Jared Kovacs

Car commercial working solely with a motocrane on a camera chase car. Always on the move, working out of 2 vehicles. The camera chase car and the follow (video village). Keeping the lenses and camera clean between shots. Managing Teradek array in follow car for video village. Shot on Sony Venice with Atlas anamorphics

DIT/VTR, no assistant, small crew. Camera team was the DP, 1st AC, and myself. Working data management, transcoding, and coloring footy from an Arri Alexa Mini LF Also handling vtr work, managing a live and clean zoom feed. Very smooth. This was a shoot in Coolidge Az, questionable. service. I maintained a strong wifi signal for the zoom feed, never losing signal once and for the first half of the day we were doing car work, with vtr setup in the follow van, thanks to the Teradek 10k receiver, my job was much easier to manage in these shots. Beautiful skies, clouds, and sunset all outside. Good times.

Shooting guns, various ammo, different sized/thickness targets, and sometimes shooting at tannerite. Internally produced short to study quality of a newly produced ammunition for the company. Rigging Gopros all around targets as close as we can with frames that clearly show what's happening and ideally well composed/lit Camera team was just the DP and myself. Small footprint, with 5 gopros and 2x GH5-s, we. got our steps in today, moving all. over to roll, cut, check, and reroll cameras. We rigged one Gopro to the barrel of a S&W 357 Magnum. The GH5-s cameras had a plethora of lenses, giving us long distance angles and some more 'cinematic' shots, also shooting slow-mo at 240 fps (some Gopros did as well). Some 'ole 2A fun

Day playing on a short film, Toro De Oro for some good friends. We shot at a single location on this day, a beautiful hacienda home, lots of windows, wonderful natural light coming into the property all day long. Good job to. the locations team for acquiring this one. Everywhere you looked was a beautiful shot waiting for the red button to be hit. Shot on Alexa Mini LF, with Angie EZ zooms complimenting our A and B set of Atlas Anamorphics. Felt like we were shooting an old Italian film from the 70s. Good people, good times.

Standard 2nd AC duties. This job was a blend of vfx timelapase and steadicam work, with one body we had to move quickly between builds. The 1st and I had a streamlined workflow that kept us ahead of the game on all days worked.

Sit down interviews, two camera shoot, just the dp, myself (ac/dit), pa, and sound mixer. Maintaining a remote feed through zoom to the producers and director, managing footage, and the gear.

Docu/Reality type show. CEO of Canes travels to various citoes across America to provide restaurants with the resources they need to operate during the Covid-19 pandemic. Very professional team, I came in to work the last three days as an additional camera assistant for the production during their time in Arizona. As a pilot, this production was fairly smooth and well operated, and my colleagues in the camera department were a joy to collaborate with.

Independently funded short film by our writer, producer, director. Low budget film, brought on by my good friend and dp of the project. Fun little horror short, the film took visual cues from the film Mandy.

Solo ac working hand in hand with the dp. Typical 1st ac duties, the dp was pretty open minded and accepted shot ideas to make the images stronger. All non-dialogue imagery that was driving the campaign for the brand.

2nd AC for Dennis Scully, one of my favorite 1st AC's to work under. The DP was Jon Chema, a class act. The camera lived on a steadicam all day, the first time this was actually true. We shot with TLS rehoused K35 lenses, beautiful glass and wonderful execution on the rehousing. A pleasure for all of camera dept to work with those. The Venice is easy peasy, at least getting there compared to other Sony bodies. We had a fun exciting day with our talent, Kyler Murray, currently QB for the Az Cardinals. running multiple camera carts to keep us on top of it throughout the day moving all over a high school location for each setup. Dennis and I raced my Tr-04 against his Inovativ cart. All fun and all smiles throughout.

1 man band lighting cameraman. Was a small intimate crew, due to covid and our budget. Fun little short with a simple story and fun ideas captured.

High end content focused around Michael Phelps and his career as a swimmer. We shot interviews with 2x cameras, 1 on sticks with a Leica Noctilux wide open at f/0.95 (I got bumped up to pull focus on this lens while our talent unpredictably swayed back and forth as he spoke! B camera was on a motorized slider controlled wirelessly with wheels by our DP August Thurmer using the Arri Maxima gimbal. On day 2 we had 3x cameras in the works. The 3rd camera was another Mini LF working in a hydroflex underwater housing and lived on a hydrascope crane. Using Leica's Thalia lenses there, and mixing them in with our Angie 12:1 zoom for our other cameras we were in for an exciting agenda. Fun job, great images, excellent camera crew.

