Production Portfolio - Laura Beth Love, DP
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This weekend, I teamed up with director Guy Shalem, and Writer/Producer Dave Castleman for a pilot proof of concept called “The Strivers.” Guy and Dave wanted a dramatic, high contrast look for this law drama.  We shot with two Reds (Epic & Scarlet) with a set of Zeiss super speed MkII lenses. 4k HMIs pars

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If Looks Could Kill Premiering this month (December 2016) on Lifetime Movie Network! It was a joy to collaborate with director James Cullen Bressack on this Lifetime feature.  With James, the words were “color” and “shadows”.  We had a great time developing the look for this stylish thriller together. A huge thanks goes out to

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Nightmare Vision Teaming up again with director Jared Cohn, I shot Nightmare Nanny (2016) with a Panavised Alexa using Panavision Primo Ls.  It was a dark Lifetime drama, and we had fun playing up the thriller aspects of the script.  We went for high contrast lighting when possible, often in low light-levels and the cameras

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SHARK! I can sum up my Feb and March 2016 like this:  Greenscreen, rubber sharks, and lots of wire work.    We’ve been working a two-camera package with Panavised Arri Amiras and Primo V lenses (with a few Primo Ls thrown in there). Switching to Arri I’m very pleased that Panavision Woodland Hills enabled us to

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Alien Invasion! It’s happening again!  Huge, giant flying saucers are appearing around the world! What do they want NOW?!? This was really a fun movie to shoot.  We flew two Red Epic Dragons with Optimo DP zooms for a lighting fast two-week shoot.  This science fiction, alien invasion movie was my first time wearing both

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Vengeance is Ours! I’ve just finished principal photography on a classic, action-filled horror starring Paul Logan, Costas Mandylor, Bill Moseley, Vernon Wells, Nestor Serrano and Matthew Willig, “The Horde.” We are running around in the woods, setting things on fire, and beating people up.  I’ll update you when we’re all finished! Run and Gun Action

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Zombies, Jungle, and Fog! “Isle of the Dead” (or XP-573) was a cool action-zombie shoot with Director Nick Lyon, starring Joey Lawrence and Maryse Ouellet-Mizanin, and D.C. Douglas.  Two Red Epic Dragons and a set of 6 Ultra Primes were our base package.  We were always shooting two cams, with “A Cam” riding steadicam 1/2

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Shooting the independent feature “Tableau Vivant” , This fire-lit, night exterior scene, was supposed to take place during the day, but our schedule ran long and there wasn’t enough daylight left..
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Zombie Wolf Attack Fun! This has really been a fun show.  Wolves. Capes. Swords. Night Exteriors. Puppets.  …even a man in a wolf suit (which I swear is 90% for our personal entertainment on set). We’ve been shooting for two weeks now, with dueling Red Dragons.  “A Cam” is a Red Epic Dragon, and “B Cam” is a Red Scarlet

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#m2m “Minutes to Midnight” is a horror feature, produced by Tiki Terrors and DeInstitutionalized.  Directed by Chris Olen Ray. M2M stars William Baldwin, Bill Moseley, Richard Grieco, Dominique Swain, Viva Bianca, and Christopher Judge.  Read the official announcement on TheWrap.com. We shot with a Red Epic and Red Scarlet, using Leica-R primes.  Our “days” were split

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Oh Hell No. What a fun, insane shoot this was.  I was wrapped in plastic inside a shark one moment, then rocketing into space with Hasselhoff and Ziering the next.  We were running around Washington D.C. and shooting what seemed like a million cameo shark-deaths.  This was “Sharknado 3: Oh Hell No!” If you’ve seen

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This past December, I teamed up again with Director Jeff Newman and Producer Max Elfeldt for this Skechers spot. Click to Read more!

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“Bound” follows a conservative business woman as she delves into the sexy “underworld” of bondage and role play. This sexy thriller explored many different looks as we shift from home life, through corporate offices, and ultimately sex clubs and “dungeons.” Click to Read MORE!

