Landon Brands

Location work in Chicago. Narrative video with a one-take restaurant sequence, day interior sequences, a red carpet sequence, and night interiors in service of a comprehensive story. https://youtu.be/PLmVlUb2FXQ

Lit an interview with Los Angeles Mayor Eric Garcetti in his office at City Hall. DP Ellington Tynes

Gaffer (Chief Lighting Technician) for Christmas-themed romantic comedy, from the imagination of prolific Christmas movie writer Joany Kane. Monthlong shoot on a mountain in Southern California involving numerous locations. Countless different day and night interiors, day exteriors with bluescreen, and notably a night exterior with an aerial lift and 4&5 G&E crew. DP Josh Ausley

Gaffer (Chief Lighting Technician) for national telecast intros featuring the Larry O’Brien Trophy in a vault. DP Marcus Taplin

Interviews and B-Roll at award winning studio We Are Royale

Athlete interviews in a loft.

Lighting a game show hosted by Chad “Ochocinco” Johnson in which NFL Rookies guess their Madden ratings. DP Marcus Taplin

High-Key Interviews for Reality TV

High-Key Interviews with High-Profile People. DP Joe Simon

Lighting a newly constructed indoor skatepark for a number of famous skateboarders to show off techniques.

Beach shoot including day exteriors and night exteriors with DP Jorel O’Dell

Lighting Dramatic Interviews & Cinematic B-Roll

Beauty campaign - Lancôme mother's day

Chief lighting technician for stadium intro video that plays before every home game. Lighting all the star players with numerous effects on specially built sets. Had to turn down the Super Bowl since it was the same dates.

Lighting dramatic boxing footage with an overhead softbox I designed for DP Matt Sill

Lighting Ryan Reynolds

Tow plant, 4/0, 18Ks, Astera Hyperions

18K Arrimax. Http://Vimeo.com/697033793

Electrician for multiple days on this Will Ferrell international commercial as a Local 728 overhire. Big distro, dozens of S60s, S360s, few M18s, few M40s, shock blocks, DMX nodes, etc. etc. https://www.youtube.com/watch?v=qRHHT6vYF4g https://www.thedrum.com/news/2022/03/16/will-ferrell-takes-role-eccentric-money-guru-ad-danish-bank-lunar

Installed a lighting grid / overhead softbox in an old ranch house to last the entire season.

Lit Chandler Kinney for Disney Channel Wand ID

Lit interviews and setups for EPK & Promos for two Disney Channel shows

Lit a variety of high-key commercial setups in a skyscraper

Broadcast-style camera work on the EVA-1. https://www.youtube.com/watch?v=2D1Q-IP0QGM

Lit a wide variety of colorful, punchy looks for Popsockets across four days on four different locations, as well as heavily stylized studio setups.

Lit NBA star Reggie Miller with a convertible soft/hard toplight and a variety of hard and soft sources from the ground in a blacked out stage to create a moody commercial look. Reggie loved it and started signing Purple Rain when he saw the setup. https://www.castelli-cycling.com/es/ride-with-reggie

11 million views - https://www.youtube.com/watch?v=-5l4Xx5eCcs

TV talk show type setup and b-roll of a major audio production facility under construction.

Dramatic lighting for U.S. figure skater Nathan Chen performance on the ice, plus interviews. https://na.panasonic.com/us/olympics/nathan-chen

Numerous S60s washing a cyc and a tungsten softbox on truss for a musical number TV promo with Vinny et al.

https://www.youtube.com/watch?v=mzALgp8EXV0& Gaffer leading an 8-person G&E team in the execution of a viral hit commercial from Ryan Reynolds' company. Lit many rooms of a historic 1890s venue including a theatre stage which we hung and focused for a massive group of people on stage. Real wedding singers encourage people to "Get Back to Love" in this TV commercial aired during the NBA playoffs and online.

Color wash and overhead softbox plus lighting cues with tungsten instruments

Color wash & talent key. Also drove Electric 3-ton.

Created the hard window light that served as a character in the story of this commercial.