Solo ac pulling focus among other typical ac duties, eventually stepped up to camera operate on some b-roll switching between our wide and long zoom lens camera setups with the dp. Was a unique job, shooting inside of a beef plant, seeing the process of a cow go from carcass to packaged meat.

Working all around Az, traveling to Tonto national forest, hiking around to get footage. Traveling to Maricopa and northern Az to Shonto and other parts of Navajo land. Following our characters we are doing profiles on for the larger picture of addressing climate change. Working with a hotshot (wild-land firefighter) and a native Navajo individual who is creating sustainable solar energy for his people. We were traveling all around, shooting on an Fs7 mk2 with Lomo anamorphics, the footage was beautiful, the bags were heavy and was a challenge, but the DP and I collaborated wonderfully and were able to get the shots he wanted while capturing the necessary story elements. Was beautiful, challenging, and for a good cause. Would do it again.

Going out into the high plains of Arizona, near Navajo land, to SP Crater. Camping near the crater and shooting only during magic hours at the top of the crater. Hiking with cameras in our backpacks up the loose cinders all the way. The ground was so loose that you would 2 steps forward and slide 1.5 steps backwards. We rappelled into the crater on one morning to capture story bits. Hiking in the dark with our torches and headlamps. It was intense and super fun all the same.

Standard 2nd AC duties, keeping up with the needs of production, making notes, dropping marks, on occasion stepping in to pull focus for the b-camera when necessary. Supporting my 1st AC to make his job easier.

Standard 1st AC duties and keeping it sharp! Working with the Atlas anamorphics, or anamorphics in general with the Fx9 you can't desqueeze in camera, so we had to output the feed to an Odyssey 7q+ and desqueeze the image there. A little awkward for monitoring since we couldn't fully customize and lock in the desired frame but we got very close and it worked for the DP and the rest of production.

Getting safety coverage and stylized portrait shots in 48fps. Anything complimentary to the style the DP was after, and when suitable coming up with new ideas that I can bring to the scene we are working on.

Pulling focus for the B camera, working to anticipate camera moves that the operator was doing with the EasyRig and 6:1 zoom.

The 8th western for Travis Mills 12 Westerns in 12 Months. Shooting in Young, Az in the mountains near Roosevelt Lake. We again had a very small crew, and cast. 2 crew members with day players on occasion and a cast of 3 women, an intimate tale between them. Travis handling directing and sound, while I was handling camera and lighting, and there was quite a bit of lighting to be done on this, which was a pleasure to do. We were inspired by the works of Ingmar Bergman with telling a story in a set period and using supernatural elements to heighten the tale, all photographed in black and white! The images were wonderfully simple and had an old style to them, like the film was done in the 50s or 60s. The closeups were such a treat to capture. Originally planned to shoot on Super 16mm film, but due to the pandemic, the budget shrank and we shot the film digitally. We shot for 10 days.

The 5th film for Travis Mills 12 Westerns in 12 Months project. Travis and I meet again, in different circumstances. Out at the Cochise Stronghold in the Dragoon Mtns, near Tombstone, Az. Only a few months into the Covid-19 pandemic. Our team was small. 3 crew members: Travis as the director and sound person John Marrs as our producer, extra hand, and actor Then myself as the cameraman. Working on a Calvary film, similar to the style of John Ford, with elements that reminded me of Herzog's Aguirre the Wrath of God. For me it was interesting working on this as I felt like a photographer from the 1800s, working with a large format view camera, using the tripod and composing my shot simply to document what is taking place. Working in the morning and late afternoon for 10 days (scheduled for 11).

Keeping it sharp! Pulling focus during simple interview style coverage and off the cuff b-roll. I was the only assistant overseeing 2 camera packages and keeping things clean and organized. Moving gear around on my cart all over the location for various setups quickly.

Standard 2nd AC duties, keeping things ready to go when assisting the 1st. Anticipating setups, keeping things necessary close if the camera cart can't be present.

The 2nd film for Travis Mills 12 Westerns in 12 Months project. Working all handheld, to create a docu-style feeling, we shot all over Mississippi, traveling to new locations everyday. Scouting was huge on this project, but there were times when I didn't see a location until we arrived on the day. My workflow had to be efficient and constantly adapted to new situations. We were telling a story about a black man who was wrongfully accused and chased down throughout Mississippi, the entire story isn't known, so we had some creative liberty to make it lean toward a tall tale, and were able to inject some style with lighting and camera work which I hope makes for an engaging story to watch It was a fun and stimulating project to work on. We shot for 20 days

The first of Travis Mills 12 Westerns in 12 Months project. Shooting in January for 15 days in torrential rainstorms, working with horses and a claustrophobic space all on location in rural Mississippi. The mud was terrible, making it very difficult to work, setting up the tripod or c-stands, they would sink under weight. Setups were slow and required quick improv and always creating simple solutions. The look we were aiming for was reminiscent to what was done on McCabe and Ms Miller, the browns, greys, and the image taking on an old, faded look.

