*IF APPLYING AS LOCAL IN YOUR REGION I AM THERE ON PRODUCITON AND AVAILABLE THE DAYS LISTED I am a visual storyteller producing, directing, filming & editing for clients such as Red Bull, Jaguar/Land Rover, Adidas, Jack Daniels, etc. I also crew on shows


4/24 – 4/24

Technical Lead The Rush with Maxx Crosby

YouTube — Podcast/Audio — Playmaker Productions Details
4/24 – 4/24

This job was an interesting assignment with many top tier NFL players and UFC championship level fighters. Day one I was both the Technical Lead and essentially the DoP however the challenge of this production was that we were not filming and lighting with my kit but with a brand new kit that was ordered entirely from B&H and shipped to the suite at Resort's World that we filmed the first episodes of the week at. I was not a part of the gear order and I was told the day before the job what camera bodies we were using - the Sony ZV - E10 - which is a camera I had never used prior to this shoot. I have owned and operated various Sony professional cameras over the past decade (I currently use two Sony FX6s as A and B camera in my kit) and I am familiar with a fair amount of the Sony DSLR platforms however I did underestimate how technically challenging it would be to step backwards and setup 5 prosumer cameras to spec for a 5 camera 4 mic video podcast setup. Thankfully we were able to get professional settings (peaking, waveform, etc) on way or another while also lighting with an extremely limited kit (two Godox SL 150 III - also a light I had no previous experience) and a soundboard I nor anyone on set had ever used before. Despite all this we captured 6 episodes in 3 days in two locations while talent shifted our production schedule each day and pleased the clients and talents. I put down my title for this production as Technical Lead even though I had to make DoP decisions each day because with this kit that I was not consulted and I was lighting and framing to their specs I would shy away from the DoP credit on this production. Although somewhat stressful and frustrating on set using all brand new gear that I had no experience or any true assistance with it was fulfilling to face all the technical challenges and still stay on schedule and capture the content in a style that pleased the client.

3/24 – 3/24

Gaffer (Lead) EVX 2024 - Masterclass

YouTube — Corporate — Signature Video Group Details
3/24 – 3/24

Assisted a production team from Canada at a conference for their real estate client (Engel & Volkers). We spoke a few times over zoom about the lightening setup and the compositions we were going to match for a series of Masterclasses SVG is producing for EVX. We used my G&E kit to light and create the setup and I sourced the few specialty pieces of gear we needed to achieve some specific lighting motifs they had used on previous setups. l also worked as a swing ACing for the DP when necessary, general trouble shooting, etc. For this shoot we did a 6x6 booklight as a key source, I used a specific Aputure spotlight adapter/gobo pattern for the backdrop, 2x LED tubes as backlights (doubled up to increase luminosity to balance with the output of our key source) and one 4x4 white foam board angled accordingly to achieve the amount of fill desired for this look. It was realtively high key and "natural" looking but still with some very subtle contrast on the shadow side of the face. I also provided most of the camera support (tripods, lens adapters, filters) and everything for video village (monitors, headsets, etc). Great team and I really enjoyed the images we created.

2/24 – 2/24

Director of Photography (DP) (Sony FX6) Snaapped (Season 34)

Oxygen — TV — Jupiter Entertainment Details
2/24 – 2/24

Directed photography and gaffed (solo - only other crew present was our sound engineer) for pick up interviews for Episode 2 on season 34 of Snapped. Production involved receiving show specific backdrop and lighting diagrams and matching an overall motif established by the show's head DP and then remote broadcasting the interview to a story producer in Denver who conducted the interviews. All media was backed up and shipped back to head production offices along with gear.

2/24 – 2/24

Director of Photography (DP) (2 x Sony FX6 & FS7) Content Studio - Wilson Sports at Super Bowl 58

YouTube — Live/Special Event — 72 and Sunny Details
2/24 – 2/24

Directed photography and gaffed a three camera shoot at the Wilson's Sports booth within the NFL Experience at Super Bowl 58 in Las Vegas. A true Las Vegas event based production complete with 2+ mile walks from our vans to our shooting. location with our gear carts. I thankfully had one assistant with me. For lighting we built a canopy over our two subject setup within the Wilson booth to cut the overhead light from the Mandalay Bay convention center. I created two adjustable bounced key sources which I would tweak between interviews if our latest subject had a skin tone that required an adjustment. I also ran two overhead shotgun microphones for sound (which I monitored) and I sync'd the signals from each camera so we could monitor all three angles live on my 19'' Atomos monitor (I've learned you have to convert the signal from the FS7 to sync with the signal from the output of the FX6s (same is true if an A7SIII or FX3 is in play). After we wrapped I uploaded the footage that evening to a dropbox link provided by the client and confirmed all files had been received.