Dolly & Jib in addition to flying points for lighting and rigging.

Corporate green screen cyclorama shoot, required a very clean key matte for wide shots and thus precise lighting.

Hybrid live-action and traditional animation film. Shot the trailer in Feb-March 2021. Pastel clouds and flying meteors. Jib and dolly work with a kid and a dog. C300 Mark II PL fully rigged out as a cinema camera for dynamic range and capture quality on a budget.

https://www.youtube.com/watch?v=espzsSHnpVg

Streaming New Year's Eve concert with Jordin Sparks, Snoop Dogg, Cheat Codes, and numerous other musical acts. Recorded over the course of three days. Composed shots on-the-fly working closely with the DP and TD, and pulled own focus. Sony broadcast cameras, tripod and roving handheld camera work.

https://www.youtube.com/watch?v=Se9uoCExChE

High-key day exterior and day interior location work in very tight mansion spaces. Night for day and night exteriors in a vanilla office complex. 1.7 million views https://www.youtube.com/watch?v=2Xn9F44VNr0

Thoroughly planned the shoot starting with a location scout and script review through lens selection and the building of natural sequences that would work for comedy including some level of improvisation as well as working with a dog and a frog who were characters. Augmented the location's natural light with fresnels and LEDs and hard bounces of various sizes for a heightened naturalism and to create lighting continuity.

Lit product and manufacturing demonstrations and interviews for a high-technology company.

Lighting of clean white cyc interviews for Jacoby & Meyers TV testimonials, plus location interviews at their office building, plus B-roll

Clean white corporate interview set up in a corporate campus

Dramatic short film lighting for DP Chris LeClerc and Director Brian Ivie. Stylized day and night interiors with practical gags.

Worked with DP William Hellmuth and Director Denver Robbins to light the product videos for the 2020 line of Jacuzzi hot tubs. We rigged up two sets with soft car commercial type lighting plus blackout.

Beauty lighting on a white cyc for Paris Jackson and Gabriel Glenn talking about The Soundflowers' new EP. Briese, S120s, etc.

Theatrical-style moving patterns, and color washes. RGB LED / Luminair / Networked Skypanels / Networked Geminis including troubleshooting / Astera Titans / Ellipsoidals with motors

Lit surreal tabletop elements for the Green Eggs and Ham Season 2 Announcement. https://vimeo.com/383121734

Day Interior lighting for a pristine living room including a huge wall of glass https://vimeo.com/375019262

Lighting of clean white cyc interviews for Jacoby & Meyers TV testimonials

Season 1 Best Boy Grip https://nypost.com/2020/03/16/new-york-post-true-crime-show-torn-from-the-headlines-debuts-tonight/ https://nypost.com/2020/03/13/meet-the-other-harvey-weinstein-aka-tuxedo-king-in-torn-from-the-headlines/

RGB LED dramatic lighting and glitchy fluorescent look

Comedy safety videos visible on the TikTokTips account. Several day interior skits plus rich man's process inside a city bus parked on a 360º green cyc

Lit a historic cathedral in Hollywood for a series of recorded talks by Bishop Robert Barron. Created consistently shaped facelight all day despite the movement of the sun. The specification was for a consistent deep stop, to be achieved in a way suitable for eight cameras from various angles, all without creating Technocrane shadows. I created and executed the light plot. We set distro and lights in all kinds of nooks, crannies, balconies, and catwalks, some of which were only accessible by their own set of stairs or dog door-type openings.

Mockumentary film about social media influencers. I pitched this concept to a creative team and we executed a shoot the next day. Interiors and exterior interviews, group therapy session with cross-coverage and comedy dialogue sequences, asides and cutaways.

Best Boy Electric for Columbia Records "Stacy" MV. (DP Julia Swain) 2.2 million views https://www.youtube.com/watch?v=TKL8Sq14MiQ

2019 Fossil Holiday - Gaffer - Tungsten job in a 100 year old hotel lobby plus some RGB LED and practicals.

68 Astera Titan Tubes forming an 8' tall half star and another linear design, all programmed for running pixel animations. Players were keyed by 4 Skypanels on Luminair through a 20x20' overhead softbox on wheels built by Key Grip Brian Stitt.

