Evan Williams

Managing the grip departments equipment, staging, and planning across three sound stages in a large studio space. Rigging from ceiling, 20 x 12 greenscreens, and dolly operation all came into play.

Packing and driving the 3 ton Grip Truck, as well as lighting on-location green screen interviews for the 20th Century Fox EPK.

Creating a Testimonial video for Global Radar, and international banking and securities company. Produced, cast, shot, and edited by myself and Gaslight Picturehouse.

Loading in equipment, building out and setting up 9 Sony HXC-FB75 cameras, running cable, and supporting multiple camera operators for the Real Housewives Reunion show.

Running the grip department, rigging interior lighting and providing safety measures for stunt work.

Switching all of the lighting at Coca Cola's in-house studio to updated ARRI LEDs.

Lighting warehouse day and night exteriors with HMIs, LEDs, and Par Cans.

I was responsible for maintaining the Canon C300, shooting B-Roll, and helping find locations.

Maintaining two GH4s and a 5D Mark IV, running the equipment cart, lighting interviews, and shooting B Roll for a Delta Airlines video in their Tech Ops hangar.

I am the DP and Director for a series of interview videos about the Omi 366 Degree marketing platform. I direct, light, operate and oversee the edit of videos.

My main responsibility was to get all the stands, frames, and support to pre-light an entire house, including four 1.2 HMIs and an M40. Exteriors and all three floors required low-profile yet extensive setups for free-flowing SteadiCam shots.

Suspending 4ft Kino Tubes from a studio grid, as well as lining the floor with Quasar tubes.

Lighting design and power distro for three generators during an overnight video shoot. We light both an abandoned warehouse and a 200 year old church, neither of which had their own power.

Lighting a nightclub, an abandoned house, and a nightime underpass. Quasar Tubes, Kinos, and LED panles were used.

Driving the three-ton grip truck to and from location, lighting multiple rooms throughout the house.

Operating Timelapse and Hyperlapse cameras, maintaining the camera section of the media room, and assisting operators and ACs in the field.

Managing the grip department's 5-ton inventory, and performing on set grip tasks. We used PeeWee Dolly's, 12x frames, a Dana Dolly, mirror boards, and standard grip and lighting equipment.

For ten days in the swamps and backwoods of North Carolina, I was responsible for maintaing, organizing, transporting, and supporting two C300s and an A7S. This included camera rig builds, lens swaps, and battery management. Support included a Ronin, a Dana Dolly, and a 14ft jib, all of which had to be moved and setup in tough outdoor environments. I was also responsible for lighting interviews and scenes, with lamps including, Jokers, 1x1 panels, Dedo Kits and more.

Building and maintaining Sony F800 cameras across multiple set locations.

Helping the gaffer light the interior of a skating rink, as well as lighting various interviews. LED LiteMats and China Balls were used.

Prepping cameras at the rental house, maintaining them in the field and lighting interviews. Complete responsibility for all gear and technology.

I was responsible for packing and driving the camera van and accounting for all equipment. I also rigged various Kinos, Arris, practicals, china balls to ceiling points at various location.

Management of equipment and lighting interviews for a docu-series.

The shoot called for sodium vapor and mercury vapor lights to represent two characters meeting outside an abandoned warehouse. So, with practicals, bounced Lekos, and gelled Kino bulbs, we rigged units from the roof, the building columns and suspended from strings to have the two distinct light colors clash.

I was responsible to heading the grip team, and working close with the DP and Gaffer to safely and efficiently execute the various lighting setups and light gags. I also was responsible for equipment, safety, and packing the grip truck each day.

I replaced several hundred fluorescent lightbulbs with Movie tone bulbs in a department store, helped light a 20 x 80 foot bluescreen scene.

Working with the DP and Key Grip to light a variety of dramatic looks, including Day for Night, Night for Day, Night Exteriors, and long moves across large sets.

Wrangling cable for hardwired camera operator during contestant events, as well as setting up pop up tents, standing in for talent, directing traffic, and handling basis on-set tasks.

Building car rigs using suction mount kits, a 12x12 Greenscreen, and a menace arm setup, as well as lighting the screen and shaping natural light.

Creating a moody, eerie rap video using bold gel colors and movement.

Managing camera support, media, disks and lighting for OTF interviews.

Lighting and shooting a Nickelodeon- style tween sitcom.

Lighting and shooting a comedic dance-inspired narrative, featuring a number of party and strobe lights.

Lighting night exteriors, balancing generators, operating lighting panels. All in the rain.

Lighting and grip for an indoor restaurant shoot.

I was responsible for maintaining and operating my assigned camera crew's van. That includes packing gear before trips, charging bricks in the field, and accounting for equipment before return. I also tended to my crew members personal needs, and AC'd when necessary.

Managing, organizing, and backing up all incoming interview footage for delivery to post in L.A. Footage comes in various formats from Sony F800s, F55s, and A7s'. Occasionally keying up dallies for our green screen interviews.

I was responsible for building out and managing media for the c300, as well as setting up the shoulder rig and sticks for a series of interviews and B Roll shots. I also ran lights.

Setting and shaping HMIs, Kinos and Jokers, balancing the generator, maintaining the grip struck, establishing staging areas, and shadowing the gaffer.

Driving a cast member from Albany, GA to Atlanta and back.

Main responsibilities included preparing camera vans and equipment, driving crews to location, shooting B-Roll, and ACing when needed. I also assisted the art and tech departments heavily during load in and load out.

Transporting crew and equipment to cast homes and locations, prepping vans and setting up lighting.