2/24 – 2/24

Editor (Adobe Premiere ) Michelob TopGolf Super Bowl 58 party recap

YouTube — Live/Special Event — verytaste Details
2/24 – 2/24

Synthesized three camera units footage and edited and delivered various sizzle recaps for social platforms and Ad space with Worked with BuzzFeed's internal graphics team for graphics assets and approved client logos.

2/24 – 2/24

Director of Photography (DP) (FX6 (with additonal A7SIII on RS3 pro)) Michelob TopGolf Super Bowl 58 party recap

Instagram — Live/Special Event — verytaste Details
2/24 – 2/24

Directed a 3 camera team for dynamic event/party recap footage of the Michelob Ultra Super Bowl 58 party at Top Golf Las Vegas. The concept was to capture specific shots of celebrity interactions, performances as well as candid moments that could represent the experience of the evening. Mostly smaller run and gun camera builds worked for this approach. Two FX6s were on shoulder rigs that were small enough that the camera could come off the shoulder easily for my dynamic perspectives. I mostly operated an FX6 with a 24 - 70mm zoom and I had my other FX6 operator switch between a 70 - 200mm and occasionally a 85mm prime incase he wanted the ability to go to a 1.4 for any reason. I had my other camera operator primarily on the A7SIII on the RS3 pro and switching between a 21mm, 35mm and occasionally a 50mm for more detailed product or logo focused shots (I had this operator focus on wider shots for crowd context and also for capturing 360 barrel shots whenever it felt right following direction from the client's example from the previous years recap video). The team would fluctuate between dividing up coverage at the front end of the night when celebrity arrivals and key events were occurring simultaneously and then at other times we would all cover one area so we could have multi camera coverage. We also would switch between frame rates and shutter speeds capturing slow motion, time-lapses, shutter drags and regular motion at 24 fps. I had our AC DIT during production and then finished the process as we wrapped gear and verified we had all media backed up on-site prior to leaving for the evening.

1/24 – 1/24

Editor (Adobe Premiere ) Mobileye at CES 2024

YouTube — Live/Special Event — Ruckus Media Details
1/24 – 1/24

This was a hybrid role where I was not only DIT and Editor for daily quick turn around deliverables but I was also capturing the footage for the majority of my deliverables as a solo DP/Cam Op (switching between handheld FX6 and gimbal stabilized A7SIII). As editor once my filming was completed or in between scheduled shots I needed to capture I would setup my remote editing station wherever space permitted and turn around multiple edits and press kits each day of CES. The content I was focused on was predominately unscripted, highlight/sizzle orientated however I did assist the other editors as needed with MOTs and interview based deliverables as well (some were in Hebrew so I was required to cut these using translated subtitles). All deadlines throughout the week were met and final overall highlight reel was approved with no revisions requested.

1/24 – 1/24

Director of Photography (DP) (FX6 & A7SIII) Mobileye at CES 2024

YouTube — Live/Special Event — Ruckus Media Details
1/24 – 1/24

I worked a hybrid role as Director of Photography and editor supporting the PA based production company Ruckus Media that came to Las Vegas for CES 2024 creating marketing and various quick turn around corporate communication deliverables for their client, Mobileye and also filming and editing the overall highlight reel of their booth and booth experience throughout the week of CES. As DP for my deliverables and also as support for the other two camera units I shot mostly unscripted content handheld on the FX6 and on my RS3 pro kit with A7SIII. I combined off speed frame rates, time-lapses as well and observational content in 23.98fps with audio to enhance the story telling in my deliverables. I was given a list of specific shots I was required to capture as well as general direction for what to capture in between scheduled events. The position required me to navigate LVCC and create a schedule solo (without a producer) that allowed me to both capture everything that was required and allow time to quickly process and edit footage on site (sometimes doing minor revisions in the evening at home). In addition to this hybrid role I also provided the out of state production company with G&E, camera gear and last minute local crew resources as needed.


  • DC Shoes - Breaking The Mold - Episode One (DIRECTOR OF PHOTOGRAPHY & EDITOR)

  • Footaction X Highsnobiety (Editing)


Would you like to write a recommendation for Michael? Write a Recommendation »


Class of '07

DePaul University

BA Digital Cinema

My Gear

  • Canon EOS 5D Mark III
  • Sony FS7
  • C-Stand
  • Sennheiser G3 wireless system
  • Arri 5 piece light kit
  • Manfrotto 701 HD Tripod
  • Shotogun Mic
  • Chevy Tahoe (production vehicle)
  • Sony FX6
  • Sony A7siii
  • M1 MacBook Pro
  • Aputure LS 600X Pro
  • Godox TL 120 Kit
  • Atomos Sumo 19 SE
  • M2 Ultra MacStudio


  • Producing
  • Directing
  • Video Editing
  • Camera Operator
  • Director of Photography
  • grip
  • DIT
  • Gaffer
  • 1st AC
  • Driver
  • FAA Part 107 Certified