American Express / Calm ft. John McEnroe Wimbledon 2019 Lit a prestigious recording studio for the famously irritable tennis player to read guided relaxations.

Shot an internal anthem/documentary for Waco, TX policymakers. Director Carter Rodman

Tow plant distro, Astera tubes, Skypanels in the tunnel at Rose Bowl Stadium

High-key corporate shoot with the inventors of a mobile game explaining their creative process.

Got to work on a great set over my birthday with Director of Photography JP Summers. https://vimeo.com/331666376

Director of Photography for principal photography in January 2019. Scouted and prepared lighting diagrams for all locations. Ordered the lighting package and camera package, taking into consideration the widely varying locations frequently tight spaces. Brought on the key crew. Worked closely with production to schedule scenes, balancing story continuity and the best light on short January days. Created lighting continuity across various days by working carefully with a DIT.

"Naked Mole Rap" Disney Channel promo for live-action "Kim Possible"

Worked on a 10-man G&E crew rigging, lighting, and wrapping several huge sets within Riverfront Stages for walk-and-talk and standup shots. This was an all-tungsten show.

Red carpet stream. Rhett & Link, Ninja, KISS, and others appeared for interviews on my camera.

Set up camera systems and webcast infrastructure for a live stream under the direction of the TD.

We were tasked with creating a historically accurate retrospective of Christmas music from 1495 to present. Lit with all tungsten for 35mm. Generator truck, tungsten 10K and 5K, fresnels, lots of Lekos. https://vimeo.com/308052359

Distro, HMIs, metering 60A Bates in the rain...

For this travel show featuring Zooey Deschanel, I operated for three days in Sonoma/Napa Valley: Lots of interviews and verite B-roll at farms, vineyards, hotels, and places destroyed by the wildfires. Occasionally I broke off into a splinter unit to shoot scenics and establishing shots.

Lit contrasty day interiors, creating cinematic footage in an open bar. Wrapped out during World Series Game 7...

Light interviews and high tech B-roll

Lit numerous interviews including the directors and creative heads of "Into The Spider Verse" in a wide variety of locations including a theatre, offices, living rooms, and the Sony Animation lot's courtyard, on this "First-Ever Movie Studio Inspired Virtual Field Trip Experience."

Astera tubes on pulleys ascending and descending around NBA players, plus full body green screen setup.

Lit house night interiors, including numerous practical effects shots, for DP William Hellmuth. See his recommendation on my profile.

Rigging to kiddie carnival rides, RGB sources, large day exterior bounces

Quasars, DMX-It 512, rigging. Worked with the DP and a NASA intern to re-create the surface of Mars on a "live set" virtual production where the 3D CGI background was live keyed and matchmoved.

For this 35mm film short, lighting continuity and accurate ratios were key. I lit day exteriors under changing skies, as well as day interiors for DP Julia Swain. This film received a mention in a Kodak "American Cinematographer" advertisement.

Rigged RGB Quasars to a picture car and controlled them from a follow car. Also provided a small "dome light" source within the car.

Lit interviews for DP Rob Ruscher out of a Sprinter package

13 million views on YouTube https://www.youtube.com/watch?v=l6DPyiE5e3M Power distribution for the entire production; problem-solving on Astera Titans; programmed realistic lightning on several Skypanel S60-Cs, kept track of all equipment. Oh yes, and listened to Jordan Smith's tremendous vocal projection... he is an underrated singer!

Plan a light plot with the DP to hit a consistent f/4 across two instructional sets while providing flattering face light and soft backlight. Prerig, adapt to blocking changes.

This was a family-style short film against human trafficking. I was Camera Operator on the RED One / functioned as DP for one sunset dialogue scene in a Koreatown high rise. Advised the project heads on how to shoot a night exterior somewhat effectively on a zero budget. Also helped with set building, creating a gritty warehouse type environment within a pristine, newly constructed high rise apartment.

