Peter Muggleworth

Main setup was in the Corporate lobby lit primarily with Aputure lights and light panels. Also ran camera and lit break-off room for secondary interviews.

Handled the lights for an online interview at a Veternary Facility primarily with Astras & Kinos.

Ran Studio Camera and also Gripped for a live Studio Shoot spread over 3 timezones between Korea, DC & San Francisco for Korean American Alliance.

Ran Studio Camera, but also served as First Grip to a top Lighting Director for a 2-3-week online Studio Broadcast for The Atlantic's Annual Festival. Setups included interviews & roundtables discussing current events across many spectrums.

Ran Studio Camera, but primarily served as a Grip to the Lighting Director for a big-budget studio lighting setup in the vein of "The Today Show." Accenture company Finalists were put to the task on a game show-style Zoom conference, competing for 6-figure prizes.

Ran Insert Studio Camera for a live-streamed broadcast for a Tri-caster Zoom Shoot.

Typical studio lighting involved setting keys, fills & backlights for a guest interviewing others on a television via Zoom.

On-site at the Smithsonian Castle, we interviewed the Head of the Smithsonian, lit with Lite Mats, Astras, a big HMI and some Dedos for backlight, and a variety of flags.

Operated Studio Camera and also served a Grip to the Lighting Director, setting up & focusing all lighting.

Set up and lit an interview at the Chamber of Commerce with a top US Government official. Interview was conducted in a large room with a variety of both lighting and Grip techniques, and also involved some B-Roll throughout the facility.

Gripped a series of seated & walk-and-talk interviews for the diversity and equity inclusion division of a mid-Atlantic electric company conglomerate’s employment program to recruit inner-city workers. Grip techniques included constant readjustment of framed diffusion to keep up with the moving sun, while maintaining battery-powered lite panels as the Key.

Operated a studio camera and assisted with lighting for a two-day shoot for a virtual, celebrity-hosted, corporate game show among nationwide UPS Store employees.

Part of a 5-person G & E Team for a 1-hour interview with the former Vice President. Did a lot of ceiling-rigging and used a variety of lights for this news-style interview.

Over a six-day span, we set up an intricate studio set with video wall and uplift decor for a virtual version of E&Y’s annual corporate conference, and lit it in a tradional studio fashion with 300s, 650s, and 1K tungsten lights.

Worked as a Grip over two weeks for the PBS Annual Conference, which was held virtually due to the Pandemic. Set up an elaborate 3-camera set up for pre-recorded and live segments for the 3-day conference. Lights included Skypanels for the Key, and an assortment of Tungstons, Astras, Dedos and Geminis for the remaining lighting, as well as a lot of Flags, Solids, and Ultrabounce & Magic Cloth rags.

Served as the Gaffer for a Facebook TV show where a Netflix Celebrity interviews people who lost their businesses during the Pandemic and helps to raise money to bring the business back to life. This episode was about the famous "Turkish Coffee Lady" from DC, and our segments were filmed in her house as well in a Dupont Circle restaurant. The house segments required a lot of daylight manipulation, whereas the restaurant scene required a lot of lighting and general Grip gear.

Led the Grip & Electric Department for a $250,000 Indie, Horror Feature filmed in the Berkshires for a month in the Autumn of 2020 with a loaded 24-foot Grip Truck, as well as 8 days of re-shoots in the Spring of 2021. Shot entirely on location both indoors & outdoors, daytime & nighttime, with a wide variety of lighting/grip setups. The movie is about a creature that hunts in the rain, so we worked a lot of days/nights with rain machines. Also served as the Dolly Grip for segments shot with both straight & curved dolly tracks, and also assisted the camera department with exterior car rigs and other general camera assistance.

Operated one of three studio cameras for a Congressional Hearing between the Leaders of the American Legion and about 30 Senators/Congressman. This hearing is typically held in Congress, but due to Covid-19, the AL Panel testified from a Studio Setup in DC, where we had the Congress People of Jumbo Monitors as they discussed Veterans' issues and policies. Also assisted with audio and lighting setup and breakdown.

For an upcoming Online Hospital Franchise's Conference, we shot several bumper segments over 2 days to be used in between speakers for the online conference. Also assisted with some lighting and audio setup.

For two days of prep & two days of live filming, I operated camera for an annual American Bank Association Summit held online this year due to Covid-19. Assisted with all the lighting and camera positioning in the studio for the 4-hour show, with speeches delivered by Bank CEOs in studio on teleprompter, as well as interviews with Senate & Congressional Representatives.

