes: @theutahfilmfestival

#filmfestival #UIFF #UIFF2025 #utahfilm #utahfilmfestival #utahfilmmakers

The film is complete and we’re one step closer to getting to show it to you all! Thanks @hollywoodreporter for the write-up ✨

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

"We just completed post-production on our feature film, "Grizzly Night” (@grizzlynightfilm), which is based on the tragic events of August 12th, 1967, in Glacier National Park. We chose ARRI’s ALEXA 35 camera for its dynamic range, color accuracy, and compact size. Using two ALEXA 35s and an 11-lens Cooke Panchro Classic FF set, we achieved a vintage look with modern reliability. We recorded in 4.6K Open Gate in ProRes4444XQ, framing for a 2.39:1 extraction, allowing flexibility for reframing and VFX work. The ALEXA 35 excelled in various lighting conditions, from daylight to true night and day-for-dusk shots. DigitalFilm Tree (@digitalfilmtree) was crucial in post-production, helping us achieve our desired look. Our film looks great on both big and small screens, we can’t wait for the film to premiere at a festival in 2025 and for its subsequent release." -- Director Burke Doeren (@BurkeDoeren)

“We had a tight schedule with many daytime exteriors, so we relied on the ALEXA 35 for its flexibility and dynamic range. This camera handled the contrast of the woods and day-for-night shots exceptionally well, allowing us to preserve both highlights and shadows without extensive lighting setups.
For fluid shots moving between bright daylight and heavy shade, ALEXA 35's dynamic range was crucial. We could balance the look in post-production, achieving great results without needing physical light diffusion on set.
We also used the ARRI TRINITY for large-cast walk-and-talk scenes. The ALEXA 35's compatibility with the TRINITY’s minimized turnaround time expanded our shot possibilities, helping us stay on schedule.” -- DPs Brian Mitchell & Ian Start (@babybyson & @amillionians)

“ARRI’s SkyPanel lineup was essential in shaping the look of "Grizzly Night." These workhorses provided reliable output, control, and ruggedness. We used the SkyPanel S360-C and several S60-C units on a large boom lift to create a soft moonlit effect. They were also invaluable for creating soft outdoor lighting in the woods at night and warm indoor lighting in the cabins.” -- Lighting Director Steven Lundgren (@bezerqer74)

Executive Producer: @TysonCall
Production Company: @FourJFilms & @22_waves

We are so excited for the CA premiere of our short film The Possible Life this week at @micheauxfilmfest at the Culver Theater!! To be included among so many other amazing filmmakers is such an honor. If you’re in the area, come check it out:

Thursday, Oct. 24 @ 8:10pm
All in the Family block

We’re also nominated for Outstanding Dramatic Writing @jhseidman 🔥

Director: @burkedoeren
Written by: @jhseidman
DP: @babybyson & @amillionians
Producers: @kelliedoeren & @tysoncall
Lighting Director: @bezerqer74
Editor: Michael Dejohn
HMU: @shoshanna_withers
AD: @andrew.calver
Production designer: @kelliedoeren
Starring: @michaelvlamis & @laurenkyle

Tickets and passes @ micheauxfilmfest.com

We are so excited for the CA premiere of our short film The Possible Life this week at @micheauxfilmfest at the Culver Theater!! To be included among so many other amazing filmmakers is such an honor. If you’re in the area, come check it out:

Thursday, Oct. 24 @ 8:10pm
All in the Family block

We’re also nominated for Outstanding Dramatic Writing @jhseidman 🔥

Director: @burkedoeren
Written by: @jhseidman
DP: @babybyson & @amillionians
Producers: @kelliedoeren & @tysoncall
Lighting Director: @bezerqer74
Editor: Michael Dejohn
HMU: @shoshanna_withers
AD: @andrew.calver
Production designer: @kelliedoeren
Starring: @michaelvlamis & @laurenkyle

Tickets and passes @ micheauxfilmfest.com

We are so excited for the CA premiere of our short film The Possible Life this week at @micheauxfilmfest at the Culver Theater!! To be included among so many other amazing filmmakers is such an honor. If you’re in the area, come check it out:

Thursday, Oct. 24 @ 8:10pm
All in the Family block

We’re also nominated for Outstanding Dramatic Writing @jhseidman 🔥

Director: @burkedoeren
Written by: @jhseidman
DP: @babybyson & @amillionians
Producers: @kelliedoeren & @tysoncall
Lighting Director: @bezerqer74
Editor: Michael Dejohn
HMU: @shoshanna_withers
AD: @andrew.calver
Production designer: @kelliedoeren
Starring: @michaelvlamis & @laurenkyle

Tickets and passes @ micheauxfilmfest.com

We are so excited for the CA premiere of our short film The Possible Life this week at @micheauxfilmfest at the Culver Theater!! To be included among so many other amazing filmmakers is such an honor. If you’re in the area, come check it out:

Thursday, Oct. 24 @ 8:10pm
All in the Family block

We’re also nominated for Outstanding Dramatic Writing @jhseidman 🔥

Director: @burkedoeren
Written by: @jhseidman
DP: @babybyson & @amillionians
Producers: @kelliedoeren & @tysoncall
Lighting Director: @bezerqer74
Editor: Michael Dejohn
HMU: @shoshanna_withers
AD: @andrew.calver
Production designer: @kelliedoeren
Starring: @michaelvlamis & @laurenkyle

Tickets and passes @ micheauxfilmfest.com

Two Attacks. One Night. This incredible true story is coming soon.

Our camera team absolutely crushed the (many, hilly) walk and talks. 💯😅

And we’re off… 🎥