Light a life-size arty award and Marshmello using an overhead softbox designed by DP Adam Coleman, a Leko, and Martin concert lights.

Set up studio cameras, operate C200.

With the help of my 2+2 G+E crew, we transformed a storefront into a retro dance floor, lounge, and product showcase with 70s glam lighting, thanks to a generous number of Lekos and PAR cans. An S60-C and (2) RGB Quasars rounded out the look.

Set up a plot of (17) total lights including Geminis, L10-C, L7-C, L5-C, etc. and got everything running over DMX on a dimmer board in conjunction with the board op. Tracked frequent changes and kept everything neat. The show went flawlessly from a lighting perspective.

Worked closely with DP Joe Simon to create expedient and effective lighting setups for this dramatic short film inspired by real life. 3-ton truck, Digital Sputnik DS-1, Quasars, Doorway Dolly, bounce rags and shiny boards. Built an overhead softbox in record time for a hospital scene. Shot in the Phoenix, AZ area.

Lit night exteriors in a heightened, saturated style. Instruments included (1) S60-C, (1) S30-C, (6) Quasar 4' Crossfade, (3) Lekos, an M18 bounced key, and a Joleko. My crew did a great job, making this an easy overnight.

Lens changes, camera support, batteries and media management at two locations including a baseball stadium.

Set up 30' dolly track in all conditions including mud and snow. Dolly grip. Set modifiers for lights quickly and safely. Spotted Steadicam operator. Also bumped up to operate camera during a car explosion scene. Assisted in the rigging of a gag to mimic a car driving off a cliff.

Operated 10' Jib with remote head for Sue Bryce's 90-minute live stream on the Animoto Facebook page. The production team included many of the original staffers of CreativeLive. www.facebook.com/Animoto/videos/10155364740397828/

Satirical ESPN-style "live hit" regarding the Tufts University Tufflepuffs as they practice Quidditch from Harry Potter.

Dialogue scene on a playground in the style of a dramatic TV show.

Lit a 2-story warehouse in a retro glam style for a Steadicam oner involving twenty roller skaters and a concert. Chose and ordered all equipment, gels, distro, and rigging equipment to fit the vision of DP Dan Katz. Lit the space to a consistent 2.8/4 split on a prelight day, providing several discrete environments within the larger environment. My crew set up a handful of cues in addition to programming two chases. Made final adjustments on the shoot day. Instruments included (2) S60-Cs, (3) Mole 1K Nooklights, (3) Source Fours, (4) PAR cans, a disco ball, a siren light, and a multitude of Quasars played as neon. Last minute we added (2) box truss columns with additional par cans on a chase. 900,000 views on YouTube https://www.youtube.com/watch?v=8mU3-Lsx_0U

We lit a double-wide pink seamless backdrop and an acting area extending out downstage for this cute retro video. Instruments included (3) 2K Spacelights, a Mole tungsten 10K, a 9-Light Molefay, 12x12 grid cloth, (2) Lekos, and (2) Arri 2K opens.

Rigged and lit an assortment of promos for Disney Channel original movie "Zombies" (2018) per specific stoppage requirements from DP Adam Coleman. Equipment included a Creamsource, an L7-C, (4) Kino Celebs, a Chimera Pancake, (5) Lekos, and a Magic Gadget. 3 million views on YouTube

For this test with Andy Serkis at the Digital Domain Motion Capture stage, we lit a series of scenes entailing: • a 40’ blue screen built by the grips, which we lit using (10) Skypanel S60-Cs and (10) 4x4 Kinos. • A sunset gag with a dollying M40 in addition to a standing M40 and M18. I designed physical lighting solutions for: • Subtle shadow movements coming from computer-generated trees • A precise, bi-directional lightning gag consisting of two master-slaved Skypanels. (Consulted with Arri’s office in Burbank for best practices using remote protocols.)

Worked with the DP to create a believable underground world with only one motivated source: bioluminescent rocks. Instruments used included: Mole 2K fresnels, Arrilite 750, Intellytech Light Cannon (which we used for tracking shots and other effects), Quasar Science 2', 1', and 7" tubes. Modifiers included 12x12 magic cloth, various 8x8 rags and nets, 4x4 floppies, and 6x6 grid cloth.

