Josh Skurnik

Media Manager for green screen interviews with an Austin-based couple. Used my personal DIT rig to transfer media to two LaCie hard drives using ShotPut Pro and checksum verification.

AC for green screen interviews with an Austin-based couple. Helped DP with lighting, painting and building cameras, and media management.

Slash cam for the live broadcast on FloMarching.

Field cam shouldered up for the entirety of the 8-hour broadcast on FloMarching.

I was a camera operator working with a G & E team live-streaming the press conference after the 988 Suicide & Crisis Lifeline Spotlight on Austin, TX roundtable discussion conducted by the Substance Abuse and Mental Health Services Administration (SAMHSA).

Did a branded content shoot with Blackwing USA officers performing school security focused on the services Blackwing offers for educational safety.

I was the turn camera covering running athletes as they went into the final 200 meters of the lap.

I was the FOF (front of house) camera for the Showdeo stage IMAG at the 2023 Two Step Inn Country music festival. Used an FX9 on sticks with an ENG lens while working under the direction of a Technical Director and pulling my own focus and iris.

Spent two months on-location in New Orleans and Austin covering home renovations and the science behind the natural disasters causing the damage. Cross-shooted using an FS7 and ENG lens in concert with the director of photography. In addition to B camera I also managed media.

I provided event coverage for the historic color guard presentation at the 2023 International Roofing Expo presented by SRS Distribution.

I produced and shot a branded documentary piece on the historic color guard presentation at the 2023 International Roofing Expo presented by SRS Distribution. I edited and story produced the final piece under the direction of the agency and client.

I was a pool-side camera operator for the 2023 Big 12 Swimming & Diving Championships broadcast on ESPN 3 and ESPN +. I was shouldered up for at least 8 hours a day covering the length of the show on streaming and television. Worked under the direction of a Technical Director and Shader and pulled my own focus. Contracted by LTN for ESPN.

I was a media manager handling cards from three Panasonic Varicam Lts, an Eva 1, Sony FX3, and a DJI Mini 2.

I was a steadicam operator covering athlete entrances and match coverage using a FLYCAM Galaxy Dual-Arm and Vest with a Redking Stabilizer. I balanced and set up the system before show providing smooth movements during the live broadcast.

I was a steadicam operator covering athlete entrances and match coverage using a FLYCAM Galaxy Dual-Arm and Vest with a Redking Stabilizer. I balanced and set up the system before show providing smooth movements during the live broadcast.

I manage media for an eight camera set-up (two FS7 IIs, four GoPro Hero 7s, one osmo, and one DJI drone) in a fast-paced verite environment. I used checksum verification software (ShotPut Pro) and multiple hard drives to download footage to an organized file tree. I emailed completed log reports and screen shots of the file trees to NY at the end of the day.

I am an assistant camera for a DP and operator (2x FS7 IIs) responsible for G & E, battery monitoring, and media swaps. I am responsible for mounting and organizing four GoPro Hero 7/8s during driving scenes, spotting during drone shots, and maintaining an Osmo in a fast-paced verite environment.

I provided single-cam coverage of the dance performances in The Groove Experience! hall.

I was the sideline camera during the quarter and semi final matches of the 2022 Big 12 Women's Soccer Championships in Round Rock, TX. I shouldered a camera for 4 straight games during the quarter finals. I worked with a technical director, shader, and camera utility while pulling my own focus. I was responsible for producing and shooting the halftime on-field coaches interviews.

Contracted directly by PTY Custom Lighting out of Hillside, NJ to edit a campaign of brand videos featuring their completed custom lighting projects in hotels around the world. Footage shot by Bressler Films. Graphics made using Motion Array templates. Videos embedded on the company website.

I was a camera operator on the T-Mobile stage providing live coverage of the musical acts for the broadcast on Hulu. Worked with a team of five operators, a shader, and a technical director. Pulled my own focus while following the TD's direction and making artistic shot selections.

I was a camera utility supporting operators during a large party scene with talent. I prepped cameras by resetting rolls, naming clip prefixes, back focusing, and completing APR. I was responsible for battery swaps and media changes in a high-stress and emotional verite environment with talent running off set, unplanned camera moves, and a fluid shooting plan.

I use ShotPut Pro to download to two hard drives using uniform file naming conventions. I complete detailed field logs outlining talent, scenes, footage type, and time of day for each card.

I am a second AC for a car restoration series. I am responsible for completing black balance and APR, resetting rolls and renaming clip prefixes, lens maintenance, battery and media swaps/management, assisting operators with camera moves, and working as a swing G & E.

I was a camera operator on a live sports broadcast for Drum Corps International. Part of a team of three operators, I used a Panasonic CX-350 on sticks following the direction of the technical director to cover the action of the show.