Keeping gear organized, prepping new setups, anticipating gear to be used creating ditty bags for the 1st since this show was so run and gun there was no time to go back to staging and get the tools needed. All the tools needed had to be right next to the 1st AC or close by, and with no room to pack and carry around every case, batts and other items had to share the same bags and same for camera hardware when switching rapidly from handheld to the Ronin 2 gimbal

Shooting sit down interviews with a feeling of floating camera from a pan and tilt tripod head. Also shooting high speed b-roll of construction workers.

Studio shoot, being quick to lay marks. Relieve the director/dp of the camera when handheld. Keeping batts charged, inventory organized and ready to go when it's needed. Assisting the 1st with anything they need.

Organizing gear, keeping batts charged and handling media cards when ready to download ensuring it's fully backed up. Assisting 2nd AC and 1st AC when they need it.

Assist cameramen with loading and unloading the gear from the van. Commuting the boys safely to and from each location and ensuring the gear is securely loaded. Acting as an additional AC if the others are unable to address something regarding camera immediately.

Pulling focus, ensuring the camera stay operating and clean. Anticipating changes and making adjustments along the way to keep things moving without halting production. Ensuring each lens and filter is clean before the shot is recorded. Working with 2nd AC and DP communicating efficiently.

Managing 2 to 3 cameras. Keeping cameras powered with fresh bricks. Swapping prime lenses quickly when the operator calls for it, same with filtration in front of the lens. Keeping the inventory of gear organized and clean and orderly throughout the day and anticipating any moves or how to keep things from being out of the way of the shot.

Keep the focus sharp, take care of camera, communicating with 2nd AC effectively and anticipating quick moves or changes from my operator and the DP.

Working with alternating camera packages that would require focus pulling during the b-roll, camera were locked off on sticks for interviews. Also managing batts and media while also keeping gear organized to make the wrap out quick and easy.

Manage the builds of 2 cameras while keeping inventory of gear organized. Keeping batts ready to go and relieving the weight of the camera from the DP when the camera cuts.

Collaborate with the director to establish a look for the film, deciding on locations for scenes to take place and when and how best to photograph them with the sun. Executing strong time management skills with a decisive workflow, communicating effectively with my team members and crew to get beautiful images and move quickly together.

Handle all media and efficiently execute backups in time for a hard wrap time for the producer to catch a flight with the media confidently backed up to each respective hard drive.

Keep the speaker framed and in focus, utilising zooms to enhance stage presence and drive home ideas that the speaker is sharing. Ensure camera is handled properly in setup and wrap and the time in between.

Working in a fast paced environment with mostly natural light I have to devise shots that are kinetic and make the event feel larger than life, after all this is a commercial to promote the next years event. Being quick, collaborating with my team and the director and producer to move quickly and capture exciting imagery.

Maintain A and B cameras, taking care of lenses. Working with the operator and dp to swing a lens and take media cards and download them, making multiple backups of footage throughout the day. Being efficient and handle all technical minutae for the day to be made and for quality content to be captured.

Keep the focus sharp on the talent while camera is tracking for handheld setups and on the dolly. But before getting to that point I had to build camera package. Keep camera gear in order, batts charged and workspace tidy.

Commercial with lots of movement around a large property, walking to and from multiple warehouses, my kit was built together on a cart to remain mobile. I took footage from Alexa Mini throughout the day to: back up 4k UHD ProRes 4444 clips to two LaCie drives transcoded to ProRes 422 LT. Also assisted in advising exposure and basic grading of a Sony A73.

Keeping the speaker in frame, holding a nice composition, keeping the pan and tilt smooth. No distractions in the operation to ensure the focus of the speaker is not interrupted. Throwing in a couple zooms to spice things up a bit.

Pulling focus, keeping the image sharp based on measurements, marks, and eye. There was no video tap, only the viewfinder. Among other 1st AC tasks I also handled loading and unloading of film in changing bag.

Managing ArriRAW media, backing it up and transcoding. Also developed some looks for the dp and director to ensure they were capturing an image that can give them the look they wanted.

Worked with a team of other camera operators communicating to capture the basketball game, taking instruction from the board operator. Having fun capturing the game and staying a team player

Keeping focus sharp at all times! Keeping the camera in working order, not getting lazy or slow in a nice comfortable studio shoot. Working with my 2nd to keep the lens, battery, and media swaps swift and smooth while looking good doing it.

