Summary

18+ years of exp. has given me a broad range of knowledge & in depth prod. skill sets. I can take a project from start to finish, or be a great asset for any of the following: Directing, Producing, Editing, Sound, Camera, Lighting, VFX, Tech...Just ask!

Credits

8/12 – Current

Director (Also Creator, Writer, Head Producer, DoP 2nd Unit & Editor) Fight 4 Your Life (feature length version)

Film (Feature-length) — one studios Details
8/12 – Current

When I'm not working contracted jobs for clients/partners or collaborating on other jobs as a hired team member, I'm working on my feature film Fight 4 Your Life. The never ending project...haha. This project takes up a ton of my time, which is why there are often gaps I am not proactively working for clients, partners, etc. Follow the project at @F4YLMovie on Instagram, Facebook and Twitter. The official site has tons of info....www.fight4yourlifemovie.com Stemming from a short film version my team and I put together in 2012 for a 48 hour film festival in Sacramento, CA, Fight 4 Your Life is the feature film debut for me and my lil production company, one studios. It's a 100% independent project, having been produced and shot entirely throughout Northern California, aside from some upcoming shoots potentially in Central and Southern California and Nevada, as well as some past guerrilla shoots in Hawaii, Maui, Thailand and Sri Lanka for B-roll. The majority of shoots have taken place in the Sacramento and San Francisco Bay Areas. But we've also shot in the Lake Tahoe area. So, for a small budget project, we've definitely gone pretty big on the scale of locations, really pushing to create an expansive world within the story of the film. I am the project's writer/creator, also serving as director and head producer, but doing pretty much whatever needs to be done behind the scenes and on set, leading a solid team of ever-expanding crew members. My production crews range from as few 5 to as many as 20 or more, depending on a shoot's demands. We always seem to be understaffed. But we always get it done no matter the challenge. Other roles I serve are Editor, 2nd Unit Director of Photography, Casting Director and regular Sound Recordist and Camera Operator when needed. Not bragging by any means. Just doing what I got to do. Understanding these various roles through years of valid experience, some more than others, has helped me become a better director and producer. The experience of this film itself has also opened my eyes to how truly difficult creating a feature can be....definitely wouldn't recommend doing something of this scale for your first full length movie, let alone doing it in the very non-traditional way my team and I have. The overall community of folks who have directly contributed to F4YL currently exceeds 700 awesome people, which includes a very large principle and supporting cast. A good chunk of the 500+ member cast is our supportive background actors, although we have nearly 200 cast members that make up principal and supporting roles as well. We are quite fortunate to have earned the involvement of so many collaboration-minded individuals. Nearly all members of the cast, principal, supporting and background alike, have been personally cast by me. I take the relationships I share with my cast and crew very much to heart. Hard work, perseverance, resourcefulness, a positive attitude and a wonderful community of supporters have allowed this film to be done, despite the many challenges projects of this budget and size face. We have shot in over 60 locations, ranging from large arena spaces, such as Oracle Arena and the Cow Palace, to smaller venues like martial arts dojos, small businesses, large athletic facilities and newspaper offices. Several of our sets have required the construction of more than 200 feet of 25' high green screen for visual effects sequences, in addition to a full set built in front of the green backdrop, all of which required proper lighting/rigging. We've also shot a good portion of the film in exterior locations, such as city streets and alleys, and even in the vast mountainous wilderness of Northern California's El Dorado County. Much of our final leg of shoots will be shot in various nature-heavy exterior locations. We have been balancing post production with our on-going shoots and are set to complete all aspects of the film in 2022-23, with photography finally being set to wrap by late 2022. Many of the delays we've faced over the years have come from a limited budget, with me funding the large majority of the production myself...and my pockets are not deep! Other delay factors have included, but aren't limited to, schedule conflicts with our cast and crew, location acquisition and availability, equipment attainment and just the vast amount of prep involved, which I never seem to have enough time for, especially since I've done it all basically on my own....not smart, but what I've had to do, unfortunately. Of course, COVID-19 threw everyone's productions through a loop in 2020. F4YL is no exception, with much of our photography plans for that year being pushed way back and, in turn, causing the film's completion to be pushed to 2022-23.....sigh..... Nevertheless, my team and I remain positive and diligent despite this project likely celebrating its 10 year anniversary from start to finish by the time it's all said and done. In June of 2021 we were able to finally execute a series of vital shoots that saw more than 175 participants over the course of two weeks. These shoots took months of preparation and organization, as well as hundreds of man work hours during the 3 1/2 week period of setup, production and strike. Later in December of 2021 we were also able to finally execute a long-awaited second shoot at the Cow Palace in Daly City, CA, which saw close to 100 participants. On the positive, the extra time COVID has given me has allowed for much more time for the prep of our final shoots, while also allowing me to dive into post much more fully, which has always been more of a balancing act with photography since I have to get the film shot before I can really get down and dirty with the edit. I'm really looking forward to focusing 100% on post very soon. There's so much awesome stuff I can't wait to put out, including several upcoming teaser trailers. I'll be collaborating with a plethora of post professionals, including sound, music and visual effects artists, as well as many other individuals and companies alike as we complete the project to the best quality possible. I very much am excited to get the final leg of shoots going ASAP in 2022 so we can finally wrap! For more info on Fight 4 Your Life, please go to www.fight4yourlifemovie.com. Feel free to reach out to me also if you would like to learn more or collaborate. We can always use additional help by way of cast and/or crew, as well as through other contributing factors, such as location providers, costume and props and, well, you get the idea. Appreciate your support. JOIN THE FIGHT!!!