I was a steadicam operator covering athlete entrances and post-match interviews on the mat. Part of a team of 5 operators, I followed the direction of the technical director to cover the run of the show.

I was a camera operator on a live sports broadcast for the 2022 College STUNT National Championship in San Antonio, TX. Part of a team of four operators, I used a Panasonic CX-350 on sticks following the direction of the technical director to cover the action of the show.

I was on the steady cam covering the athlete entrances, matches, and winner's on-mat interviews using a handheld 3-axis gimbal and a Panasonic CX10 connected to a Hollyland transmitter.

I was on on-set editor pulling clips from the live switcher feed of the CBF GA 2022 main stage screens. Using an Atomos Ninja V external recorder I took in the feed through HDMI and 3.5mm jack and recorded to an external SSD. Once the requested clip was recorded I would switch out the SSD, dump media, and quickly export the clip in a timeline with intro graphics and lower thirds I had prebuilt. I then uploaded the clip to dropbox for client approval and subsequent upload to their social media pages while the event was still proceeding.

I am an on-set and finishing editor for a branded DIY series for Sally Beauty shot at their corporate headquarters in Denton, TX. I am responsible for ingesting footage from various card types (RED Mini Mags, CFexpress Type B, SD) using ShotPut Pro. I then create proxies, ingest the footage into Premier, sync audio and video using timecode, and prepare cutdowns. Working under tight deadlines, I then deliver final cuts to the client within days of the shoot.

Floor camera, part of a three-person team covering a live broadcast of STUNT nationals in San Antonio.

I was the sole camera operator on sticks working with a TD streaming coverage of a high school color guard competition.

I managed and organized media for a five camera documentary shoot using a mixture of FX9s, FX6s, and an FX3. I used my rig and personal card readers to download XQD, CFexpress Type A, CF, and SD cards to an SSD and a RAID using ShotPut Pro. I assisted production in setting up the media storage system.

Was an AC on a rodeo competition elimination show. Part of team supporting 9 cameras. Responsibilities included: Painting cameras, completing black balance and APR, resetting rolls and renaming clip prefixes, ENG lens swaps with large lens supports including a Canon 50-1000, lens maintenance, switching out rota pola/soft edge horizon/standard ND filters, battery and media swaps/management, building and setting up Dana Dollys and high-hats, assisting operators with camera moves, and working with grip and electric teams when needed.

I manage media for an eight camera set-up (two FS7 IIs, four GoPro Hero 7s, one osmo, and one DJI drone) in a fast-paced verite environment. I used checksum verification software (ShotPut Pro) and multiple hard drives to download footage to an organized file tree. I emailed completed log reports and screen shots of the file trees to NY at the end of the day.

I am an assistant camera for a DP and operator (2x FS7 IIs) responsible for G & E, battery monitoring, and media swaps. I am responsible for mounting and organizing four GoPro Hero 7/8s during driving scenes, spotting during drone shots, and maintaining an Osmo in a fast-paced verite environment.

I was an assistant camera for verite shoots following a couple in Austin, TX. I was responsible for supporting two FS7s with battery and media swaps, building lights, setting up GoPros and lighting in-car interviews, and acting as a swing G & E.

I was a DIT for a roundtable masterclass on the book of Ezekiel for a video series by the BibleProject. I was responsible for managing media for five Ursa Mini cameras, two screen recorders, and audio. Creating a file naming system and file tree, after dumping the footage to a RAID I was responsible for synching footage in Final Cut X using slate and timecode and creating multicam stringouts for each of the five daily sessions. I also used a system of visual slating to match the screen recordings to the camera footage.

I used Hedge to manage CFast2.0 and Codex Compact Drives to SSD drives and created tape logs of footage.

I was a second AC on a commercial shoot. My primary duties were slating while keeping track of rolls, takes, and scenes and assisting with lens, battery, and media swaps. I assisted the first AC with pulling focus when needed.

I was on the steady cam covering the athlete entrances, matches, and winner's celebrations using a handheld 3-axis gimbal and a Sony PXW-Z90V.

I was on the floor cam covering the athlete entrances and warm-ups using a handheld 3-axis gimbal.

I was on the floor cam covering the athlete entrances and warm-ups using a handheld 3-axis gimbal.

I was on the floor cam covering the athlete entrances and warm-ups using a handheld 3-axis gimbal.

I was the director of photography for a remote interview for a feature-length documentary. Using my equipment I was able to send the producer in LA a live feed of my shot through Zoom while he conducted the interview with the talent. It was an outdoor shoot with harsh lighting situations requiring me to use my expertise to diffuse and expose the talent properly.

I was on the floor cam covering the athlete entrances and warm-ups using a handheld 3-axis gimbal.

I was an AC/DIT for the Texas interviews for the five-part documentary series Children Of The Cult (working title) telling the story of the Children of God cult. I assisted with G&E, setting up the cameras with shooting specs, and managed media.