I was asked to conceive and shoot a naturalistic yet visually interesting and safety-conscious sequence of a taxi driving at night. After careful research including consulting two ASC DPs, we shot driving plates and then shot the car scenes in a Minneapolis soundstage with a total of 17 lighting instruments, many of which were part of animated lighting gags. We used a wide range of lights from tungsten 5Ks to tiny LED units within the car. Everything was picked with technical analysis and diagrammed carefully in advance, so that only small tweaks had to be made on the shoot day. Once the stage shoot was done, we shot outside on a Minneapolis winter night with the picture car coming to a stop in front of the skyline.

Lit TV's Matt Steffanina and Nakul Dev Mahajan for a TV promo. We primarily used a Tungsten 5K, Astera tubes, and an Image 80, in addition to cyc lights. I was given control of the lighting by the DP.

Shot Dusk Exteriors in a strategic fashion as to extend the look of the golden hour.

Set up and shot BMCC for a live-to-disk recording of a large-group discussion. Much like ENG live event shooting, followed director's shot requirements over headset.

Gaffer David Lee + 10 Electricians including myself + Rigging Gaffer/Rigging BBE/Rigging Elec. Night Exterior with a four-block footprint in Downtown LA, plus night exteriors inside several storefronts, plus a city bus used as a picture vehicle.

This Steadicam oner :30 for Freeform (formerly ABC Family) required even illumination across the entire set. I provided a consistent f/4 across the entire move, even with set elements blocking the key light. Instruments used included a Mole Tener LED through an overhead rag, (3) Kino Celebs and LED Leko hung in a grid, plus an Arri L10C and Arri L7C.

Shot a wide variety of locations and looks in two days of shooting. Locations included a mansion, a scenic overlook of Los Angeles, a house, a car, another car, and gardens around a pool.

Scenic Shots in Africa Establishing Shots 6K Timelapses

Set up instruments and ran power from a tow plant for a sophisticated 40-foot set and green screen. Instruments included a Mole 5K, (2) 4K Spacelights, (3) Source Fours, (2) 650s, and (5) household globes installed in the set wall. Gaffer Doug Gander, DP Marcus Taplin.

Lit a dance routine on a modern-styled studio set (think Ikea catalog). The director was going for a shadowless, even look, which we achieved with HMIs through a 12x12 China Silk. https://vimeo.com/245558012

DP Nicholas Matthews asked me to create naturalistic lighting indoors and outdoors. To achieve this, the team and I used HMIs, 12x12 Ultrabounce, and a variety of large diffusions.

I used my 2-ton Grip & Lighting trailer on this shoot for DP Evan Bourcier. Lit warehouse walk-and-talk sequences with a 1200 HMI and diffusion frames. Lit Propaganda delivering a spoken word poem on a white cyc with an Arri 4K HMI PAR through a 12x12 silk and spill control.

For this location shoot at a fully automated shipyard in Wilmington, CA, I lit executive portraits with (2) Astra 6X Daylight units and Chimeras, as well as an office interior. In addition to lighting, I also powered the camera department from production vehicles.

Bathtubs Over Broadway is a humorous and heartfelt documentary film about large corporations producing musicals for their employees in bygone years. I shot Behind-the-Scenes of a full-scale musical number on the Warner Brothers lot; shot numerous OTFs with cast members; lit and shot a formal interview with a lead actress; and captured documentary-style, verite footage of dance rehearsals and vocal tracking in a prestigious LA recording studio - all with the edit in mind. https://www.netflix.com/title/81044103

Created the electrical distribution equipment manifest with the gaffer for a 2-week stage shoot as well as a week of filming at various locations. I led the pre-rig at the stage shoot with (19) total instruments including Barger Baglites, Lekos, Chimeras in a grid running from a 600A tow plant generator on 3-phase power through a distro box, ETC Sensor dimmer rack, and a Leprecon DMX dimmer board. We also used (2) tungsten 5Ks, a Skypanel S-60C, (2) Litemat 4s. I primarily operated the dimmer board and balanced electrical loads, as well as adjusting instruments for the gaffer. For the location days we set up the distro from (2) Putt Putt generators, including a day at Griffith Park. We completed the entire three weeks of shooting with just a single minor L&D item.

