Michael Handler

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.

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.

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.

Drove in from Las Vegas to Phoenix metro area for 1 day commercial shoot on the tarmac and in the terminal of Phoenix's Sky Harbor International airport. This job required arriving to town one day early for build and camera prep. One day of shooting and then a half day following the shoot where I handled all equipment returns solo. I also provided production with select pieces of my G&E kit, camera cart, various camera kit needed for specific rigging and my 1st AC monitor and follow focus kit. One the day of the shoot we began with scenics on the roof of the parking garage and then moved approximately 30 pelican cases full of gear through general TSA security which we managed to somehow do in under 20 minutes. Once on the tarmac besides swapping lenses and quickly reconfiguring camera rigs on the fly I was also pulling focus while the DP was shooting both scripted and unscripted B-roll much of which was shot wide open on a Zeiss 25mm & 50mm T 1.5 with RS3 pro, advanced ring, easy rig and moving about on Segway. Needless to say these were challenging focus pulls most of the day.

Working as the DIT for all Las Vegas based UFC Journey production. Responsibilities include coordinate all media offloads daily with each field producer (one per fighter), shotput download, Aspera (server) upload for the post team in NYC, log all footage and sound files, gather various specialty and broadcast footage that post production may need throughout the fight week and adjust the workflow seamlessly on the fly as is the nature of unscripted documentary style production. Mostly Sony cinema cameras, various media storage units in play and occasionally Arri and Canon platforms for the broadcast or specialty footage. I worked off my mobil DIT kit, M2 Ultra MacStudio and M1 Mackbook Pro - worked from home, worked from host hotel and worked from UFC HQ.

Directed photography and gaffed in Las Vegas for a true crime series while also setting up live zoom feed (w/ audio and LUT display) for NYC based producer to conduct the interview. Raw footage was uploaded to an FTP site and shotput offloaded to SSDs that were overnighted for post production team.

On site editor for Big West conference Men and Women's cross country final race recap that was then encoded for broadcast that same afternoon. This was probably the most ambitious of all the on-site editing gigs I have ever done. The races began at 8am. While waiting for the first batch of footage I created graphics transitions, layered in music and ESPN elements and prepped the runner's standing graphics for when I would later input the corresponding stats from the race. Footage came in to my remote edit station from 9am to 12:30pm. I had until 3pm to then synthesize all the footage, create a story arc and recap for both Men's and Women's races, assist with writing and recording a VO for some of the montage sequences and then put it all together and create an export to spec. We barely made the deadline as it was pushed up 6 hours from the original deadline of 9pm and it was not at all easy to do this.

Edited unscripted b-roll based off audio only interviews that had been edited to 90 second consumer narratives to create short video vignettes of all major consumer groups for Walmart shopper profiles. As with corporate gigs most of the editing revisions were to address unique "sensitivities" Walmart corporate and specifically the C-suite have regarding various concepts or personas.

One man band DP / Solo operator traveling to 3 markets in 6 days packing all gear in two carryons (one set was mine the other the director). Filmed unscripted b-roll to support audio interviews recorded in various consumer homes across the three domestic markets to create 5 x 90 second vignettes to present to the C-suite. All b-roll and blocking was determined on site as the interviews were being conducted.

Edited two unscripted segments remote for Ep 105 of Circus Town (Hook photoshoot + Michael and FOFO segment). Responsibilities included presenting radio edits with minimal direction, selecting and sourcing music cues, revising based on notes and layering with unscripted b-roll. The final assembly was delivered to the post production team at Spiegelworld for finishing.

Directed photography, gaffed and ran sound for a two camera true crime interview. Communicated with remote producer regarding setup and composition options. Provided all camera, sound and G&E equipment. Uploaded all footage (420gb) within 24 hours of shoot.

DoP, Gaffer and sound for a two camera true crime interview with Jon Ramsey (father of Jonbenet Ramsey) in his home in Moab Utah. Book lit for key, flagged windows for natural spill and used an RGB tube set to daylight as a soft hair light.

Directed photography, lit, recorded audio and operated cameras for a true crime series in a remote Utah home based upon the reference frames provided by the production company. I also setup a zoom feed for the producer in New York with our main camera feed ran into the zoom meeting so the producer could also see the main camera's POV while conducting the interview remotely. I created a book light for your key source, my trusty 150 W tungsten fresnel was providing our back light and stylistically chose to not bounce or fill the shadow side to follow the stylistic theme of the show based on the reference frames provided. Myself and my assistant used quite a bit of negative fill applied in various ways to fake a garage setup as basement location.

Assembled a Las Vegas production crew and art department for a UK based production company to build a set within the Mandalay Bay convention center for their client Dell Tech during the Dell Tech conference in Las Vegas in 2023. The concept was to create an environment to interview key customers for Dell Tech on our set in 4, 3, 2 and 1 person interview setups and filming b-roll "scenes" at the conclusion of the interviews. We incorporate a Dana Dolly, specialized lens filters a remote follow focus system and dramatic lighting techniques to create visual interest in our b-roll scenes to help bring the customer stories to life. I provided all camera gear except our prime lenses and remote follow focus system.

