Jonathan Sessions

I lit a indoor interview that was shot on the new Sony FS7. This only required the use of my Arri L7-C shooting through a 4x4 silk as the Key, and my Arri Locaster with light grid as diffusion for the back light.

I worked with the shows cinematographer and gaffer to design and help setup the shows lights and camera support.

I worked directly to support the Key Grip with any of his needs on set by organizing carts and getting him the proper tools. I also organized and prepared specialized rigs.

I worked on a promotional video for the reality show. I advised the Gaffer on his lighting package, operated the shows generators, prepared and sent out light fixtures to company electrics and setup and ran power distribution networks.

I worked directly with the cinematographer to plan out the lighting for each scene. I had to especially be careful of camera position with 4 cameras shooting each setup.

I worked directly with the key grip to build specialty light and light controlling rigs.

I worked with the Gaffer to plan out electrical distribution and placement of overhead lines/ lights. I then worked with the company electrics to implement the plan.

I assisted with releases, drove the chase van for the camera team, made equipment runs for my camera team and assisted with craft services.

I worked with the Gaffer to setup and operate lighting instruments. I also had to organize and move the production companies various carts from setup to setup.

I was the Key of the lighting department. I worked closely with the Cinematographer to develop the look and feel for the show. I then directed my team to bring in the right tools to complete it.

I was the Key of the grip department. I worked closely with the Cinematographer to develop rigging and ways to shape and control the light. I then directed my team to bring in the right tools to complete it.

I worked directly with the transportation captain to land and maintain the fleet of vehicles for the show. I also operated and maintained all of the generators not used on set. When it came time to move I drove the electric truck.

-I worked with the gaffer to setup and rig light fixtures both on and off the set. -We only used fixtures that required house power such as Kino Flos and small HMI's. -I also rigged up snow protection and prepped each fixture for near sub zero temps during the show.

I worked with the shows Gaffers and Best Boy to setup power distribution networks, build specialty fixtures and setup and run light fixtures.

I worked directly with the shows Gaffer to setup power distribution on set, setup and run light fixtures and operate the shows many generators.

I worked directly with the shows Cinematographer to control the light on set and to setup camera support. I also directed grip and swing g&e members on the setup of Grip equipment. I also acted as safety officer on set.

I brought on my own LED fixture package to add to the DP's tungsten units. On set I worked with the Cinematographer to plan out each scenes lighting, setup and run each fixture and direct the grips and set electricians on set.

I was the shows Generator Operator. My primary task was to plan, setup and run the shows power distribution network. My secondary task was to act as a lighting technician and assist the Gaffer.

I setup and ran lighting fixtures, changed globes, secured electrical power and assisted in the setup of electrical distribution gear.

I performed all of the normal duties of a set grip. Since the G&E team was small I also acted as swing and also setup lights and ran power distribution cable.

I acted as driver to transport the crew around and kept track of talent releases for the show. Outside of my normal duties I also acted as Camera Production Assistant for the shows Director of Photography and the B camera operator.

I worked with the Gaffer and my fellow techs to setup lights and power distribution for the show.

I was brought on to manage the small G&E department and for the use of my LED light package. I supervised the rigging of the night shoots for the show and the rigging of the wayside bar.

As best boy for the G&E department I managed the grip truck and all of its gear. I also assisted in clerical roles for the department such as payroll and I acted as management when the Gaffer or Key Grip had to leave set.

I was a camera operator for the WOOD TV 8 coverage of the 2012 Art Prize in Grand Rapids Michigan. I operated the cameras from their remote studio at the Grand Rapids Art Museum.

I assisted the camera operators of the 2nd unit by charging batteries, keeping track of tape stock, setting up jib arms and setting up lights.

I setup lighting and grip gear, acted as DIT and as a general PA for this shoot.

I transported and setup lights for interviews. I was under the direct supervision of the director of photographer.

I helped setup robotic camera rigs all along a choice part of the race track near the finish line. I then ran cat 5 cable, fiber optic line and power back to the production tent for us to operate the rigs.

I worked as a Grip who assisted the Key Grip of the show. I also acted as Swing G&E when needed to assist the Gaffer.

I managed the lighting for this local commercial. We shot on location at the restaurant owners home with a small kino and tungsten lighting package.

Midland Michigan Episode

I was brought on as a non union referral to assist in the setup of the power distribution network for the shows seven sound stages.

Ooey, Gooey, Chewy

Pilot Episode

I assisted the editors with logging and transferring XDCAM footage onto portable hard drives. I also assisted the camera operators by changing out batteries and swapping cards.