I used my 2-ton Grip & Lighting trailer for this 2-day stage shoot in Los Angeles. Lit 8 different sets in a saturated, colorful dramatic style using (2) M18s, a 1200 HMI PAR, a 575 HMI, a 200 Joker, (2) Lekos, (2) 650s, a 4x4 Kino Flo, (3) 4' Quasar X-Fade tubes, a Bi-Color LED panel, gel frames, and a party gel roll the diameter of a mature tree.

I used my 2-ton Grip & Lighting trailer for this location shoot at a historic mission house. This shoot used a Barco projector and Joleko for special lighting effects. At the location scout I worked with the DP, Quinton Brogan, to capitalize on the sun's movement, and I created a manageable distro plan. I lit four different rooms with M18s, 1200 HMI PAR, Joker 200, and a Joleko. I had my BBE run the distro from Camlock with a distro box as well as (2) Putt-Putts and snack boxes.

An ambitious 3-day shoot in a remote Colorado town meant providing reliable equipment, with backup gear just in case. (I provided lights and a backup RED Dragon). As the only specific G+E crewmember, I brought DP Ian Reid's vision into reality: Numerous day interiors with a 1.2k HMI PAR, LED panels, Source Four, and Digital Sputnik DS-1. Lots of bounces, negative fill, and modifiers were used. For dusk and night exteriors we used the LED panels, DS-1, 1.2k HMI, 6x6 silk, and various bounces.

Provided smoke effects for Navy Seal combat action sequences. Lit stylized action scenes and a sit-down interview in a soundstage for DP Evan Bourcier. Instruments used included a Digital Sputnik DS-1, five Mole Richardson fresnels, and several bounces.

Conceptualized lighting and camera work to bring forth the director's vision. Selected the lighting and camera package to maximize budget impact. Worked closely with gaffer to quickly and beautifully light scenes using the Mole Tener LED into a second story window, 1.2K HMIs, a Quasar Xfade, and fresnels ranging from 650 to 2K. We shot Zeiss Standard Speeds and recorded to the Atomos Shogun as well as proxies in-camera to speed up post. The majority of the scenes were on EasyRig.

I was Director/DP on this series, which received 15 million cumulative views on the YouTube Channel, Jubilee plus millions more views on Facebook. In addition to my directing responsibilities, I orchestrated the visual nature of the project: Selected the lighting and camera package, worked with the YouTube Space for stage and equipment needs, prelit the stage with the gaffer, then managed the crew on shoot day. We shot (3) C300 MkII cameras and prelit with beauty lighting that I devised with the gaffer to work within the small space.

Created a compelling lighting setup for host standups on the white cyc at the YouTube Space LA. We used Digital Sputnik DS6s and a bounced Arri ST2 that also allowed for energetic BTS angles.

Colored smoke effects, diffusion, bounces, and negative fill for a fun shoot in the desert wilderness near Coachella Valley, CA.

Casting, concept development, crew, logistics. 5-episode series for YouTube channel with 320K subscribers.

Lit host standups and int./ext. interviews of a retired couple using 4-foot 4-bank Kino Flos.

Gaffer on SAG short for 2 days, lighting day interiors with Kino 2' 4-bank, my Mole Nooklights, one of my Source Fours, and bounces.

Lit several stages at once, working out of a 5-ton truck while managing three G+E crew members under a multitasking Director/DP. Units included: M18s, Arrisun 12s, a Mole 2K, Source Fours, my Dracast LEDs, a plethora of tungsten fresnels, and Kino 4' 4-banks. Lit warehouse dance numbers, a Mad Men-inspired office scene, club scenes (including a concert-style moving light gag), restaurant scenes, and a hair salon scene on a three-day shoot.

