Viewer Discretion Advised: Catching Up With Ryan Stober

posted in: Features

Last week we paid tribute to an OurStage original, Ryan Stober.  After showcasing the director’s videos for Brent Shuttleworth’s “When I Reach California” and Nell Bryden’s “Second Time Around”, we caught up with Ryan to get a more in-depth look into his directing style and motivations. And what we found was a thoughtful and passionate artist whose satisfaction is derived purely from creating wonderful work. We’re proud to have you on board, Ryan!

OS: What kind of collaboration was involved in determining the concepts for these videos?

RS: Both ideas were pretty collaborative. Nell and Brent had some ideas of what they wanted to see and do. Once budgets were sorted and we came up with a rough schedule, it became easier to mold the concepts to fit our parameter’s. Its funny that these 2 videos are being showcased because I shot them back to back. I figured I’d schedule the shoots back to back so I could make the most of my resources. It almost killed me, but it worked out in the end. The 2 artists were very open and allowed me to work and really push them toward the best product we could manage. Its important to me to make videos that have as professional a feel as possible. Production value is key. I worked on TV shows and movies when I started out, so I had a taste of how a real production works….what kind of crew you need and a sense of reality in terms of what I could or couldn’t do with an idea. It taught me how to prepare. Without that experience I don’t know how I would ever direct anything without crashing and burning. I have to mention the additional collaboration from my DP, Blake Eichenseer. He is a great DP with a lot of talent. He also shot my video for Derek James, “Free Love”. He was a huge reason for the videos’ success!

OS: Tell us about the techniques and equipment used in Brent’s video. How do you think it captures the emotions trying to be conveyed?

RS: Brent’s video was interesting in terms of creating content. We didn’t have much money to work with. I put all of that money into shooting the performance. That was pretty standard. We shot the video on an HVX 200 with a lens adapter. I wished I could have had more of a blast of sunlight in the space, but we couldn’t afford any more lights! What I did for the rest of the video was shoot still photos. It worked. There’s no way I could have shot video for all those sequences without spending a ton more money…so I figured I’d take stills and export them in various sequences. That was the practical aspect. I also liked the idea of being able to get more emotion out of a still. You could really read a feeling or intention. Again, I feel I was able to achieve some descent production value for little money. It worked well.

OS: Nell Bryden has an incredible voice, and all of the other songs in the videos you’ve directed are equally unique and emotional.  How do you go about deciding who to work with?

RS: I have been lucky. I moved to New York from LA about 4 years ago, almost 5. I began to hang around a small group of musicians. Many singer songwriters. I met Derek James that way. I approached him about making a video and once that happened it got the ball rolling. I had a video that was simple and well received. It really helped generate interest from other artists. Nell found me when someone showed her my work. Brent was similar in that he saw the Derek James video and wanted to work with me. There have been other musicians who have approached me in that way, but I liked what Nell and Brent were doing and thought it to be a good investment. One thing I should mention; I really have enjoyed making all the videos I’ve done especially because there was so much freedom and trust. I was allowed to do my thing and was supported entirely. I know the more you work in this business, the more opportunities that come up. When you climb up that ladder you have to begin dealing with a new set of rules and demands. What I mean is, I really think making videos in this way (with little or no money and indie artists) may be the most freeing experience. It’s not about business as much as just a love of creating a great video!

OS: Do you have a favorite technique, equipment, method when shooting videos? Why?

RS: I love light. If I can’t light, I don’t want to do it…kidding. I love contrast in light. I hope to keep exploring different ways to light. A cinematic look is always my goal. I know there are a lot of popular videos out there, but if they don’t look good I have no interest. Sorry OK Go. I’ve shot some on the RED, HVX 200, Sony EX 3 and some film. I used a Bolex on Nell’s video. We disabled the motor and were able to hand crank the film through to give it a silent film era look. That was fun. My most recent video for Casey Shea called “Elephants” was shot entirely against green screen. My DP Peter Fernberger and Vis FX supervisor and co-creator Robert Morris were great to work with. Shooting an FX video was an insane challenge. As a director though, I believe you gotta get your feet wet in that medium.

OS: Tell us about TOS. What’s in store for the future?

RS: Team of Scientists is my production company. I chose that name because a team of scientists is always working on something never before discovered or done….”we’ve gotta team of scientists working on it”…plus you never know how many of us there are! I hope to add some new scientists soon…I need the help. I can’t keep trying to direct and have to stop to in the middle of a shoot to call in a lunch order. Know what I mean? Team of Scientists’ future is looking good! I have been doing some freelance work in advertising and generating some commercial work. I hope to shoot a few new videos soon. It is tough when you’re still building your reel. I guess I plan on moving forward as it comes. I have made many new friends and collaborators and feel like the best is yet to come (as we all say).

Let’s give Ryan some love, OurStagers. You can contacts Ryan and his Team of Scientists at rstober22@tosproductions.com.