Worked as a Grip, lighting live interviews in both the main lobby of this investment bank powerhouse as well as a boardroom setup. Used primarily Aputures for Key lighting and Astras for Back and Fill lights. Also, assisted the DP with basic AC duties for the Canon C200 and Canon C300 setups.

For a variety of segments that would typically be shot in a studio in a non-pandemic year, IMG sends me to Individuals' homes to set up camera, backdrop, lighting, internet hotspot, audio, and everything else, so that the talent can film news and corporate interview segments from home.

On prep days, I drove a Production SUV for tech scouts at several locations around Greater Baltimore and Northern, Virginia, working directly with the Production Coordinator. On the three shoot days, I transported the DP and AD to and from all locations, and offered general PA assistance with several departments while on set.

Worked with G & E on a Corporate Training Video Series for Electrical Workers at this Baltimore Power company. Interviews and B-Roll mostly.

Worked as part of a 2-man G & E team for the CBS NFL Pregame Show, lighting an interview between Ravens' coach John Harbaugh and CBS Football Analyst Bill Cowher at the Ravens' Facility.

Worked as part of a 6-man Grip team for a pregame interview segment between Pam Oliver and the 49ers Starting Defense. Turned a hotel conference room into a 360 black-draped interview circle with an abundance of Grip gear and lights.

Worked with the Grip & Electric Team for this Indie Feature for a month. Served as Best Boy and Grip depending on the day, and managed the grip truck and worked with a variety of lights and Grip gear on indoor and outdoor setups. Also served as the Dolly Grip for scenes using a Dolly.

Worked for a week with both the still photography team as well as the video crew lighting several dozen setups for their online instructional content. Most of the scenarios took place within vehicles, so some very creative rigging was involved. Also performed some basic AC and Tech assistance with Teradek and RF signals.

Gripped for a series of interviews and B-roll footage for an in-house video to be shown at the National Women's Law Center's Annual Gala.

Gripped for a series of interviews and B-Roll for a corporate video.

Was the lone Grip for a series of interviews at the Boeing Headquarters in DC to be played during their annual awards ceremony. Used mostly Astra light panels and basic diffusion to manipulate the natural daylight. Also assisted with the Audio Engineer and did some basic AC work for the DP as well.

Gripped on a promotional ad for BGE covering the installation of a new electric car charging station in Annapolis. As it was a daytime, exterior shoot, we did not use many lights, rather we used a lot of bounce and reflector boards, as well as solid flags and diffusion frames, along with a few Scrimjim nets. Also did some basic AC help for the DP and helped with the Drone Operator as well.

Worked a full week with the Site Management Coordinator for a high-budget, exclusive, outdoor concert at the new Apple Store in DC. Primary responsibility was to organize and manage the truck load-ins and load-outs of all of the staging, A/V, and location deliveries.

Gripped on a 4-man team for a series of studio interviews, as well as for B-Roll within the offices of the DC corporate headquarters. Used primarily Astra light panels for the B-roll, and a variety of lights for the interviews, mostly candy-striped Kinoflos for the key lights, with small, top-rigged Lekos as the backlights, and Astras for the fill. And for the B-Roll, I also served as the AC for the DP.

Worked with the DP and 2nd Camera Operator to load in and set up all lighting equipment for the kitchen portions of the whole season of this established cooking show. Also, set up and lit the outdoor set for all of the "Beauty" shots of the finished food.

Worked with the AD department executing typical big-set responsibilities locking up locations during filming. Also assisted with the Picture Car team moving and positioning 1940's vehicles between takes.

Worked a day of rehearsals and a day of live broadcast production for a live, 30-minute Walk & Talk through the newly opened Dinosaur exhibit at the Smithsonian Museum of Natural History. Responsibilities included setting up all lighting gear to be hidden during filming, and wrangled cables for the handheld cameramen during the live broadcast.

Worked as a replacement A/V Tech at NIST (National Institute of Standards and Technology) for several days spread out over two weeks monitoring and managing the live broadcast and transmission of many daily events and conferences to various satellite offices and also recording for permanent record. Daily duties included setting up all necessary camera and audio connections in various spaces, and live audio and video mixing during the conferences.

Assisted as part of team that that set up, ran, and broke down camera/broadcast gear (including a medium Jib) for a live stream of an annual government event at the DoL.

Worked with a 4-person team to set up, manage, and break down all camera & lighting gear for a series of green screen, comedic news broadcasts for company ethical training.

Worked with an SMT team to set up, manage and break down all camera, lighting and A/V gear for a satellite media tour for Navy Federal Credit Union, that connected to multiple morning TV Programs and radio shows.

Worked directly with a team of photographers documenting the grand opening of the new Apple Flagship Store in DC. Primary responsibility was to release anyone who appeared in photographs, then cross-reference with editors in Post to achieve a same-day release of the photos on the Apple website.