Lit day exteriors and interiors with the Mole Senior LED, a 1-ton package, and a variety of smaller LED units. The project is an ambitious short film with practical and digital effects.

Commercial-style shots with talent around Fort Worth and in studio for a megachurch in Texas. The resulting videos play before a large weekly event.

Lit all scenes for DP Oren Soffer; it was a great experience both ways. Managed $25,000 worth of lighting equipment with no losses or damages. Worked with NYC-based Production to source equipment in Texas, including my Source Fours and LEDs. Lit Day Interiors with Mole Tener LEDs, Litepanels Astras, and Dracast LEDs, various flags/rags. Lit Night Interiors with Litepanels Astras, Dracast LEDs, and Source Fours. Set up courtesies for Day Exteriors in very high winds. Macgyver'd as needed to make everything happen safely and quickly!

Screenplay; casting; storyboard; blocking (including multiple stunts with Martial Arts Choreographer); on-set directing; VFX styleframes; post supervision of picture edit, original music, heavy VFX, and sound design. "Duel Vision" will be in film festivals starting in 2017.

Built Ronin, built camera; Zeiss ZF lens changes/cleaning/power management; Redrock remote focus, cable management, etc. Helped light as needed. Small crew meant many hats.

Set up and operate the RED Weapon camera. Manage camera settings, power, maintain required framing and accurate focus.

Lit Day and Night Interiors with Arri Tungsten, LED fresnels, my Source Fours, and small LEDs. Collaborated with Director to squeeze the whole film into a three day shoot while maximizing the locations on camera. Operated the majority of shots (exception: aerials). Shot 4K ProRes.

Mobile camera department on golf cart. Highlight reel of 5K run and its associated events. Keep gear organized, safe, and ready while constantly on the move.

Lit the white cyc to shoot with a Dallas Cowboy.

Visual research, pitch meetings, look development, location scouting; oversaw replacement of lighting at shoot locations; negotiated entire camera and lighting package. Prepared lighting diagrams and oversaw all lighting, including day exteriors, sunset exteriors, and day interiors with a total of five locations shot in three days. Shot slow-motion B-roll on location (Dana Dolly, handheld, and supervised Steadicam work). Shot interviews on Dana Dolly.

Typical AC responsibilities. Texas Music Revolution (LeAnn Womack concert) - documentary style shoots for broadcast and web spots. Lens changes, lens cleaning, power management, mag swaps, frequent changes from tripod to handheld, etc. Operated a few shots.

Set up for Day Exteriors - overhead silk, fill lights, ultrabounce, griff, flags.

* SPOT FEATURED IN ADWEEK, October 12, 2016 * Typical AC responsibilities (build camera, lens changes, power management, mag swaps, change from tripod to handheld, etc.) Operated a few shots, and lit a few shots. https://www.youtube.com/watch?v=pqTTWAG8d_k

Implemented a world-class soundstage as part of new HQ construction; pre-lit and managed equipment for all shoots; edited web videos by the dozens. Also shot and edited a 3-minute brand video in Mexico for the Spanish arm of the organization.

At & around a Grammy-winning studio in Dallas, TX I set up and recorded numerous interviews plus hours of low-light documentary footage covering the process of making an album from start to finish with real instruments through an analog effects chain, and an analog mixing desk.

Lit day exteriors, day interiors, night interiors. Equipment: Overhead silk, Arri tungsten, Kino Divas, various flags/rags.

- Shoot "one-chance" moments such as team limo arrivals for highlight reel. - Shoot reality-style coverage of fast food cooking competitions, with 3 cameras in tight spaces. - Shoot reality-style coverage of teams at conferences and other events, getting creative to make usable footage out of non-ideal conditions. - Transport all production and post-production equipment from Dallas to Kansas City.

AC responsibilities: Lens changes, camera build, power management, media. Also assisted with lighting for day exteriors.

Operated camera on Kessler Parallax slider with Ninja Blade recorder. Lit night interiors and day interiors with Arri tungsten.

2nd Unit - Camera Operator in Fort Worth, TX. Operated jib shots & assisted helicopter camera.

