Corey Nuss

MoVI Operator: I was the B-Cam operator and used the MoVI Pro to incorporate camera movement into each and every shot for Thermo Fisher Scientific.

A-Cam Operator for a HIDS Conference video.

We shot with the Alexa Mini with Arri Master Prime lenses. My job entailed managing all the gear rental during and after production finished. I also built the camera during our pre light day based on the want and needs of the DP. On the actual shoot day, I wirelessly pulled focus for the DP and helped with the 2nd AC during card and battery swaps.

I was the 1st AC for the arm car team (Ascending Works) on the last day of production. I pulled focus using the Arri WCU4 with C-force motors, and rigged the camera to fit/balance on the Ronin 2.

My duties included building B-Camera which lived on the MoVI. I built, balanced, and tech'd the MoVI and pulled focus when cameras were rolling. I also swapped batteries and cards, while also coordinating the shots with the cinematographer.

I was hired on as a MoVI Operator for this three day shoot for Archer. We used a techno-jib 24 with my MoVI as the stabilized head to capture technical camera movements during Archer's reveal of their Midnight aircraft. We shot with the C70 using the Canon 15.5-47 Cine Zoom lens.

I media managed on a two day shoot for a wine documentary. This production shot with 3 Sony FX9's and my duties were to offload all media from three cameras onto two separate drives to be double-backed. I also managed all cards for all three cameras going from camera to drives.

I played multiple roles. My duties mostly included operating one of the three cameras, but I swapped cards for each camera and provided the on-site editor with hot cards for offloading.

My duties included pulling focus, swapping batteries & media, pushing camera cart, assisting the Gimbal Operator.

I was hired as the MoVI Operator for this documentary. My job was to use simple and technical camera movements to capture emotionally driven BROLL about the homeless crisis in Sacramento.

Helped the DP with basic AC functions including but not limited to lens and battery swaps, cleaning lenses, dumping cards, swapping 4x5 filters, etc. The DP shot with the Arri Amira with Cooke S4i lenses.

I operated B-Cam for this shoot with Finance of America. BROLL shots were done on a gimbal, while the main shots were mediums and medium close ups on sticks.

We were hired on by a small business in Rockford, IL to help share their story about the owner’s life journey to building and owning one of the best cable parks in the world. I am playing multiple roles, but we are doing every step with the client from pre-production to delivering the final creative. We are currently in the production phase of this project.

I was operating the camera for the drone team, which was using an Inspire 2 with the Zenmuse X7 camera and interchangeable lenses. I also helped with battery and lens swaps when I wasn't operating the camera.

MoVI Operator for a PSA video with Placer County in Northern California. I operated the MoVI for shots that weren't possible with the Dana Dolly. We shot with the Alexa Mini and Arri Ultra Prime lenses.

During preproduction, I worked closely with the Director on our production plan for the shoot, which consisted of gear, lighting setup, crew, and movement gear. On-set, I was responsible for managing the camera and lighting departments while working closely with the director to ensure the final images delivered met or exceeded client expectations.

I was in charge of the entire Camera & Lighting Department. I worked closely with the Director on camera positioning, the lighting setup, and how each shot was going to be captured. In addition, I operated the MoVI Pro for the second half of the shoot.

This was a multi-day shoot. My duties included building camera package, pulling focus, and managing the gear with the Camera PA. We shot using the Alexa Mini LF with Sigma Primes on a MōVI Pro. I used the Arri WCU-4 FIZ unit for camera and lens controls.

I was hired as DP for an interview in Pleasanton, CA. My team was the Second Unit, the main crew went to Turks and Caicos, and we interviewed the SVP of Services for Itron. I closely worked with the producers during pre-production to get aligned on the project and subject matter, and managed a two-person team on shoot day. We did the lighting, audio and camera work for this shoot. This project will air late 2022 through BBC Storyworks.

I was responsible for managing the camera and lighting departments while working closely with the director to ensure the final images delivered met or exceeded client expectations.

My duties were to document NID's first snow survey of the water year in the Northern Sierra. We visited 2 sites via helicopter as the NID hydrographers performed precise snow survey sampling. I also interviewed one of NID's hydrographers who briefly explained what snow surveys are, and how frequent they are done each year. I also did V/O with the same interviewee to report on their results and findings for the month of January.

