For the second installment of our feature on Peacock's "Twisted Metal," season two, we connected with DP Fraser Brown, CSC [
@fraserbrown ] (Episodes 3-4, 7-8, 11-12) to discuss his approach to the hit action-comedy — from unique first-person camera rigs, flashbacks to the 16th century, and channeling 80s horror vibes, to collaborating with first block DP Spencer Combs, implementing complex visual and practical effects, and everything in between.
"I had played the original Playstation games growing up. As soon as I had the interview, I was like, 'Oh, man. I love the game.' And Friday nights playing, that was the best. I wasn't familiar with the first season, so I went back and I watched it, and definitely the writing and storytelling was there.
I work on a lot of shows that don't have a thought-out visual identity, or it's something being discovered through the process. With Twisted Metal, all the writers and producers, and the art department, and Spencer and I, we all really understood what the show was trying to do. Twisted Metal knows what it’s about, which is so great because they can really push it.
[For the prologue flashback that opens the finale,] we pitched hard to make it black and white. [For the sequence,] we got the
@AncientOptics Petzvalux Primes... We tested them. They were awesome, especially in the forest. All the trees are curving. And we pushed it hard. We really wanted it to feel different than the rest of the show.
As far as working with Keslow, it was great. We had a great experience. We got all the tools we needed... Everyone was very on board to create the type of show that we were doing." - DP Fraser Brown, CSC
Hit the link in our bio for the full interview!
Thank you to DP Fraser Brown, CSC and Maika Boettcher (
@maikasaur ) for the BTS shots! 📸
DPs | Spencer Combs (
@spencercombsdp ) & Fraser Brown, CSC
Serviced By | #KeslowCameraToronto
![For the second installment of our feature on Peacock's "Twisted Metal," season two, we connected with DP Fraser Brown, CSC [@fraserbrown] (Episodes 3-4, 7-8, 11-12) to discuss his approach to the hit action-comedy — from unique first-person camera rigs, flashbacks to the 16th century, and channeling 80s horror vibes, to collaborating with first block DP Spencer Combs, implementing complex visual and practical effects, and everything in between."I had played the original Playstation games growing up. As soon as I had the interview, I was like, 'Oh, man. I love the game.' And Friday nights playing, that was the best. I wasn't familiar with the first season, so I went back and I watched it, and definitely the writing and storytelling was there.I work on a lot of shows that don't have a thought-out visual identity, or it's something being discovered through the process. With Twisted Metal, all the writers and producers, and the art department, and Spencer and I, we all really understood what the show was trying to do. Twisted Metal knows what it’s about, which is so great because they can really push it.[For the prologue flashback that opens the finale,] we pitched hard to make it black and white. [For the sequence,] we got the @AncientOptics Petzvalux Primes... We tested them. They were awesome, especially in the forest. All the trees are curving. And we pushed it hard. We really wanted it to feel different than the rest of the show.As far as working with Keslow, it was great. We had a great experience. We got all the tools we needed... Everyone was very on board to create the type of show that we were doing." - DP Fraser Brown, CSCHit the link in our bio for the full interview!Thank you to DP Fraser Brown, CSC and Maika Boettcher (@maikasaur) for the BTS shots! DPs | Spencer Combs (@spencercombsdp) & Fraser Brown, CSCServiced By | #KeslowCameraToronto](https://sp1.picnob.com/p/pt_6721551946183067253912_0_1f9ba861f2621023791255e1192358e2.jpg?o=aHR0cHM6Ly9zY29udGVudC1hdGwzLTEuY2RuaW5zdGFncmFtLmNvbS92L3Q1MS44Mjc4Ny0xNS81NTEzMjA3NjNfMTg1Mjc2NTAyMzcwNDIyNTRfODE0NTc4MjgyNTI2MjczNzQ4Nl9uLmpwZz9zdHA9YzE4MC4wLjEwODAuMTA4MGFfZHN0LWpwZ19lMzVfczY0MHg2NDBfc2gyLjA4X3R0NiZfbmNfaHQ9c2NvbnRlbnQtYXRsMy0xLmNkbmluc3RhZ3JhbS5jb20mX25jX2NhdD0xMDYmX25jX29jPVE2Y1oyZ0dYTEpHTVV1SlAxajhDYnJSTDBCYTBLTkpnX0NFUmIzTzBRSld6Ykl6UGRCTDgtamtpdE53VU1hMnRLdWVGcFhEZGpfWkoyYkFHa2hnVXJ4S0l1U3J5Jl9uY19vaGM9QTJpRWIzM1dzV2tRN2tOdndHbXNTakkmX25jX2dpZD1HdENWdERDQU0yOVRNbDZ6cTJMYUZRJmVkbT1BUFU4OUZBQkFBQUEmY2NiPTctNSZvaD0wMF9BZjYyVlZ2NGVSOGZ0RDlUM3hoWHpWNklEVlc5R2kxZVQ3NVlCdXlEOUNlZWNnJm9lPTZBMEVCQkI3Jl9uY19zaWQ9YmMwYzJj&h=5230706041f2b4200a4ef0d44f817d52)
