It’s more than just a camera and a tripod; you get a dedicated professional specially-trained in Steadicam Gliders, Jib Arms, Sliders, and Multi-Point Lighting Setups for a truly Cinematic Look. Include underwater videography up to 30ft deep, and years of Aerial Drone Piloting experience – both indoor and outdoors – and you’ve got content to succeed by Land, Air, or Sea.
After more than a decade of handling Professional Camera systems, my expertise covers a wide range of Cinema Series, DSLR, 35mm, and 16mm Film Cameras; I am wholly convinced there is no camera I cannot operate. Not only can I navigate any menu with ease and remember to open the shutter on that Bolex, I can clean that gate, replace a bad circuit board, install a new sensor, and update the firmware as easy as A7S, BL, C300.
RED: Mysterium, Scarlet, DSMC2
Arri: Alexa, Alexa Mini, Amira, SRII,16-S, 16-BL, F-435ES
Sony: PMW-F5 & F55, PXW-FS7 & FS5, ILCE-7S, 7M3 & 7R3
Blackmagic: URSA Mini, Mini Pro
Canon: C300, C200, C100, 5DmkIV, 5DmkIII, 5DmkII
GoPro: Hero2, Hero3, Hero4, Hero5, Hero6, Hero7
Panasonic: Lumix GH2, GH3, GH4, GH5S
Paillard Bolex: H-16 REX-5 MST
Let's Talk Cameras. Any Camera.
IN A WHOLE NEW LIGHT
Some Indie Cinematographers will show up to set, shoot for coverage, and react to the whims of the Director. Some are mechanical experts, but aren't invested in the project creatively. Some will rely entirely on the director for real-time shot suggestions. While these approaches can still yield great results, I prefer to take a more hands-on approach.
Taking advantage of color theory, emotional composition, and extensive previsualization practices, I like to ensure we not only have a game plan for set, but a robust shooting schedule rehearsed and explored with you, the director. This way, you can focus on what matters the most – steering the ship – while comfortably knowing your vision is being achieved, all in a timely and on-schedule manner so we can not only enjoy the shooting day, we can also stay prepared for sudden, unexpected difficulties, and still have time for us to grab that beer afterwards.
Want more than just a camera and a tripod? Of course you do. Good thing I'm trained in Fluid Steadicam Operation, relying on Analog equipment so there's no fuss with calibration and batteries. Also throw in a steady hand for those awesome slider and dolly shots you have in mind, and we'll all be drooling over the dailies.
With plenty of experience working as a Gaffer and Grip as well, I'll work with those unsung heroes to get that lighting just pristine and set the track up just right, and they'll be happy because I'll already be aware of the limitations of the equipment, and actually know what the hell they're talking about.
Your editor will thank me too, because working as an editor, I'll make sure the footage is pre-synced with audio, clearly labelled, and ready for color grading out-of-the gate, so that way everyone still gets a personal life during post. Maybe they can join us for that beer.
Film & Television
REEEL COMING SOON
DP, CAMERA OP, DIT, AC
DRIVEN TO CREATE, READY TO ASSIST
IT'S IN THE BAG
Hiring me also means hiring my gear; a curated collection of odds and ends specially selected to save those on-set heartbreaks. Need an extra set of rails? I got that. Chargers and cables in any flavor? You got it. Camera Cleaning kit? Absolutely. Rigging, Zip ties, gaff tape, T marks? Wrenches? Extension Cords? Plug Adapters? Of course.
Need something I don't have? Trick Question: I’ll have already spoken to you about equipment needs well in advance of the shooting date to make sure we’re all on the same page. And once on-set we need a mid-afternoon pick-me-up, double shot coffees are always included.
ON & AFTER SET
The transition from production to post isn’t always a simple one: field shoots are often met with disorganized data, loose waivers, and dubious logs.
Hiring me means footage is always timecode synced, slated, logged, and labelled in an effective and intuitive manner, bred by both personal interactions with post houses, and also firsthand working as an Avid-based AE for Commercial TV.
You’ll not only breathe easy at the myriad hours of overtime you’ll save in production costs, your editing team can breathe easy.
THE GOOD TIMES
Video is much more than pointing a camera and shooting a subject. Although the aim of the camera is to depict a subject or idea, the utilities offered via the successful integration of camera, sound, mixing, direction, edit, and composition can directly influence whether or not your message resonates, or falls flat.
An effectively-produced video stimulates the emotions of the viewer and reverberates through their mind throughout the day. Few people watch an interview and marvel at the lighting or fidelity of the voice, but the quality of the light and source of sound holds their attention while the speaker keeps them invested. With years of experience and a breadth of familiarity with this endless assortment of filmic techniques, I'll help you make your message shine, and direct your best foot forward.
STORY FIRST, GEAR SECOND
(But Just in Case You Were Curious)
Tailored for Your Needs,
in Every Environment
It’s more than just a camera and a tripod; you get in me a dedicated professional specially-trained in Gliders, Sliders, and Multi-Point Lighting Setups, underwater videography up to 30ft deep, and years of Aerial Drone Piloting experience – both indoor and outdoors.
Throw in a decade of freelance video work with clients all over the country, and you not only have a recipe for a truly Cinematic and Successful Video; you’ve got content that will succeed by Land, Air, or Sea.