Pulling focus with a Nucleus M system rigged to a Fujinon 19-90mm on Blackmagic Ursa G2 mounted on a 30ft Cammate Jib for a 90 minute live performance mostly at 90mm and aperture wide open at T2.9 - jib operator had zoom and iris controls. Also assisted with assembly of jib, camera calibration, Nucleus calibration and troubleshooting, video village setup and general load in and load out for 14 camera live event production on Federal property and unique environmental conditions. Production is currently in post.

I directed photography, gaffed, ran sound and teleprompter all with gear from my personal kits for a three camera shoot for the Dolores Huerta foundation. This shoot involved both scripted direct address to camera aided by a teleprompter as well as unscripted two camera interviews.

I assisted with onsite DIT and light AE responsibilities for pickup days of interviews for the forthcoming documentary Bad Actor. I provided a mobile editing kit and downloaded and verified all media from both cameras onto two separate drives and then further verified the integrity of the footage by bringing it into Adobe Premiere and syncing the two camera angles, previewed both angles with appropriate LUTS and preview grades with the DoP and briefed the producer/director on my log notes and any technical issues that were discovered at the completion of the shoot .

Filming B-roll of Roku installations at Aria and Wynn Las Vegas for CES 2023. Filmed as a solo DP / Operator with FS7 handheld, A7SIII on gimbal and DJI Mavic drone. Broll captured of several suites showcasing tech prototypes developed by Roku and the engagement from their clients. Various B-roll of the Las Vegas strip and greater surrounding area captured as well.

Captured a clean feed from the broadcast trailer and captured pre-race and race broadcast onto an Atmos Shogun 7 which was brought into a mobile editing suite I setup independently from the broadcast trailer due to logistic needs. From the live feed content I made selects on the fly of notable moments and soundbites and then uploaded to dropbox in real time for news and media outlets to have access to and edit from as they needed. Clips were all exported and uploaded within 30 min of conclusion of the broadcast in order to give media outlets the time necessary to obtain them and use them in the evening news cycle for east coast broadcasts. Also I was tasked with creating a 1 - 2 minute highlight sizzle edit that was completed and uploaded with 1.5 hours of broadcast. All work done with minimal direction.

Directed Photography and operated cameras solo as a one man band. Production included a two camera interview which I composed, lit, ran audio and conducted the interview while monitoring the camera and audio systems. We also shot lifestyle b-roll around the home and surrounding area. Rain on our shoot day sadly prevented my ability to fly a drone as well. All footage was uploaded for the client and editor based in the UK.

Shooting on going interviews with various American Veterans across the southwest Unite States in home or on various military bases or facilities. These are two camera interviews that I gaffe, run sound, both cameras and on certain shoots also conduct the interview. This footage is both sent directly to the library of congress and also edited for digital distribution on YouTube, broadcasted for events and other various one off purposes.

Construct two narratives from unscripted content with loose direction, revise and deliver 2 unique videos with multiple social media cutdowns and aspect ratios in support of a marketing camping for the Arizona Coyotes.

Direct Photography, gaffe and one man camera operate unscripted content with loose direction to support a narrative and overarching marketing campaign.

Assist DP w/ both camera units, gimbal balancing and all media management and first looks on set using Davinci Resolve

Managing all media filmed - interview pickups in conjunction with all episodes of season and b-roll pickup as well. Media was offloaded using Shotput pro on a mobile M1 laptop rig. Occasionally first looks were applied using DaVinci Resolve for the DP.

Assistance with production coordination and crewing locals from Las Vegas area for an LA based crew prior to the shoot. On production I ran second camera, slate, assisted with the DP unit as needed and DIT'd all footage captured.

Lead Editor on Episode 2 of Adventure Awaits a four part series about dirt biking pro Cody Webb touring the events at the Sturgis biker rally of 2022. Myself and two other senior editors collaborated both onsite and remotely using Adobe Premiere and the new Productions feature to cut 4 episodes and various teasers, trailers, cutdowns etc for client approval, delivery and YouTube premiering all within 7 days of initial production.

Assisting the DP as needed in all capacities. Pulling focus on all shots. Setting up up all wireless, client and director's monitor and hosting the camera/audio feed in the Zoom client conference during the entirety of the shoot.

Reality / Docu Style coverage of several subjects throughout a week in and around New York City. All unscripted content, I was in charge of all video and audio recording and drone work.

Manage all media from all cameras and audio departments. Creating backup clone drives and troubleshooting all Tech issues as they arose.

Support the Director of Photography in every way related to camera department. Switch lenses, rig camera for any scenario, maintain, calibrate and pull focus on a remote system for every A Camera shot. Manage media in conjuction with the DIT. Maintain and connect video village to two cameras for every setup. Manage batteries for cameras and handheld monitors. Troubleshoot any tech issues with A and B camera as they arose.