Maintain cameras, keeping them clean, powered, ready to go and free of any water. Assisting 1st with lens swaps, moving cameras and gear from each location safely and quickly. Keeping camera team hydrated and camera staging neat and tidy.

Creatively executing scenes visually, with the camera and the light. Setting the pace with my crew and working hard to stay on schedule. Having fun and sometimes stepping in to help with G&E.

Pulling focus on handheld setups. Keeping two cameras in working order. Swapping lenses. Helping light scenes, with bounce, neg fill, and 1x1 panels w/ DP.

Working as a single AC on a 2 camera job. Pulling focus wirelessly. Keeping batteries charged. Swapping lenses. Keeping cameras in working order. Handling camera package, keeping gear organized from pickup to return at the rental house.

Discuss and execute the best way to shoot a scene with the director, keeping things simple and quick to stay on schedule. Communicating effectively for my team and having fun!

Assemble camera package Setup and troubleshoot wireless signal via Teradek Pull focus wirelessly, w/ and w/out monitor Call scene on slate Assist DP/Op when needed

Assemble camera package Setup and troubleshoot wireless signal via Teradek Call scene on slate Pull focus wirelessly, w/ and w/out monitor Assist DP/Op when needed We had only 3 GM Batts on this shoot and we had to use our battery power efficient and couldn't leave the camera running since we had no battery charger nor a DC cable. We made our day

Operating camera handheld and on Dana dolly, for 3 studio session music videos and operating during a sermon.

Collaborating with the director on how to best shoot and light the scenes that serve the story and style that the director and I agreed to whilst staying on schedule. Keeping my camera and g&e teams motivated to work hard and move quickly all while having a good attitude and having fun.

Find the emotion of the scene and ways to best tell the story. All of which is done on the fly, since the film is inspired by those who did the same during the French New Wave.

Shoot poster with the lead actress. Directing the scene to be photographed. Edited photos and designed titles for the poster.

Oversee gear for 2 Sony F5 packages w/ a Zeiss CP.2 set and 2 Fuji 20-120 lenses. Additionally worked as a data wrangler, backing up footage and transcoding for an upload to the cloud for the AE to begin work following each day on set.

B Cam operator. Gather b-roll for Az Lottery's "What Would You Do with $40 Mill" board. Maintain camera, doubled as my own AC as well as some AC work for A Cam.

Keep camera running flawlessly. Keep it clean. Swap lenses. Maintain inventory of all camera gear. Call slate and keep camera notes.

Keeping focus sharp, and managing the camera dept. with my 2nd AC and PA. Also maintaining camera, lenses, and media. Film was sponsored by Panavision, so we had to keep it all safe and pristine!.

About 90% of the film was handheld and about half of the shoot was in a tight house. Telling the story through the lens and my footwork was critical, collaborating with the team making sure what I captured was what we wanted. It was also fun to sprinkle a bit of my creativity onto it too.

Discovering creative angles with light and composition. Additionally, I maintained the camera and lenses, as I also doubled as the AC.

Telling the story through with the best images I could create, both with composition and lighting. Managing my small team and being a strong collaborator. Additionally I operated camera.

Making sure focus was sharp during shot. Keep everything performing at it's best. Building and breaking down gear and properly sorting at the beginning and end of shoot.

Working efficiently to keep all camera/grip gear sorted and safely staged. Then when it's time to shoot properly putting everything together for Director/DP.

Operated camera, made sure camera was set to correct settings, and rigged safely.

Operated camera, looking for unique shots. Maintaining camera between rolls.

Clapper/loader. Camera tech. Assisting cinematographer with any other needs regarding camera.

Created the visual look of the movie. Lighting and composing frames. Camera operating.

Creating the visual look of the movie. Lighting and composing frames. Camera operating.

Clapper/loader. Camera tech. Assisting cinematographer with any other needs regarding camera.

Clapper/loader. Camera tech. Assisting cinematographer with any other needs regarding camera.

Directing photography and operating A7S, creating the visual look of the story.

Responsible for camera equipment, assembled and positioned camera for each setup. Prepped camera at the beginning of the shoot day. Cleaned equipment and packed it up at the end of the day. Marked each take with slate, then filled out camera log.

Prep and maintain camera on set. Slate each take. Occasional gripping if necessary.

Responsible for camera equipment, assembled and positioned camera for each setup. Prepped camera at the beginning of each shoot day. Cleaned equipment and packed it up in preparation of the next shoot day. Marked each take with slate, then filled out camera log.

Directed photography and operated A7S, creating the visual look of the story.

Directed photography and operated the A7S on the DJI Ronin, creating the visual look of the story.

Operated B camera, accurately completing the DP and Director's instruction regarding shot composition and development.

Shoot behind the scenes photography.