Ross Bartels

My responsibilities on this set included: 1) Managing media from a Sony Venice 2 8.6K 2) Provide Dailies by making proxies for out of town editor and create stills for on set review by director and Dp. 3) Maintain video village monitors for producers 4) Live stream to needed crew when Covid prevented them from being on set

I was the AC for A camera during interviews and Live coverage and I was the Drone Assistant for Pilot with Inspire 2. This was both a documentary and Live event coverage with HBO and ESPN+. Assisting A cam included frequent battery changes, lens cleaning and changing, setting up sticks and read rig, passing off media to DIT, and working with wireless Teradek TX and RX. For the Drone I focused on wireless transmissions to TV Truck, managing shot list and coordinating with director and pilot via radio on shots.

I was Harvey Keitel's personal teleprompter operator and earwig assistant for four days on Hard Matter. My job was to set up monitors within the eye line of Harvey so he could recite his lines during the scene. At times, monitors couldn't be used due to the fluidity of the scene, and instead we used the earwig and would recited his lines off to the side and we would act out the scene.

Dp for internal video for a new Range USA facility in Mississippi. Our goal for the video was to highlight gun safety and accurate training for instructors. This job was a last minute jump on, due to covid cases and former DP being unable to travel. So going with the look book provided, myself and the gaffer took to making our location work for us. The shoot included locked off shots with direct to camera teleprompter reading, white drop hands on fire arm use and cleaning instruction, and moving within the range facility demonstration with instructor.

As production Engineer, I was responsible for shipment of all gear from the mainland United States to the island of Puerto Rico. With the gear received, my job was to build all edit and ingest stations for six editors on one NAS network. I also built, formatted and adjusted all camera gear for our six shooters and six sound professionals. The month I spent in Puerto Rico, I focused much of my time trouble shooting gear and editing station problems, deal with resort for power and internet issues, and assist my crew with any hands on tasks while filming.

We did a shoot in each city including San Francisco, Seattle, Phoenix, Atlanta, Baltimore, and Tampa. For these shoots, I was responsible for the ingesting, transcoding, and backing up footage shoot on locations. We did two days for each city. One day dedicated to B-roll of city, and second day dedicated to the event with NFL star. This was a two cam setup, with additional drone, Timelapse, and photography. I was on several occasions asked to Livestream the feeds to Zoom for clients to review. At the end of shoot, I created a quick turn package and uploaded this to a secure network before shipping off back up hard drives.

This was a commercial highlighting Jah Morant and his success within the Memphis Grizzlies. As the video assist technician, I made sure all clips were recorded and ready for playback for client, director, and producers. My Cart included two Sumo 19 recorders, 2 MacBook Pros, Decimators, and Ultrastudio Recorders. We ran wirelessly from Ghost Eyes Transmitters and Receivers from the AC's monitor. Client viewed the video from 70inch monitor on rolling stand, while director viewed from Ocee monitor and wireless Atomos monitor.

This was a two cam commercial in a house with client watching from tents outside. My role for this shoot was to capture each take and have ready for playback, provide video feed to client monitor which was a 70 inch tv on a roller stand. Provide a live feed to dual MacBook pros running 2 separate Zoom streams. I had to directly tether to AC monitors via SDI and run lines outside to monitor cart. I provided our personal wifi network via a wireless AT&T router. Using a smart hub, I was able to route same feed to computer as well as a multiview box, which allowed me to get both feeds on same Screen for client.

I was responsible for being the Dailies operator and my job included twice a day I would: 1. Backing up media 2. Update Metadata of each clip 3. Synchronize sound and picture 4. Apply DIT's cdl color grade 5. check for color continuity 6. Create stills for on set review 7. Render five separate files for Editors, Executives, Producers, Marketing, and Director on Set 8. I would create a an avid timeline for each part from each day for editors to work on 9. Upload the rest to appropriate servers 10. Return media to drive to be delivered back to set

Video Assist for History Channel commercial with Morgan Freeman asking questions about historical development of everyday products. My role as video assist was to provide monitors for director and clients, switch between live and playback of scenes, and stream to both Zoom and Qtake.

DIT for two days in Tampa, FL where we shot Lowe's partnership with NFL players around different teams in different cities give back to their community with a home renovation sponsored by Lowes. We worked the Chris Godwin of the Tampa Bay Buccaneers.