7/22 – 7/22

Sound Recordist (Mixer) Abbvie

Online — Digital — Vox Media Details
7/22 – 7/22

Served as the Sound Recordist / Mixer for an interview / b-roll shoot held at the AbbVie labs in South San Francisco, CA. The client was AbbVie and the project was an internal promo / informational documentary piece discussing various aspects of the AbbVie research and practices. I was hired by producer Megan O'Donnell. The executive producer onsite was Daniel Littlewood. The director was Max Plenke-Hammond. The director of photography was Jordan Dertlinger. I provided a Zoom F8 8 channel recorder / mixer, a Lectrosonics wireless lav system with DPA mic, a Sennheiser G4 wireless lav kit with DPA mic, Schoeps and Sennheiser shotgun mics with boom kits, Sennheiser hops for Blackmagic URSA G2 and Blackmagic Pocket 6K cameras, a Comtek kit with three RX units, Tentacle Sync lockit boxes that were jam synced to my recorder via a Denecke JB-1 for dependable timecode, a simple slate and all the bells and whistles needed for single talent lav and boom setups.

7/22 – 7/22

Director of Photography (DP) (Sony FX6 - Also Lighting, Audio, Teleprompter, Green Screen Advising) Gameflip

Online and in Meetings — Corporate — Rally On Media Details
7/22 – 7/22

Served as Director of Photography / All-Arounder for a corporate promotional project for the San Francisco Bay Area gaming commerce company, Gameflip. I was hired by producer Andrew Rodriguez of Rally On Media to represent R.O.M., although I am an independent contractor for my company, one studios. For this day shoot I basically did it all, acting as a one man band, and communicated with Andrew / prepped extensively leading up to the shoot. Everything was shot in a controlled studio on green screen in San Jose, CA. Aside from some overhead house Kinos that partially lit the green screen, all needed gear was provided and operated by me, including a Sony FX6 camera kit with Canon L-series glass and a Miller tripod / head system, a Atomos Sumo 19 studio monitor / recorder (used for reference only), a G&E kit with Dracast LED panels, Flolight fluorescent panels, an ARRI tungsten kit, light modifiers (gels, diffusion, bounces, etc.), stingers and stands / hardware, a Zoom audio recorder and boom package, Sennheiser wireless lav kits, a Magicue teleprompter kit, a Dell Precision mobile workstation, a Macbook Pro and all the needed bells and whistles. Three different subjects were shot on this date, with there being scripted material, B-Roll and off the cuff stuff. Up to two talents were shot at once. Much of the shoot was done with static shots on a tripod using the teleprompter. But there were also shoulder rigged and handheld shots. I also had to set up a laptop for the producer to Zoom in and co-direct the talent with me.