My main responsibility was to assist a three man shooting team (OP, AC, and Audio Mixer) with gear management, AC, transport, camera set up, B-Roll Operating and lighting. On set I was also responsible for standard PA duties, as well as Art PA duties during the build of the house.

Producing, writing and shooting a series of videos promoting and raising funds for a local non-profit organization Ageless Interactions.

Setting and managing grip and lighting support for this dramatic Bollywood feature.

Gear cleaning and inventory, grip equipment set up in the field.

Assisting with equipment management, crew driving, tech and lighting setups, art department, appearance releases, and general set and production tasks.

Assisting the camera crew with gear management and lighting set up, as well driving and general office duties.

Grip and lighting setups.

Setting lights, support and greenscreen in a news studio setting.

Overseeing the visual storytelling of this gritty crime drama, including lighting design, camera operation, and best interpreting the director's vision.

My main tasks involved driving the producer to locations, handling appearance releases and NDAs, setting lights for interviews, handling camera support (tripods, monitors, etc.).

Setting up lighting and camera support for a run-and-gun reality pilot. We operated in an animal hospital during surgery prep and operations, as well as in a stable on an active horse farm.

I was responsible for the lighting design and the camera operation for a dramatic warehouse scene in this gripping indie crime thriller.

On this up-and-coming Hulu series I was responsible for positioning and shaping lighting and grip controls, re-positioning large set pieces and creating unique solutions to any lighting issues that presented themselves on set.

Running cable, safety-checking the various camera setups throughout the Georgia Theater, rigging lights for interviews, setting up and operating dolly and camera support.

As a member of a small crew, I was first and foremost in charge of managing media, bricks and support/ monitors for the operator and DP. I also operated the third camera, set up lighting, mic'd the subjects, delegated walkies, drove the van and occasionally directed traffic.

Covering a sold-out performance from Walmart Soundcheck featured artist Brantly Gilbert. I was positioned in the upper balcony of the Georgia Theater with a Dana Dolly operating a 5D Mark III with direction from the director as a member of a six man camera team.

I was responsible for setting and shaping lights on the court at Phillips Arena, running power from various locations across the floor, assisting with the Panasonic HDX900 and wrangling camera and audio cables during tracking shots.

Supporting field operations, assisting tech teams with prepping for interviews, audio monitoring, and transporting camera equipment. I also was responsible for locking down sets, obtaining location releases, and prepping, maintaining and driving production vehicles, including Sprinter vans, cargo vans and a refrigerated truck (reefer).

In addition to traditional AC responsibilities like running slate and setting up the camera, I also rigged the camera for use on a crane and operated as key grip and gaffer when needed.

Managing the grip and electric departments. Working with the DP to set and shape HMIs, running generators, keeping gear inventory.

I was assigned to follow the Tech Supervisor during his monitoring of the camera teams throughout the location. Also loading in, setting up HD monitors in holding and audition spaces, and general assistance with the tech department.

Camera operation, shot and lighting design, directing action, data management.

Setting up the holding rooms, assisting with the camera and grip departments, directing contestants and their families through the process, making runs, preparing spaces for the executive producers.

Driving the production truck, managing walkie talkies, locking down set, assisting on set and during pre-production. The promo was shot a Georgia Tech's Zelnak Basketball Center with various ACC men's basketball coaches and Infiniti cars.

Managing over 500 extra's, locking down set, assisting grip department.

I was responsible for driving the Production cube, unloading and distributing camera gear, managing Walkie Talkies, assisting on set, standing in for talent, helping run cables for the sound department, cleaning up set.

Loading and unloading gear, setting up support for the Sony HDX 900 and monitors, building c-stands and reflectors and using them to help light talent outdoors.

Directing, shooting and editing a piece for local Atlanta artist Divided Mass about the creation of his massive outdoor installation along the Atlanta Beltline. https://vimeo.com/74898246

Shooting and editing Tony Terry's performance at Acoustix Jazz Restaurant and Lounge. There was also a quick interview conducted after his show.

Filming and taking photographs at jazz artist Kevin Griffin's birthday bash which feature and myriad of jazz, hip-hop and r&b performers.

Camera operation and lighting the short film Wall-To-Wall.

Building support for camera including various car mounted rigs, pulling focus, cleaning filters, changing lenses, starting and stopping recording for the Red Epic. http://www.youtube.com/watch?v=soE92XsImjU

Camera operation and lighting the short film "On Angles Wings", produced for the Georgia Lottery Short Film Contest.

Managing and building lights, backline, smoke machines, and generators, including HMIs throughout the abandoned prison we shot in. Building camera rigs including various dollies and sliders. Preparing rooms at the facility for proper shooting exposure.

Building camera support, preparing the set for shooting.

Creating, shooting and editing video content for management, artists and businesses associated with Taylord Entertainment Group.

Running supplies, set and costume assistant, locking down set, driving the production van. Asked to take on more responsibility after just my first day.

Pulling focus, building camera rigs, switching lenses, dolly gripping and lighting the short film "The Final Hour".

Lighting design, camera operation, and creating the overall look of the film. We won Best Comedic Film and the 2013 Women In Television & Film Atlanta Short Film Showcase.

Producing, shooting, directing and editing a series of promotional videos for the Emory University Physics Department.

Directing Photography for the continuing "Pain Killers" series, directed by Dajour Ashwood. Lighting design, camera operation, directing other camera operators.

Running B-Cam, pulling focus, building rigs and support, managing the cameras and media, lighting scenes for the Embree Perry Feature Film, "No Mo' Games".

Helping run auditions and managing applicants during pre-production.