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Sharks and Robots! This Sci-Fi Action Disaster movie is guaranteed madness, and it was a lot of fun to shoot. We shot with a Red Scarlet and Zeiss Super Speed Lenses. The movie was nearly 90% hand held (lots of action) and those lightweight lenses, coupled with the Scarlet’s lightweight build, made operating a breeze. CLICK to read more!

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Just in time for the holidays, Director Mike Verta and I shot the “Toy Story That Time Forgot” commercial for new action figures. Sony F65 and Leica Summilux C Lenses. Click to read more and watch the commercial!

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Take a look Behind the Scenes! Action-filled horror starring Paul Logan, Costas Mandylor, Bill Moseley, Vernon Wells, Nestor Serrano and Matthew Willig. Click to Watch!

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Director Mike Verta‘s vision for the Hot Wheels “Street Hawk” campaign is much cooler than the average toy commercial. With the Red Epic and Leica Summilux primes, we attacked this tiny toy on all sides.  We had an octocopter, steadicam, and movi ready to tackle this little guy.  The challenge is obvious, it’s a toy

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Last weekend I had the opportunity to be a part of Katie’s Tears: a thoughtful, and occasionally sassy,  project centered around the world of prostitution and human-trafficking. Through a gracious offer from Bertone Visuals and Hollywood Camera, Director Don’re Walker and I were able to bring this story to life with the rich, raw detail of the

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“Bachelor Night” was a wild romp through Las Vegas!  Read more about lessons Laura Beth Love learned while shooting “Bachelor Night” here, in her online portfolio.

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After shooting two college frat movies, I was looking forward to embracing a more mature look with this twenty-something comedy.  “Bachelor Night” chases  two bachelor/bachelorettes  through one wild night in Las Vegas. We shot with the Red Scarlet using Optimo DP Zooms.  We love movement, and this was exactly the kind of story that wanted to

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This was my first tiny National Spot for Mattel. Director Mike Verta and I shot this “sweepstakes” spot with the Red Epic and Arri Master Primes.  Steadicam and my favorite new slider, the Cineped, were also in attendance. 🙂 A huge thanks goes out to our crew!

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I was very excited to team up with my long-time colleague and friend, Glenn Miller, for his first narrative feature as a Director.  “The Co-ed and the Zombie Stoner” was a two-camera shoot, pairing the Red Epic and Red Scarlet with Optimo DP zooms.  We flew “A” camera on steadicam 80% of the time, with

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I teamed up with Director Ambika Leigh to shoot “The Audition”, starring Leilani Wyatt and Brian Gaskill. The film is a sort of intimate, winding, poem and thus the camera is constantly moving under the careful composition of steadicam operator Ari Robbins.  We shot with the Red Scarlet and Zeiss T1.3 Superspeed primes. The big

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Action, practical effects, and a lot of fun! Here’s a tiny peak behind the scenes…

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Shooting the college comedy “Alpha House” was all fun and fraternity games… mostly.

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Director Chris Olen Ray and I set about creating three distinct looks to underscore the drama that unfolds through this sci-fi disaster movie, “Asteroid vs. Earth”.  Shooting on the Red One MX and Red Epic, with Zeiss Super Speed primes, we survived explosions, earthquakes, volcanic eruptions, and some very tight spaces. 🙂 I’ll give more

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Alpha House is a sexy “frat house” comedy, complete with wild frat parties and a giant HUMAN HAMSTER BALL!

We shot with the Red Scarlet in 4k HD, using Optimo DP Zooms (14 – 42, and 35- 85) and the occasional Go Pro Hero 3 for “surveillance cam” footage. CLICK to read more…

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Jail Bait is primarily set in a juvenile correctional facility.  We shot this dramatic feature on the Red Scarlet with two Optimo DP zooms. These zooms were perfect for this shoot, and contributed quite a lot to the visual style.  It became a signature move to slowly zoom in on our action during key moments.