Worked with a 3-person team conducting interviews of student rocketry champions at an all-day, outdoor, rocketry competition. Primary responsibility was setting up and managing all Grip-related gear, but also assisted with other gear when needed.

Worked for two weeks as a Grip on a series of comedic, corporate training videos in an office setting. Used a lot of Kenos, Astra Light Panels, small LED lights, and HMIs as well as flags and diffusion to achieve our lighting goals. Also, helped set up a small, tripod Jib for many of the shots.

Worked as one of two First Team PAs, dealing mostly with accommodating the Main Cast on production days. Other responsibilities included crowd control, Background Actor wrangling, location lockups, and coordinating transportation between base camp, hotels and Set for cast and crew.

Worked as a Grip for a series of interviews between former Press Secretary Sean Spicer and a number of high-profile, current White House Employees. Responsibilities included load-in, set-up and breakdown of lighting gear, as well as general camera and audio assistance when needed.

Worked as a Grip for a fast-paced, corporate shoot at Howard University and the Newseum. Responsibilities included setting up and breaking down lighting gear, as well as some general camera and audio assistance when needed.

Typical Set PA responsibilities included wrangling Background Actors, location lockups and crowd control.

For outdoor setups, worked with an 8x8 frame prepped with diffusion. Also used a number of flags, reflectors and bounce cards on Combination and C-Stands. For the indoor setups, lighting equipment included Astra Light Panels and Kino Flo 4 and 2-Banks. Also used were Dedo spotlights and Lightmats.

Worked basic Grip responsibilities helping to light, and load in/out and manage gear for Church interview with a Rabbi, a Minister, and an Imam for an Asian news agency. Also, was in charge of running the teleprompter on an Ipad for the host's intro and outro.

Worked rigging lighting equipment in a basement conference room for a group discussion-style segment, then, for the second half of the day, moved to a small theater to light it for a live presentation and discussion. Also, for 2nd day, ran the lights for a series of interviews at a brewery, and then at the bank branch in DC.

Part of a 3-person team of First Team PAs. Responsibilities included wrangling and taking care of the Main Cast for this new, big-budget Netflix series, on location at major landmarks in Washington, DC.

Worked lighting a variety of office settings for B-Roll, then lit an Executive's office for Executive interviews. Gear included a Diva Fluorescent kit, and Astra light panels. Also, was in charge of running and setting up the monitor for the director.

Typical PA responsibilities of running errands and helping with gear load-in/out and setup for interviews. Worked as an AC for the DP for the 2nd half of the day filming B-Roll.

Served as the Grip for a series of Artist Vignettes for the MBN Network, a State Department-sponsored platform for Arabic-speaking countries. Worked mostly with Tungsten lighting and light panels, with C-Stands and basic light stands.

Worked Prep Days assembling and labeling five elaborate camera setups in the shop and on location. Also drove the gear van for the production.

Worked with the Grip & Lighting crew for a 3-camera-crew production on the Air Force One airplane. Spent the bulk of the day lighting the plane from the outside for the camera crews filming inside Air Force One.

On set-up days, I work as part of a team of Utilities, running all A/V & power cables from the truck(s) into the stadium and into position, and also help set up a variety of cameras around the stadium. On game days, I work directly with the hand-held, on-the-field/court Cameraman, carrying, dropping and re-coliing hundreds of feet of cable using the over/under technique, so that they can move freely all over/around the field. After the games, I assist in the strike & loadout back to the trucks. Over the years, I work regularly College Football, Basketball and Lacrosse, as well as the NFL and other miscellaneous ESPN sporting events between the Mid-Atlantic.and New England.

Responsibilities were entirely gear-related. Was in charge of driving the gear van, and once on location, assisted with loading in and out of all gear throughout the day, and moving it around and setting it up/breaking it down at all of the various filming locations within the facility.

Typical big-set PA responsibilities included Background Actor wrangling, locking up locations during filming, coordinating timecards with different departments at the end of filming days, and assisting the ADs as needed.

Worked as both Grip Assistant and AC for two weeks of primarily kitchen cooking segments and beauty station setups for this interesting Mexican cooking/adventure show. After the initial load-in and rigging/setup of the main lighting gear in the kitchen set, daily responsibilities included making lighting adjustments throughout the day as the sun changed positions, and also breaking down and setting up all outdoor lights (HMIs and LED Spotlights), which shone into the kitchen set from outside. AC responsibilities included basic monitoring of battery charging stations and breaking down and re-setting up of Video Village when switching between the kitchen and beauty station sets.