4/22 – 5/22

Sound Recordist (Mixer) Sequoia Capital

Online — Film (Short) — Vox Media Details
4/22 – 5/22

Served as the Sound Recordist / Mixer for several interview shoots held throughout the San Francisco Bay Area, CA. The client was Sequoia Captial and the project was an internal documentary celebrating a key member of the company. I was hired by director of production Josh Levine. The Epic Digital producers onsite were Kiana Moore, Nicole Zakheim and Christina Kho, who also sometimes served as the directors. The director of photography was Heath Richards. I provided a Zoom F8 8 channel recorder / mixer, a Zoom F6 6 channel 32-bit recorder / mixer, a Tentacle Sync Track-E 32-bit recorder, several Lectrosonics wireless lav systems with DPA & Countryman mics, several Sennheiser G4 wireless lav kits with DPA & Countryman mics, Schoeps and Sennheiser shotgun mics with boom kits, Sennheiser hops for Sony Venice and FX9 cameras, Tentacle Sync lockit boxes that were jam synced to my recorder via a Denecke JB-1 for dependable timecode, a simple slate and all the bells and whistles needed for single and multi talent lav and boom setups. The most subjects shot at once were five, which I lav'd and boomed all.

3/17 – 4/22

Director of Photography (DP) (Also Lead Shooter and 2nd Shooter. Blackmagic Pocket 6K & JVC LS300) Various Industrial, Coorporate and Event Shoots

Corporate — MarketScale Details
3/17 – 4/22

I am partnered with Texas based marketing firm, MarketScale, as a contracted cinematographer/videographer, regularly shooting for them at various professional facilities, offices, retail stores, event spaces and other locations throughout the greater Northern California area. Most of the shoots are corporate and/or industrial based with a documentary type structure. But occasionally there are narrative or other types of projects, as well as projects that require more outside the box locations, such as one shoot I did while flying in a pilot's personal plane. Most projects require interviews and some sort of B-roll capture. Sometimes run-&-gun is involved, especially with the occasional trade show shoot, whereas other times things are more laid out in a loose "scripted" form. No matter the shoot I always have to think on my feet, as clients are often inexperienced, unorganized and dependent on my lead. Most shoots I am provided a shot list by MarketScale and the client, sometimes more specified than others. Other times I'm given very little to go off of and just have to "wing it," working closely with the client to make sure they are getting what they need even when they don't really even know what they want. I generally serve in a DoP / 1st Shooter / A-Cam role, but covering 2nd Shooter / B-Cam duties is done also. For either role I provide not only my camera package(s), but also often the majority of the audio, lighting and grip gear on shoots, whether team or individual based. MarketScale usually requires 4K video. I comply with my BlackMagic Pocket 6K kit or my JVC LS300 kit. In the past I've also used my Canon 5D MK II kit. Sometimes specialty tools are also requested, such as GoPros and/or a gimbal. As is common on these types of small crew shoots, I usually do more than operate a camera, also lighting, running audio, conducting interviews and serving as MarketScale's in person point man who ensures the job stays on track and gets done no matter the situation. So, my all-arounder background serves me well, as does my overall experience when shoots are less than ideal. I've had to shoot in subzero freezers without being informed ahead of time. I've had to handle plenty of difficult, unprepared or non-present clients. I've had to deal with flaky partners who didn't show, leaving me alone to get the shoot done alone. And I've had to drive hundreds of miles to shoot locations with less than a day's notice because of lack of organization on MarketScale's part, that of the client's or a combo of both. Whatever the circumstance, I handle it. And I always do what I can to make myself available, which is why MarketScale continues to call on me, having proven my dependability and various person-to-person and technical skill-sets. These shoots tend to be crammed and fast, with MarketScale usually only providing a single 8-10 hour day to gather multiple interviews, B-roll, etc. Adaptability, quick thinking, communication and a calm demeanor under pressure are essential. Some of the clients to date I have covered for MarketScale include, but aren't limited to, Levi's, Anchor Steam, Brown Pelican/Samsung, C&R Racing, Viking Cold, Service Logic / Accel, Provost Studio, Fire Clay Tile, Aspen Avionics, Delta Star, Select Harvest, Phantom Auto, Swenson Shear, Zygo, Community Speakers, MultiTech and Morgan Advanced Materials. I've been an off and on contractor/partner with MarketScale since 2017. After a lapse in 2020/2021, likely due to the Pandemic, I've been working quite a bit with them again in 2022, having already shot multiple client's for them from January through April.