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Shooting the “Love Fever” video for Elyse and the Aftermath, we were met with a slight challenge… no location…
CLICK to WATCH!

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This is my most up-to-date cinematography montage reel for 2013!

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For the apocalyptic drama, “Mother’s Cure”, we had a small package that would have been perfect… and then things changed 🙂 But we still made it work! CLICK to WATCH…

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We started out with a modest package of 5 lights, then two fuses were blown, then a bulb blew, and then the sun went down, and we were left shooting night for day, interior, with only two lights… Click to Read More…

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While shooting a web series with the Black Magic Cinema Camera… this BTS vid shows the camera on a Fig Rig. We also ran into a few issues with the Mole LEDs this time around, Flickering and color balancing… Click to Watch!

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Timelapse as I build the Canon C100 for a small commercial shoot. Click to Watch!

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This is a little behind the scenes video for the All About Lizzie pilot I recently shot. Thanks so much to my crew for your hard work!
CLICK to WATCH…

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This is behind-the-scenes on a recent test shoot. Thanks to my hard working crew!
Thank you to Key Grip Randy Garcia for providing some BTS camera operation!
And a HUGE shout out to Gaffer Matt Grace for his “fancy rigging”. 🙂
CLICK to WATCH…

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The “Lizzie” Pilot was shot with the Red Epic and Zeiss primes. We divided the characters “worlds” with different camera operation styles: handheld, vs smooth fluid head or slider movement. Watch the Promo Video!
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“Eve: Beauty and the Blade.” At the 2011 Underdogs Film Festival, “Eve: Beauty and the Blade” received 11 Nominations & was the WINNER of 4 Awards:
• Best Cinematography
• Best Editing
• Best Director
• Best Action Feature
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On a lunch break, while shooting “The Miracle of Tony Davis”, Laura Beth answers another question from a former student.
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Laura Beth explains some of the factors that inform your decision in when to change up your film stock (or digital sensor).
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Laura Beth Love talks about shooting in extreme low light for the independent feature “Tableau Vivant”. Steadicam on a 50mm F/.95 lens in downtown Los Angeles. Click to Watch

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“We considered green screen, but, as the objective was to reference the use of an obvious practical effect, we had to jump at the opportunity to achieve it practically ourselves.” – LBLove

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Laura Beth checks out the new Red “Dragon” sensor, and Blackmagic’s 4k Cinema production camera. See the “clean room” as Red begins the Dragon sensor roll out. Click to watch

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What a gruesome way to start a shoot. Our first day of shooting this past March was spent in a garage, with ripped newspaper over the windows sending violent chards of light across the naked body of our Dahlia. Click to read more!

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Continuing on my streak of “red” shoots, (this time using the Red Scarlet) I continue to be thrilled with the images that are now achievable in low budget filmmaking. Click to Read More!

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We shot with a Red Epic rated at 800, with Cooke Panchro/i Primes, for this elegant and disturbing short. Click to Read More

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Silvia asked me to create an unstable, uncomfortable world for the majority of the film. The “unstable” palette was blue/grey/purple, with oppressive highlights, occasionally jarring handheld, even allowing for drifting focus at times…
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This sci-fi/suspense thriller series, starring Renee O’connor, was shot primarily on a practical spaceship set and greenscreen. The spaceship set is the very popular standing set found at Laurel Canyon Stages. We rented super blue 8′ kino tubes for the “air lock chamber”…
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“Secuestrado” follows a family kidnapped for ransom. For this intense, gritty drama, we chose to shoot with two Canon 5D Mark III cameras rated at 640 ISO. Click to read more!