I was on the floor cam covering the athlete entrances and warm-ups using a handheld 3-axis gimbal.

I was on the floor cam covering the athlete entrances and warm-ups using a handheld 3-axis gimbal.

I was on the floor cam covering the athlete entrances and warm-ups using a handheld 3-axis gimbal.

I story produced and edited a 15-minute documentary on Tesla's Gigafactory Texas coming to Austin for the online news site MyPoint.tv. I sourced and booked interviewees, booked crew, organized shoots, field produced, wrote copy, and was the lead story producer in post-production. Using my experience as a TV reporter I fronted the piece.

I was a DIT for a pickup shoot transferring and organizing media for three FS7s, an A7S, GoPros, and a drone.

I was responsible for building and setting up an FX9, FS7, multiple A7siii, A7sii and GoPros according to post's tech specs and picture profile requirements. I performed lens swaps, battery changes, and switched out media. I performed data management by either simultaneously recording to dual cards when possible or dumping to an external hard drive. On each shoot day I wrote out card logs with timecodes and drew out lighting diagrams of master interviews using Shot Designer. I acted as a swing G&E. I provided my own DIT rig and grip/lighting gear for the shoot and assisted the PM in creating a gear list for the shoot based on their content goals.

I was on the floor cam covering the athlete entrances and warm-ups using a handheld 3-axis gimbal.

I was a dedicated DIT for a 14-camera shoot consisting of two units using FS7s, A7Ss, GoPros, and drones. Using their filetree naming system and ShotPut Pro I backed up footage to two external harddrives, ingested the footage into Adobe Premier, audio synced the raw audio and cross-shooting, and created daily stringouts for the editors to pick from. I would then ship a shuttle drive every other day to post complete with edit notes and the latest Premier projects.

Built and maintained four FS7s and two A7Ss. Worked with the Jib operator in mounting and moving jib. Performed lens swaps with Arri Master Primes and Zeiss CP2 Primes. Performed G & E with a kit consisting of a Skypanel, 1k, Joker, Titans, and Quasars. Worked in tandem with the DIT to perform media swaps. Monitored battery levels and swapped AB bricks.

I edited, sound designed, and colored a sizzle reel for the narrative episodic fantasy series The Vermillion using MOS scenes, voice over, and animations.

I cross-shoot as a second camera during verite scene-work and single-cam scenes and OTFs with a producer and as a shooter/producer.

I am an assistant camera for a DP and operator (2x FS7s) responsible for G & E, battery monitoring, and media swaps. I am responsible for mounting and organizing five GoPro Hero 7/8s during driving scenes, spotting during drone shots, and maintaining an Osmo in a fast-paced verite environment.

I manage media for a nine camera set-up (two PMW-300s, five GoPro Hero 7s, one osmo, and one DJI drone) in a fast-paced verite environment. I used checksum verification software (ShotPut Pro) and multiple hard drives to download footage to an organized file tree. I emailed completed log reports and screen shots of the file trees to NY at the end of the day.

Was the main elevated wide-shot for the Dake vs Chamizo broadcast. Adjusted focus without a first AC.

I was contracted by Creative Blend Design on behalf of their client CapabilitySource to film and edit a 14 video social media campaign consisting of raw interview footage, animations, and stock footage.

I was contracted by Creative Blend Design on behalf of their client CapabilitySource to film and edit a 14 video social media campaign consisting of raw interview footage, animations, and stock footage.

I directed a sizzle reel for a reality series telling the stories of victims of sleep paralysis and night terrors and how it affects their daily lives. Conducted interviews and directed reenactments.

I was an AC on a commercial (TV) supporting local Austin restaurants during the COVID-19 pandemic. I assisted with lens swaps, switching out ND plates, battery changes, G&E, building video village, and general equipment management.

I was contracted to produce and edit a multi-video social media campaign for the NY financial services company Harvest. I created a mixture of scripted and direct-to-camera commercials using local actors. Shot using a Canon DSLR and lit with a basic 5-point G & E package.

I was contracted to film and produce a multi-video social media campaign for the NY financial services company Harvest. I created a mixture of scripted and direct-to-camera commercials using local actors. Shot using a Canon DSLR and lit with a basic 5-point G & E package.

I edited a 16-minute documentary on the story and origins of the non-profit Miss Tristan Foundation which provides swim lessons to prevent childhood drowning. Contracted by Bressler Films.

Operated two C100s during a live-to-tape broadcast of a COVID-19 talk-show segment. Operated under the direction of the Director/Switcher. Set up three-point lighting and pulled focus without an AC during the live broadcast.

Strapped into the bed of a pickup truck, I used a combination of a TVU, 3-axis gimbal, and tripod to provide live coverage of the lead runner in the 2020 Austin Woman's Half Marathon. I was part of a team of six cameras all streaming simultaneously from different points of the race.