12/21 – 1/22

Still Photographer Life West 2021 Winter Commencement

Online — Live/Special Event — one studios Details
12/21 – 1/22

Served as event Photographer for the 2021 Winter Commencement Ceremony for Life West at the Life West campus in Hayward, CA. I / one studios was contracted by Life West alumni relations director, Dr. Joseph Ibe. Duties included taking photos of students, faculty and attendees before the ceremony, during the ceremony and after the ceremony, as well as covering an awards dinner the day before the commencement. The primary focus was capturing photos of the students on stage during the awards dinner and the commencement ceremony, during which they gave speeches, received awards and walked the line to receive their diplomas. Flash photography was utilized for this event, along with natural light photography. My photography package included a Canon 5D MkII with external Canon flash and a Canon 7D with built-in flash. My kit lenses included were the Canon 16-35mm L f2.8 II, 24-70mm L f2.8 II and 70-200mm L f2.8 II. I also provided a key lighting kit for a step and repeat that the students were also photographed at off stage. For the commencement I hired a colleague to help execute proper coverage of the event. I later organized and edited my photos to a final deliverable, incorporating my colleague's photos as well once he completed his edits. I ultimately provided the client with over 1000 quality photos of the two day event.

11/21 – 1/22

Sound Recordist (Mixer) Okta

Online — Corporate — Epic Digital Details
11/21 – 1/22

Served as the Sound Recordist / Mixer for several interview shoots held at the Okta offices in San Francisco, CA. The client was Okta and the project was internal for the company and its president. I was hired by director of production Josh Levine. The Epic Digital producers onsite were Kiana Moore and Nicole Zakheim, who also served as the directors. The director of photography was Avery Hudson. I provided a Zoom F8 8 channel mixer, a Lectrosonics wireless lav system, a Schoeps shotgun mic with boom kit, a Sennheiser hop for a Sony Fs7 camera, a tentacle sync lockit box that was jam synced to my recorder for dependable timecode and all the bells and whistles needed for single talent lav and boom setups.

11/21 – 12/21

DIT (Digital Imaging Technician) Liger

Dharma Productions — Film (Feature-length) — Bollywood Hollywood Production Inc Details
11/21 – 12/21

Served as DIT (digital imaging technician) for on location U.S. Liger shoots held in and around Las Vegas, NV, as well as in the Los Angeles and surrounding southern California area. The coverage captured multiple scenes, including an integral scene with American media star and boxing legend Mike Tyson. I was hired by line producer Prashant Shah of Hollywood Bollywood Production, Inc., who was collaborating with the head production company, Dharma Productions. The onsite producer for Dharma Prod. was Puri Jagannath. The director was Charmee Kaur. The DoP was Vishnu Sharma. I worked directly with the camera department, reporting to the DoP, but mainly communicating with the 1st AC, Ambar B. Capoor. My duties included managing a small team of camera loaders and media managers who helped me intake, duplicate and backup all digital media for production, as well as for behind-the-scenes material, including video, audio and photographic files. My personal daily tasks included footage observation and review during shooting via wireless feeds and upon intake/ingestion, reporting/communicating to camera department, footage / file ingestion, logging, duplication, transcoding and backup with checksums and reports using media management software Shotput Pro, file/hard drive organization and naming, card/hard drive media formatting and cycling for return to camera, technical research, DIT based gear acquisition and any other needed camera department assistance. I also created daily edit highlights of captured footage, which required various color correction, LUT use, transcoding and exporting formats/file types. The dailies I created were uploaded to private links via my company Vimeo account for review. All production and BTS media was offloaded/backed up to four large multi-terabyte drives. The BTS media was backed up to a fifth drive as well. I also maintained a personal copy of all media during production for my work use, utlizing a personal Thunderbolt 3 DAS system with SSD media. The cameras used to film footage were an ARRI Alexa SXT, two ARRI Alexa Minis and various drones, including a DJI Inspire 2 and a DJI Mavic Pro 3. The sequences captured were shot in various frame rates, resolutions, aspect ratios and formats, although most footage was shot RAW. The majority of the footage was shot with anamorphic lenses and camera settings. But I was often faced with a mixture of anamorphic and spherical footage. BTS and audio files were of various file types / formats / wrappers. Over 18 days of production 15 TBs of media was captured and transferred to each production drive. I used my PC and Mac high end mobile workstation systems for this job, along with my mobile production cart with power stations, 10 bit HP monitor, various 10 bit production monitors, wireless audio kit and other bells and whistles. This job was remote for me and I drove / flew hundreds of miles to attend these shoots, with several of the shoot locations being in very remote desert areas. My gear package provided covered all the bases needed to ensure efficient media flow and protection, even with curveballs thrown my way.