MōVI Operator and tech using Red Komodo with Angenieux Compact Optimo 28-76mm. We shot a new Fortnite billboard in Time Square that promoted a new game for Fortnite.

I was hired as the B-Cam Operator for a 5-Day shoot in Colorado. We operated with BMPCC 6K Pro cameras with DZO Pictor Zoom lenses on sticks for a corporate training video. The client was Oakwood Homes, the production company was Davies Imaging Group.

My duties as a Camera Operator were to build and operate both an FS7 (shoulder rig) and a6400 (in-car camera) for a shoot that took 5 EV vehicles coast-to-coast.

My duties as Camera Assistant included pulling focus for the DP, setting up the slider for each shot, assembling and testing video village signal, and performing lens swaps.

I am the Director and Cinematographer for a short film/documentary about a gentleman and his 1966 Ford Mustang. The film includes a robust story about how the car was purchased by his grandfather on the East Coast in 1966, and how he eventually passed down his beloved Mustang to a grandson who dreamed about owning the family muscle car. This project is currently in the works with an estimated completion to be late 2021.

My duties included building camera rigs for a two camera shoot, pulling focus, slating, setting up lights, and help the crew with set design.

Helped as a second Camera Operator for their Midwest scenes.

My primary duties consisted of assisting the DP with building both A & B cameras, as well as offloading media to a single hard drive for the post-production team. A-Cam was a Sony FX6, B-Cam was a Sony A7III.

My primary duties as 1st AC for this film included focus pulling, camera rigging, as well as swapping batteries and lenses.

B-Cam 1st AC (Alexa Mini with Cooke Panchros). Primary duties included pulling focus, swapping lenses and media, and setting up B-Cam for each shot whether if it were on sticks or handheld/EasyRig.

I was operating the camera for the drone team, which was using an Inspire 2 with the Zenmuse X7 camera and interchangeable lenses. I also helped with battery and lens swaps when I wasn't operating the camera.

Gimbal Operator for an upcoming commercial spot.

I was on the drone team (Ascending Works). We flew and filmed with the DJI Inspire 2 using the X7 sensor. My main duties as Camera Operator included exposing and framing every shot, as well as charging and swapping all batteries.

My responsibilities as Director of Photography included working side-by-side with the Director to draft and finalize our storyboard and shot-list based on a finalized script. Operate and manage both the camera and lighting departments to ensure every shot achieves the desired look to tell the story in the most compelling way.

This project is currently in the post-production phase. My duties included building/managing 3 BMPCC4K's camera rigs, pulling focus, and occasionally operating B-Cam.

Duties included: Placing and picking up food orders, transporting camera gear, problem solving camera issues.

My duties as the Gimbal Operator were to execute technical camera movements for Chad Bushnell's music video. I operated the BMPCC 4K using a DJI Ronin RS2.

Provide on-site assistance for the production team.

I was a Production Assistant for the drone team on this shoot. My responsibilities included swapping and charging batteries, changing lenses and filters, and driving the crew’s car around world-famous track, Laguna Seca.

First AC for a camera movement company. Responsibilities include building camera rigs, pulling focus, switching MōVI applications from car to handheld, etc.

My duties as Gimbal Operator were to capture camera movement shots of the musicians as they sang the Big Valley Ford Spanish themed song.

I was hired on as an A-Camera Operator for a music video by a local band. I operated with the blackmagic Pocket Cinema Camera 6K on my MōVI. We filmed in a local studio, and this was a one day shoot at the beginning of August.

While this was a small crew, of which we all played several roles, my role was the Director and Producer. I scheduled, funded, directed, edited and color graded this video. On-set, I directed the project, while also managing the crew to ensure all shots were executed to the best of our capabilities. This project is currently in the post production phase and we hope to release it soon!

My duties includes building camera rig (RED Scarlet W) with Sigma Art glass, and pulled focus.

CBS Interactive produces an online series called "Side Hustle" and hires a Camera Movement Specialist for majority of these shoots. I was brought on as the First AC for the gimbal operator, and my primary duties included pulling focus, building & assembling the MōVI, swapping batteries & lenses, with additional duties including moving and setting up equipment.