I was second camera and drone operator for a wedding, utilized a Zhiyun Crane 3Axis Gimbal and an ikan Slider. Contracted by Frame By Rate LLC.

I was the A camera on a sizzle reel for a speaker at the 2020 Women's March ATX at the Texas State Capitol in Austin, TX.

I managed media for a three camera set-up (two FS7s and a C300) in a fast-paced reality environment. I used checksum verification software (ShotPut Pro) and multiple hard drives downloading footage to an organized file tree.

I performed lens swaps, general G & E, media management, monitored and swapped batteries, assisted camera operators on-set, and directed PAs. I operated as needed as a third camera on the C300.

Camera operator for the live broadcast of cheer leading and dance nationals in Houston, TX. Streamed on Varsity TV.

I edited masterclasses around the nation with Olympic athletes and their coaches for the online streaming platform Rokfin. I was contracted directly by Rokfin, Inc.

I shot masterclasses around the nation with Olympic athletes and their coaches for the online streaming platform Rokfin. I was contracted directly by Rokfin, Inc.

I edited ten-minute and seven-minute branded-documentaries on iconic San Antonio restaurant Chris Madrid's for their grand reopening after being closed for two years due to a fire. The first piece told the story of the family restaurant while the second was a tribute to a long-time customer who is very active in the community and was recognized with an inaugural award. I ran a small crew consisting of a DP, sound, and a PA. I successfully managed an $11,000.00 budget for both production and post. Working with the advertising company I told the story of the family business while staying true to their branding and messaging. We shot on an FS7 and FS5. I was contracted by BTYcreative.

I was a sideline camera operator providing live feeds for the score board. Part of a team of four operators Took direction from the director via headset during the live broadcast.

Using a script, shot-list, footage, and voice-over I edited together an informational video for Transcend Hospice explaining their service to potential clients. I worked in conjunction with the Director of Photography to deliver the client's vision. I was solely responsible for the entire post-production process: story edit, finishing edit, sound design, motion graphics, and coloring.

I operated as an independent shooter/producer gathering elements of pools in various stages of construction while following a shot-list provided by the Director of Photography. I delivered footage via Dropbox.

I logged, transferred, and organized footage in the field for a two-camera setup in a fast-paced reality environment. I used checksum verification software (Shot Put Pro) and multiple hard drives to download footage to an organized file tree.

I was a camera operator on a documentary shoot surrounding the remains of a service member flying home from South Korea after being MIA for sixty years. I shot in tandem with two other cam ops on the tarmac as the military plane arrived and then followed the funeral escort to the funeral home. I got cross-coverage while communicating through walkies in a fast-paced non-scripted environment with no possibility for pickup shots.

I was the Field Coordinator for a one-day shoot in San Antonio. I used my local knowledge to guide the production to a suitable shoot location for pickups.

Using my Core i7 8th Generation laptop, Shotput, and Adobe Media Encoder I transferred and checksum verified 4k footage on a three-camera FS7 shoot and transcoded proxies into Apple ProRes 422 HQ. I kept a detailed log of all of the transfers. This included a standardized naming system, drive locations, and file sizes, thus allowing the editor to easily sort through the footage.

I helped Sony interview artists performing during SWSW '19 in Austin, TX for three days. Duties included assisting the gaffer with setting up C-Stands and light panels, slating the beginning of the interviews, running errands and getting crafty, and setting-up and striking the set.

Responsibilities include helping crew load/unload gear, striking lights, assisting with appearance releases, greeking trademarks found on-set, removing copyrighted artwork from on-set, and being of general assistance to all on-set needs.

I was a PA for a four-person field crew shooting scenes and pickups for My 600-LB Life and Where Are They Know? on TLC. My responsibilities included: Recognizing unreleased talent and locations and procuring/posting releases; recognizing copyrighted music and content and either removing it from the scene or obtaining the artist's contact information; organizing/moving gear and charging batteries at the end of the day; driving crew; ordering and retrieving lunch; keeping detailed accounts of petty cash and debit card transactions; and distributing per diem.

I operated a Sony Handycam providing a live feed of gymnastic performances for the FlowSports streaming service.

I edited and colored a Kickstarter video for a startup out of California.

I was second camera for a wedding, utilized a Zhiyun Crane 3Axis Gimbal. Contracted by Blu Couture Wedding Films out of Salem, NC to be the local crew in Helotes, TX.

I wrote, edited and performed voice-over for seven episodes of a magazine journalism series on Aboriginal youth from around the world which ran on the national Canadian network APTN (Aboriginal People's Television Network). I provided logistics and editorial direction on field shoots. I actively pitched story ideas. I was contracted by Cedar Root Television and Film Production.