On - site editor ingesting, organizing, backing up, editing and delivering a variety of BTS and multi-cam musical performance content for various platforms and official social media accounts for Bud Light during the 3 day Life is Beautiful festival in Las Vegas.

On - site editor ingesting, organizing, backing up, editing and delivering a variety of BTS and multi-cam musical performance content for various platforms and official social media accounts for Bud Light during the 3 day Governor's Ball festival in New York City.

Captured aerials of Las Vegas and Red Rock Canyon for the Las Vegas content.

Camera operation for interview and some b-roll segments of the Las Vegas content. Also 1st AC and gripped as needed.

DP, Gaffer/Grip and AC for B-CAM. This was a very crew so a quite "all hands on deck" style production.

Directed photography, directed lighting and filmed all interview and b-roll for the Las Vegas content of this program. For interview segments I operated both camera angles.

On-site video Editor for the Bud Light Seltzer Sessions stage at Lollapalooza 2021. Responsibilities included multiple video deliverables started and completed per day to spec and client approval (sizzle recaps, walk on promos, one song multicam cut downs, various PR videos for featured artists, etc). All deliverables geared toward Social Media posts / ads with some videos output at multiple aspect ratios.

Directing and Directing Photography for in depth interviews with American Veterans (usually World War II Vets) on behalf of the American Veteran's Center. I setup all lighting in harmony the VA's style guide, compose both camera angles (usually two FS7s), record audio and conduct the interviews myself all across the southwest region of the United States (Arizona, New Mexico, Utah, Nevada, California, etc). The content is used for a variety of outputs and also held in the Library of Congress as historical records.

Handled outdoor lighting for a Las Vegas interview, managed G&E gear and assisted DP and 1st AC with camera and monitoring as well.

Grip but also a swing role assisting camera unit as needed and doing runs for props, lunch, etc as needed.

PA but essentially a swing role assisting camera department and G&E as needed

1st Assistant to the DP. Pulling focus w/ remote system, changing lenses, rigging and managing video village, managing media, managing batteries, troubleshooting technical issues as they occurred with A cam and B cam, setting up the Dana Dolly and setting up and calibrating our jib arm. Assisting the DP with anything else he needed when he needed it (food, water, phone calls, etc). I also played as a swing role and would assist G&E as needed.

Based off the client's creative brief I determined shooting format, style and what gear we needed to capture the look and feel that was desired for this campaign. During production I composed all video images, operated two cameras and filled in for the still photographer as needed.

Edited the video content captured for the Puma 2021 Spring Influencer campaign for social media outputs. These edits were designed to be short videos that were under 15 seconds and loopable for social media platforms and gifs. The outputs were in 16x9, 9x16, 4x5 and 1x1 for each deliverable. I handled all video overlay, visual effect designing and final color correction as well.

Sourced, hired crew & cast. Coordinated all production logistics including location scouting, gear purchases/rentals and crew/cast/client needs.

Directed photography (both video and stills) for a spring themed advertising campaign commissioned by Puma via VeryT

Hired as a driver my role became more of a hybrid of responsibilities. I was in charge of managing the camera truck and equipment for multiple days across multiple locations in Salt Lake City and Moab Utah. Upon arrival on set each day I was also the 2nd A/C and assisted with grip responsibilities as needed.

Drove 15 passenger vans shuttling Camera Units up Canyons and to all locations. Drove Stake bed trucks to locations for the Art Department. Drove Cube Trucks up the camera with gear for two and from the base hotel to locations. Once at locations I PA'd and assisted several camera units during production including the DP unit.

Ingested, Organized, Archived and provided a first light for a multi-camera multi day Netflix production at Sundance 2020

Filmed interviews, competition b-roll and observational b-roll with main characters of documentary while in Las Vegas.

Director of photography for Episode 10

Directed all principal photography and b-roll capturing (including aerial footage) over the course of two days throughout Chicago in June 2019.

I directed, edited and filmed the HUF Worldwide Spring 2019 Lookbook. This piece of branded content was produced on behalf of Cinema VeryTaste LLC (agency). It combined both new and archival footage to tell Keith Hufnangle's (former founder and CEO of HUF) story about growing up in New York City skateboard culture in the 90's and features the 2019 spring line inspired by this experience.

I produced and directed production and post for the 'Jeff Tweedy' Episode of the TIDAL series In Conversation.

Lead/Story Editor on the three episode series. https://www.highsnobiety.com/p/dc-shoes-documentary-part-one/

I produced (location scout, script and hire/manage all crew) a branded content piece with rapper Valee for Puma on behalf of HighSnobiety (agency). During production I also personally assisted with camera builds, operation, gaffing and operated all drone shots.

Lead Editor for the pilot series What's Good on PBS Digital for kids. The pilot won a Webby award in 2018