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Ron wanted a mysterious and contemporary look for his martial-arts 3D venture. My g&e team rigged 3 Kino Flo Image 85s to a Condor, providing a soft overhead source for our main action in the center of a parking lot. Click to Read More…

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I rated the camera at 800 ISO, and we were able to work wonderfully with a few small Diva lights, small tungsten units, and over head fluorescents. CLICK to read more…

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“Daily Dose of Dharma” was a two-camera shoot on the gorgeous Hawaiian island of Lanai’i.  We chose a pair of Canon XL2 cameras, paired with the P+S Technik Mini 35 Adapter and Zeiss Super Speed prime lenses.  At the time, the P+S Technik adapter was the only way to achieve 35mm depth of field on

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Laura Beth Love’s Previous Cinematography Reel (from early 2013)

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With a micro-crew, this Promo was shot entirely with a couple of Tweenies and 8 china balls. CLICK to read more…

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…shot with an SSD configured Red MX with Zeiss super speeds. “Real Human Being” tells the story of a man faced with a crisis of conscience. He must choose between his family and his country.

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Masquer was an experimental “fashion film” shot with Canon DSLRs.  Director Daniel Solomon envisioned a metaphorical shedding of the masks we wear in public.  It was primarily shot on a white cyc. http://vimeo.com/36744728

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This was my 24p reel, from back when digital “24p” was special 🙂
CLICK to watch…

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Jordan wanted a contemporary, warm, stylized, “hot California day” feel. We chose the Canon 7D and 5D DSLRs to accommodate our tight space in the
car, and to make some of our rigging a bit easier.
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“Whole Day Down” is a comedy series “about art and the apocalypse”. We were shooting in an entirely white space with skylights. The challenge was creating depth and texture, while managing exposure in the limited latitude of the Panasonic HVX-200.

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We shot the “Love Trilogy” on a Canon 7D, with Canon L-series lenses. We had a small package of Kino Flos and china balls for this disturbing comedy. Click to Read More

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“TV Face” is a pulp-comic horror feature, which was subsequently split into a web series. Director Dean Bull had a unique vision for this very stylized piece.  I regularly operated on a dutch head; together with a high frame-rate, we used the dutch head to create very surreal transitions between reality and “nightmare” sequences.  We

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The majority of the film is shot in a large house with an open floor plan and lots of windows. A typical set up involved a 4k and 2.5k HMI pars outside windows, through a frame of diffusion as a key light, or sometimes raw for a blown out edge.
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I was presented with a 15 page script, however, one line in the script read simply “The Battle of Endor”. Click to READ MORE!

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“Rice Counter, Ice Sleeper” was a 35mm short project… We chose the stock, Kodak Vision 500T 5279, mostly out of necessity. CLICK to read more…

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The P+S Technik Adapter with Zeiss Super Speed Lenses allowed us to work comfortably, control depth of field, and create a cinematic look despite the challenge of working with a “prosumer” camera.
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“The Magnitude” is a comedic web series produced by the American Red Cross. We shot this series with the Red ONE (4.5k, RC42) using Zeiss Compact Primes. CLICK to read more…

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Longtime Listener is a 35mm, anamorphic short film, which I shot with the Panaflex Gold using E-series lenses. Click to Read More

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“Coming Soon, in Glorious Standard Definition!” “Violent Night” is a terrible, creepy, weird story of three Los Angeles roommates unwittingly become accomplices to a holiday murder. It’s highest ambition is to be the worst/best holiday movie of all time!

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It’s an experimental project, depicting a young man’s struggle with family influences and expectations.

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n this video, I’ve used several low-tech tricks to create in-camera effects.

You will see a “nettled” ring-light effect, which was achieved with christmas tree lights and a ring of cut-out foamcore. These lights also had a number of preset behaviors, including fading on and off and different speeds. Click to read more!

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Fweinds.com is another 35mm anamorphic short, directed by Keven Undergaro and starring Maria Menounos, Keven Undergaro and Lara Flynn Boyle. CLICK to read more…

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I was able to bring the larger lights (5k) in doors, shooting through full grid cloth (just on the edge of frame most of the time) and exposing often at a T5.6. We shot with the Arri SR3 16mm camera using Kodak 100T and 250D EXR stocks.
CLICK to read…

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I shot most of The Seekers with the Panasonic DVX-100, using Zeiss Super Speeds on the P+S Technik Adapter. Click to Read More

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