Second Assistant Camera for Chase Film with Gerard Butler for two weeks working with the Movi Operator using the Sony Venice Rialto system. My Responsibilities included assisting operator setup and breakdown of Movi system and Easy Rig, changing lenses and batteries, slating the scene, trouble shooting Teradek Wireless transmitter, deep cleaning of camera and gear after dusty meth lab shoot days, maintaining and moving camera cart and keeping up with battery cart (no utility on this set). Occasionally dolly grip with the brain end of Sony Venice Rialto mounted on tactical vest and tethered by Rialto Cable where I followed operator through long movies, supporting the extra weight and managing the moves of my operator

B Camera operator for three days for Ilumya commercial with real patients who suffered from moderate to severe plaque psoriasis. My secondary responsibilities was taking care of mounting and syncing Teradek System for driving shots. Mounting a Teradek Array to top of follow van with magnet mounts, running BNC line through car, and setting up monitors more director and A operator.

2 days of VTR and DIT for Commercial that plays in reverse. With three separate sets, I was responsible for recording scenes through Qtake and doing playback in both slowmotion and reverse to preview to director, clients and producers over Zoom. My setup included MacBook running Qtake linked to another laptop running Zoom, both Blackmagic Ultra Studio and Monitor modules, Flanders Scientific Monitors for on set viewing, 5k iMac for offloading to G-Raid. I also assisted camera operator with Arri Mini build and troubleshooting.

My responsibilities included: changing batteries for three Panavision DXL2 cameras, six monitors and three Teradek Arrays, breakdown and setup for moves with Director and DP's video village, moving arrays and running BNC between monitors, and assisting second assistant cameras whenever needed.

Shoot artists live in Nashville at recording studio using the BMPCC 6k and Ronin RS2.

Camera Operator for Glamping Adventures Promo in South Newport, GA for 1 day.

3 days on location filming seal team/military for suppliers. Helicopter DSS, Boat remote head and hand held. Responsible for building and maintaining camera and other equipment, operating custom dolly for long running shots, setup and breakdown of lights.

Three days of shooting military equipment used by special ops for tactical purpose. My job was to maintain camera battery, lens changes, and maintaining gear for 3 Red Heliums. I also was a dolly grip, pushing a custom rickshaw+Ronin 2 system around military actors through barriers and warehouses for long running shots.

Camera operator for B cam and grip with small light package. Set ups were interview only with two cameras for two days.

Assistant Camera for on Camera Operator shooting models wearing Spartina 449 apparel for two days. My job included lens and battery changes, holding reflector/bounce and maintaining all gear between locations

I shot behind the scenes for the production of A Savannah Haunting which included both the action on set and interviews with both cast and crew that doubled for both the BTS of the Film and Documentary of the house that was shot on location and its paranormal activities.

Shot EPK for Council of Dads as well as behind the scenes for 5 Days in Savannah, Georgia. We shot interviews with cast, writers, and director, as well as, shooting quick blurbs for multi media purposes.

Assistant camera responsible for building Arri mini package, setting up Dana Dolly, changing and cleaning lenses and other camera assistance while filming driving car scenes.

For the Zeus project we went to all of Zeus's factories and office around the world, from New York to Ireland, and shot interviews of CEOs, managers, and factory workers at the Zeus plants. I was the A camera operator on all interview shoots and was responsible for getting both B-roll and Hero shots between interviews.

I was the DP of B-roll, going to where the house was built from the bottom up. I was responsible for capturing every process of the home building, from the foundation all the way to the final touch ups before the designer comes in to do the furnishing. I shot this with Blackmagic Mini Ursa and Rokinon Cine lenses over a period of 7 shoots.

I was the stills photographer and videographer for 5 straight days of filming, putting together the electronic press kit with still from all the days as well as video compilation of each day.

I shot live events, interviews, and skits for the Property Brothers special cruise "Sailing with the Scotts." We worked both on board Royal Caribbean's Mariner of the Sea and off the ship in Nassau Bahamas as well as Miami.

I edited live events, interviews, and skits for the Property Brothers special cruise "Sailing with the Scotts." I edited and catalogued all video shot on board Royal Caribbean's Mariner of the Sea and off the ship in Nassau Bahamas as well as Miami.