Check out Resolution on Video On Demand, Amazon, etc on January 23, and in limited theatres January 25!

Click here for details.

Read the full press release here.

You can also find writeups of the good news in Variety, the Hollywood Reporter, Deadline Hollywood, IndieWIRE, Screen Daily, Twitch, Bloody Disgusting, Dread Central, and Fangoria.

Resolution had its premiere at Tribeca Film Festival 2012, and has also gone to Neuchatel International Fantastic Festival in Switzerland as well as Fantasia in Montreal. It’s still on a long festival run here and across the pond, and Justin and I will be traveling with it!

Here’s a video I did for a really awesome hip-hop artist, Destorm Power. Beyond pure talent, he’s also the most-subscribed hip-hop artist on Youtube. I had the always-amazing Bob Low gaffing for me, and production support by Tybee Diskin and Shane Brady. I was kind of a one man band on this one: wrote/directed/shot/edited/VFX sorta thing.

I shot on the Sony F3 again and had a GREAT experience. This camera can really handle low light and makes some smooth images. I had it plugged into an AJA KiPro to record to ProRes 422HQ, and the images were noticeably smoother (I compared them). I can only imagine it with S-Log. The lenses were Sony’s cine lenses, and the whole video was shot on a 35mm. I also want to note that the camera lasted ALL NIGHT on one battery. Incredible.

However, the form factor of the camera, when built out, made it as bulky as anything else. My back hurt for two days afterward, but then again, I’m not a strong man by any stretch. It isn’t great for shoulder work because the flip-out screen gets two inches from your face. Also, the KiPro seems like a (bulky) workaround, and we really need Sony to get off the XDCam format and hop aboard ProRes internally.

Post was pretty intense — we shot on February 2nd, and it was due on February 14th. I was booked for three of the days in between and working a coloring gig at the same time, so I really posted this monster in about six sleepless days!

The reception’s been great. Youtube tweeted about it, and it garnered nearly 200,000 hits in a few days. Definitely proud of this one!

A lot of BTS stuff is basically just talking about how great the crew was/film will be, so I’ll get that out immediately: the crew rocked, and the film will be awesome. These are givens. Now onto the nuts and bolts:

Murphy’s Law was in full effect at the outset. Prep was extensive for such a simple show. On paper, it’s two people in one location — a house. After I met Eli, we had months to take care of planning as we wrapped up our work elsewhere. We talked tone, story, character — giving me a firm grasp of just what was going on behind the action, not just “where to put the camera.” Long in advance, we worked storyboards of every shot, which we followed nearly to the letter.

We actually stopped our location scouting after the first house. The one we found was perfect in most ways, except that the boy’s bedroom was a bit small. Beyond that, it was ideal. Jackpot!

Then some problems cropped up: the character of Max, being so young, can only legally work for so many hours of the day, and only certain hours (not too late). For a movie that takes place half at night (and my desires to light from outside the window), this is a serious concern. Then, the location did not want us to be in the house very late (out by 11pm). All of this happened in the face of a pretty significant budget cut and re-crewing as well. Production dug their way out of it, though, with some careful scheduling and budgeting, and we rolled on.

Our first day saw a surprising bout of catastrophe. Our power runs ended up not working out, so we had to power our lights off the house (which meant we had to use smaller lights — not ideal). Then an essential lens arrived busted. Then a schedule conflict. And a half dozen other things. We worked around it, but I can’t tell you we made our day — but we weren’t really worried. Like every set, it’s growing pains, and we were prepared. The next three days blazed by.

Working with Eli can be described as serene. We were on exactly the same page. He knew that I knew what he wanted. Instead of hanging over me during set, he was working with the actor — the most important thing. We had packed our lunchbox up tight with the storyboards/shot list, as well as some lighting research and tone pieces, so the shots were ready to go between us, and we simply had to execute them.

Also, I have to give credit to the talent — Chrystie was a consummate professional, and Griffin, at 10 years old, knew just what to do and delivered a stellar performance around my technical meddling.

Coloring and watching it on the big screen at Raleigh Studios, I can say it’s some of my finest work, and something I think will take Eli and the rest of the crew very far.

Resolution is my second feature film as director, and sixth as cinematographer. I co-directed it with Justin Benson, a close friend of mine with whom I’d shot quite a few of my best works. He also wrote and produced, I was the cinematographer and did the VFX. We both edited.

A mysterious observer manipulates two estranged friends in a ramshackle cabin as one forcibly nurtures the other through a week of meth recovery, dangerous junkies, and the malevolent will of their watcher.

I was approached about Resolution (then titled Chronicle) in December of 2010. Justin had an amazing plan to make the film with a small crew, low stress, on budget and everyone gets paid. I don’t want to give everything away, but it worked amazingly. The smoothest shoot I’ve ever been on, followed by a blitzed post production that got us a locked picture (including two cut screenings, VFX and coloring) one month after wrap, and some great buzz for the film’s trailer on some really popular websites including Joblo, FilmSchoolRejects, AintItCoolNews and TwitchFilm.

I can’t be more proud of the work we’ve done, early reviews have been really positive, and I think the future is bright for the film.

Co-Director/DP/Editor/Colorist Aaron Moorhead
Writer/Co-director/Producer/Editor Justin Benson
Producer David Lawson

Starring Peter Cillela & Vinny Curran
with Bill Oberst Jr. & Zahn McClarnon

Production Designer Melissa Lyon
Gaffer Bob Low
1st AC Thor Wixom
DIT Shiblon Wixom
Field Mixer Dan Martinez
Associate Producer Mike Felker

Re-Recording Mixer Yahel Dooley

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Here’s a spec commercial for Freshpet, an all-natural dog food. We came in 2nd place for the company’s competition.

Dir – Colin Duffy
Shoot/Edit/Sound/Color – Aaron Moorhead
Music – Dan Martinez
Starring – Lili Fuller, Joe Sofranko, Elizabeth Fabie

And here’s a spec commercial that I DPed & colored. We took 3rd place. The same team with a different video (shot by Brian Barrow) also took 1st place in the same contest!

Dir – Colin Duffy
Shoot/Color – Aaron Moorhead
Music – Dan Martinez
Starring – Joe Sofranko, Chelsea Daniel

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A FunnyorDie video that I DPed, directed by Charles Ingram and Nick Corirossi.

Starring the FunnyorDie team, and yep, that’s Weird Al. I also did the visual effects and coloring. We didn’t really have a budget, a crew, lights, or time, but we had HEART. Shot on my 7d in a couple hours. This thing was crazy.

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Here are a couple things I’ve shot through Strike Anywhere. Both these were directed by Justin Barber. I helped on the VFX for the Mogwee spot as well.

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A spec commercial I’ve been piecing together for Tesla, a revolutionary electric car company.

This was pretty much a one man show here. I went to a Renaissance Festival while in Florida and brought my 7d along, and just shot a bunch of slomo stuff. When I had some spare time I put it into editing, wrote a sad little story around it, and imagined some places for some entertaining VFX when I could use the sky as a bluescreen.

I also got to stretch my “epic British guy” voice a bit here (and desperately hope I get away with it). All in all took about 2-3 actual days of work stretched across about a week of on-and-off.

Write/Dir/Cine/Edit/VFX/Color Aaron Scott Moorhead

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Here are two commercials for Cadillac and Pepsi that I made with Colin Duffy through MoFilm’s Tribeca short film competition.

Brian Barrow Co-DPed the Cadillac commercial with me, and was an indispensable help through the entire process.

“One World” took 2nd prize in its category. “Before there were Roads” took 5th prize.