- Assisted DP with lens changes, lens cleaning, jib - Moved products into place and detailed them for shooting - Placed and detailed props

For live simulcast event, operated C300 (Canon 24-105 lens) on 10' Intel-A-Jib using Intel-A-Head remote head.

Senior capstone film at Bethany Lutheran College. Wrote script, supervised set build, cast, shot, directed, and edited.

Set up lights, flags, generators, run power, set up heated client tent, assist Stunt Coordinator (operating ropes to canoe, pulley for climbing harness, etc.)

Watch at https://www.amazon.com/dp/B01LZT4C7V/ref=tsm_1_fb_lk

Slow motion live action shoot. Assisted Camera and Operated RED camera for some shots. Assisted Props, Special Effects. Responsible for some Equipment pickup in Manhattan. Click 3X Live Action Production Internship.

Help complete wrap book for PBS ARTS ’14 FALL FESTIVAL WITH KRISTIN CHENOWETH (national TV promo): Assemble accurate staff/vendor information in a consistent manner. Timecards, W-9s, 1099s, receipts, casting info archive, etc.

Assist Camera, Sound, and Production Depts. promptly. Responsible for some Equipment pickup in Manhattan. Live Action Production Internship at Click 3X

Assist Camera, Sound, Talent, Wardrobe, Art, G+E departments on set. Runs for camera dept., wardrobe and production in Manhattan.

3-day national commercial shoot. - Supervise four interns, delegating responsibilities from Production Dept. - Assist Art Department: responsible for petty cash and accurate returns; prepare props; assemble furniture. - Standard PA responsibilities: lockups, load equipment, petty cash, etc.

International Launch Spot for NatGeo Channels International "Entertain Your Brain 2015." Generate concepts and visuals; participate in brainstorm sessions while operating projection; research arresting visuals; create concept frames in Photoshop and deck in InDesign.

Assist Production, Camera, Sound, Talent, and Client Services. Responsible for some Equipment pickup in Manhattan. Click 3X Live Action Production Internship

Libec JB-30 jib, Sony PMW-EX3 camera. Provided steady, sweeping jib shots and follow shots for live webcast - sometimes working around audience and keeping safety first. (Multiple camera feeds switched in broadcast truck.)

Lit dozens of scenes for stop-motion music video. Needed to keep power flicker from showing in sequential frames. Rigged cameras for top-down shots on custom oversize animation stand (approximately 7' x 12' x 10' multi-layered box frame). Generator for night exteriors. https://www.youtube.com/watch?v=_eJqy7id8ww

Assisted Special Effects by puppeteering a fabricated fish to be blended with CG fishes. Assisted Grip and Client Services depts as needed.

Assist Special Effects, Grip, and Electric; Runs for DIT and Production; Lockups/Crowd Control in coordination with local police. CRASH+SUES Internship

Libec JB-30 jib and Sony FS700 camera

Shot documentary-style with a Sony FS100 - a PMW-EX3 was also used. https://www.youtube.com/watch?v=9IQ_PD0CIOU

Shot a music video with two cameras at several locations on a single day, including a high angle 30' in the air. Lit for large crowds and choreography, and scheduled the exterior shots to make optimal use of natural light.

Primarily shoulder-mount broadcast shooting of a large polka festival. Basically dancing around with a camera, with a Utility managing my cable on the busy dance floor. 5 cameras fed into broadcast truck, capturing tons of songs from various angles to fill an entire season of the show in just three days of shooting. http://video.pioneer.org/show/funtime-polka/episodes/?page=2

Internal project for what was then a Fortune 500 company. A series of videos demonstrating exercise techniques.

Reinforced the warm, inviting feel of the existing light, which was from table lamps in addition to incoming daylight. Controlled bright spots and created flattering facelight for VIP subject who has appeared on nearly every major TV network. (DVDs of various TV appearances can be seen on frame right.) https://www.youtube.com/watch?v=bBa6Gx8fRRo

Shoulder-mount camera on floor near goal, primarily used for instant replays.