General big-set PA responsibilities consisted mostly of crowd control and lockdowns in busy Washington, DC outdoor locations.

Serve primarily as a driver in the DC Metropolitan area for very busy shoot days. Also assist with gear load-in and load-out, as well as gear setup.

Worked on the 4-day shoot as the Gaffer/Grip for a series of marketing videos for the Flint Hill School. Lighting setups were comprised mostly of Kino Flo and Light Panels, adding flags and diffusion when appropriate.

I have worked 50+ NFL/NCAA Football games, the NHL Winter Classic, The MLB All-Star Game and the NCAA Lacrosse Championships, over the past 4+ years with the Skycam crew.. On set-up days, we unload the SkyCam trucks into various NFL/College Stadiums and move the SkyCam reels and (RCE) computer systems to the four upper corners of the stadium, where they are assembled and mounted into position. From there, we run thousands of feet of fiber optic cable around the stadium, connecting the four reels/computers to the main system in the control room, so that the Pilot and Camera Operator can fly/control the rig. On game days, we sit with and monitor the SkyCam reels/computer systems in the Catwalk (or similar position) throughout the game, and assist with the breakdown and load out after the game is completed.

Worked primarily with the Grip & Electric Department on an outdoor commercial shoot in a park in Washington, DC. Responsibilities included load-in/out of all lighting and camera gear, as well as assistance setting up that equipment, and also assembly of basecamp.

Standard PA responsibilities included setting up and breaking down of lighting and video gear, coordinating meals, running errands as they arose, and wrangling talent.

Worked primarily as a lighting and gear assistant for a series of corporate videos for the American Hospital Association. Responsibilities included load in and load out of gear, setting up and taking down lighting and video equipment, and sitting in for talent prior to filming.

Worked with the two Camera Operators all day, spotting them when moving and other general camera assistance.

Worked with the cameramen, spotting them as they spent most of the day filming moving crowds, and also helped out with general PA duties as they arose.

Work regularly for a variety of Regional events. Normal responsibilities include load in/out, stage construction, video wall construction, rigging lighting gear, audio set-up, camera operation, and general A/V assistance.

In charge of moving, setting up and adjusting all lights in several locations for a short film for the Flint Hill School to encourage alumni giving. Worked mostly with Kino Flo 4 & 2-banks, as well as light panels. Also, helped set up and light a 15 x 10 green screen.

Operated a camera rigged on a High-Pod for a full-day session of US National Team Soccer Coach training sessions, whereby coaches contending for higher-level certification would implement coaching tactics to players, and the sessions were recorded for further review.

Standard PA responsibilities: checking out rental vehicles, transportation, craft services, loading/striking gear, some grip assistance, releases, managing Skype sessions with talent and crowd control for 4 episodes (over 12 months) of this popular reality show.

In charge of driving the Grip Truck in Washington, DC, for a variety of interview setups at Senate Office Buildings.

Worked a 6-day shoot in charge of driving and managing the Grip Truck, and also assisted on set with the G & E setups at each location.

Assisted in rigging Go-Pros and audio gear in an NFL player's vehicle, then served as the driver of the follow-car, responsible for staying directly behind and next to his vehicle to get steady, exterior driving shots, while the player was driving both to and from the stadium on game day. This was for Facebook Live.

Helped set up and break down audition area & base camp for a one-day open call in Annapolis, Maryland. Primary responsibility throughout the day was data input for the contestants selected to advance to the next round.

Worked for two days with a three-man crew to help load in and set up for interviews in two Senate Office buildings, focusing primarily on lighting.

Worked with a three-person crew as an assistant to the camera operator and audio mixer for a multiple-day internet stream of the AHA conference. Basic responsibilities included help with loading/unloading gear, set up of cameras and lighting gear, setup of audio lines to the mixing board, and standing in on stage to test audio signals and finalize lighting/camera prep.

Basic PA responsibilities include driving of production vehicles in Washington, DC, crafty runs, help with load in/out at selected locations, and acquisition of releases from people on the street that the host selects to interview.

Worked as a Set PA for a still & video shoot for a franchised medical facility's website. Main responsibilities were assistance with load in & load out, and set up/breakdown of all lighting equipment on sets.

Worked as a Set PA for a still photography advertising campaign for a high profile insurance company. Along with standard PA duties, my primary responsibility was set-up, transportation and breakdown of base camp.

Worked as a Camera Utility for a Facebook Live broadcast at Nationals Park, which had over 4 million viewers. Responsibilities included operation and oversight of Camera #5, as well as maintenance of wireless camera signals for on-field cameras #1 and #2.

