heavy hitter
“Unstable” featuring Anberlin
“ Y ou can g et close to bein g ama z in g , but as an artist , you should always challen g e yourself to do new thin g s . ”
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here was once a boy eager to prove that he can do something with a camera. In his early years, David would always share his photos to his father, who taught him his first lesson in photography. “My dad was a very hard judge, he would say, ‘If your style always stays that way, then that’s all you’ll become. You always want to be growing.’” David took that to heart and worked his way towards his aspirations from the ground up. “I started out as a set lighting technician, learning the ins and outs.” With a portfolio that holds music videos for Steve Aoki, The Weeknd, and Band of Skulls plus commercials for Nordstom and Sony Playstation, David never actually went to film school. Instead, he learned as he was going along and latched on to his determination. “I just moved down [to Los Angeles] and knew that I wanted to start working in the film business.” From then on, David treats each work as a new module in his personal school. When it comes to commercial endeavors,
he is selective of the projects offered to him. “I’d rather do things that inspire me, even if it makes it harder to move forward. When I do a commercial, I’m making the most out of it by using new technology provided because you can take that and try to think, ‘Hey, I think this can be an interesting way to set scenes in a movie.’” David is at the top of the class given how he always brings something new to the table. “I used to think of words to describe my style. I’ve had some funny ones that I’ve come up with like candyography,’” David quips. This approach can be seen in his work for True Religion as he makes colors pop. But he digresses from this aesthetic with his music videos. In The Weeknd’s “Love In The Sky”, David focuses on dark, close-up shots and plays on double exposure to suit the intimate feel of the music. While for Anberlin’s “Unstable,” he matches the scorching love story with a hotter-than-the sun approach by experimenting with lens flare.
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