Assisted with Load In and Strike/Load Out, ran power and A/V cabling throughout venue to each camera station, and during the game worked as a Camera Utility, assisting the Camera Operators with general AC duties.

Was flown into Nashville to help load a grip truck, then proceeded with a caravan of three vehicles to Washington, DC over a two-day drive, to deliver the vehicle for the beginning of production.

Worked with the SkyCam team to rig and set up the SkyCam cabling for a 4-day Men's & Women's Divisions 1, 2 & 3 Lacrosse Championship weekend. On all 4 game days, worked at one of the four corners monitoring and maintaining one of the four cable reels, and on strike day assisted in the breakdown and load out of all SkyCam gear.

Some general PA/Grip/AC responsibilities, but mostly serve as the driver for talent and crew, for this fast-paced, political, behind-the-scenes reality show.

Set up and operate the parabolic sideline microphone for ESPN national lacrosse broadcasts, and also help with general utility responsibilities during post-game strike.

Among the general, big-set PA responsibilities at the beginning & end of shoot days, I spent most of the shoot working with a C Unit filming exteriors of picture car motorcades moving throughout Washington, DC, and served as the primary point of contact on walkie to relay the Director's and AD's instructions to the Precision Drivers.

Worked with the G&E department for the entirety of preparation, production and strike of a week-long reality show pilot for Spike TV. Also served as the 24-foot Grip Truck Driver for the entirety of the shoot.

Served as a Set PA and Driver for a PBS crew obtaining high-quality B-Roll for a corporate video demonstration, and also helped as an AC to the DP for basic camera duties like lens changing, batteries, etc.

Worked with the Operations Producer throughout the day prepping for game day broadcast, and during the game, assisted with Utility responsibilities running and striking fiber optic cables throughout the facility.

General PA responsibilities including crafty, transportion, releases and set up/breakdown, and during the bulk of the shoot, assisted with Grip responsibilities.

Worked as a camera assistant for first half of the day getting B-Roll of the parade and tailgaters, then was in charge of lighting the on-field reporter during the game.

Worked with the Art Director setting up and breaking down the many props and set decoration articles for each shot, along with general PA responsibilities.

Found the location (soundstage) for an interview with one of the President's speechwriters, co-ordinated all lighting and camera gear, and served as the Gaffer and AC for the shoot.

Primary responsibilities included driving, gear loading/unloading, and media delivery.

Primary responsibilities included acquiring/managing the Grip Truck, locating/acquiring all grip and camera equipment, assistance in hiring local crew, driving, and anything else that came up on set.

Primary responsibilities were transportation and on-set still photography.

Among the standard PA responsibilities which included driving and gear loading/unloading, I also served as Assistant Camera once on set.

Spent six days as the Driver for the main cast of this popular reality show. Also, when the cast was being transported by other means, I drove the camera car, which was the car that was following the cast and filming them on the road, which required a fair degree of precision driving.

Responsibilities include Props, Transportation, Set Decoration, Assistant Grip work, Craft Services, and anything else that is needed.

Crowd control and wrangling background actors.

Responsibilities include Props, Set Decoration, Craft Services, Transportation, Assistant Grip work and anything else needed.

Responsibilities included Props, Transportation, Craft Services, Set Decoration, Assistant Grip work and anything else that was needed.

In charge of Driving 15-passenger van for three days of scouting/production all over the Washington DC area and general set production assistant duties once on the various sets.

Worked loading in/out and setting up all lighting equipment for a series of interviews and also worked as the B Camera Operator.

In charge of anything they needed during production on set, including loading and setting up gear, craft services, props, errand running and wrangling actors.

In charge of anything they needed during production including props, craft services, wrangling actors and clerical tasks.

In charge of setting up all the lights for a fully-funded short film noir.

For all home games of the 2015 Women's Football season, I run the parabolic microphone from the sidelines to get "in the huddle" and action audio for the broadcast.

Worked as an assistant Grip for a 3-day shoot for a new Lifetime show. Helped set and move all lighting equipment and executed various tasks including blocking out the sunlight anything else that came up.

Moved and set up all lighting equipment and also did anything else that needed to be done.

Boom operator for the trailer to raise money for a short film.

Co-ordinated the transportation 40 actors and crew from Washington DC to Spotsylvania, Virginia for several days of production. Also drove one of the vans.

Worked several days running craft services, transportation and managing the actors on set.

Moved and set up equipment. Drove production vehicles. Other various clerical responsibilities.

Wrote, directed & co-produced a fully-funded, feature film with a total of 45 production days with a 15-person crew and a year of post-production as co-editor and main contributor for the soundtrack.

Worked on a series of local commercials as a Production Assistant in charge of anything they needed.