Orgs

  • Bay Area Video Coalition
  • Capital Film Arts Alliance
  • AGTV
  • Big Brothers Big Sisters of America
  • El Dorado Hills Brazilian Jui-Jitsu
  • Fight 4 Your Life the Movie
  • JTG Films
  • one studios
  • one studios crew
  • Planet Granite
  • Sacramento 48 Hour Film Festival
  • Sacramento Film Society
  • Sacramento International Film Festival
  • Sacramento Judo Club
  • Team Alpha Male Wrestling Club
  • TechShop
  • The B Team
  • UC Davis Alumni
  • UC Davis Judo Club
  • UC Davis Wrestling Team Alumni
  • Ultimate Fitness
  • USA Judo
  • USA Wrestling
  • Vista Del Lago High School Wrestling Team
  • San Francisco Judo Institute
  • Alameda Contra Costa Wrestling Officials Association

Media

  • LinkedIn - Flash Mob Promo - Short Cut (HiQ)

  • Angry Birds Love What You Do Spot for Apple

Recos

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Education

Class of '06

University of California at Davis

Film, Dramatic Art (Directing Emphasis) and Spanish

My Gear

  • GoPro
  • Canon 7D
  • Zoom H6 Digital Audio Recorder
  • DJI Ronin-M
  • Zoom F8 MulitTrack Field Recorder
  • Countryman B6 Lavs
  • DJI Ronin-S
  • Countryman EMW Lavs
  • Sennheiser MKH 416 Shotgun Microphone
  • Canon EOS 5D Mark II
  • SmallHd 702 Bright monitor
  • Sennheiser MKH 8070 Long Shotgun Mic
  • Shure FP-33 Field Mixer
  • Ample Card and Hard Drive Media for Recording and Storage
  • Marantz PDM570
  • Multiple Disc Media Recorders and Duplication Units
  • Multiple PC & MAC Desktop Workstations
  • Multiple PC Laptop Workstations
  • Multiple Quality Sound Processeors and Monitoring Units
  • Panasonic G2
  • Quality and Ample Green Screen Compositing Backdrops
  • Quality PA Sound Package with Loud Speakers
  • Tascam HDP2 Field Recorder
  • Various Computer/Workstation Hardware
  • Various Lighting Extras and Hardware
  • Tram TR50 lav
  • Countryman B3 lavs
  • Zoom H4n Digital Multitrack Recorder
  • Sennheiser MKE2 Lav
  • Zoom F6 Field Recorder
  • Blackmagic Pocket Cinema Camera 6K
  • access to Sony FS7
  • DJI Mavic Air 2 Drone
  • DPA 4060/4061 Lavs
  • Schoeps CMC641 Colette Series (CMC6 & MK41) Supercardioid Mic
  • Various Audio-Technica Shotgun Mics
  • Zoom H3-VR Field Recorder
  • Sound Devices Mic Pre 2 Ch Mixer
  • Tascam DR-10L Recorder w/ Lav
  • Zoom F2-BT Recorders (x2) w/ Lavs
  • Tentacle Sync Track E w/ Lav
  • Tentacle Sync E (x2)
  • Denecke JB-1 Timecode Sync Box
  • Denecke TS-2 (SB) Smart Slate
  • Comtek PR-216 Transmitters (x4)
  • Comtek M-216 Option P7 Receiver
  • Zaxcom ZFR100 Audio Recorder
  • Zoom SSH-6 Mid-Side Shotgun Mic Capsule
  • Zoom SGH-6 Shotgun Mic Capsule
  • Zoom MSH-6 MS (Mid Side) Mic Capsule
  • Zoom XYH-6 Large Diaphragm X/Y Mic Capsule
  • Zoom F-Control Mixer Console
  • Audio-Technica System 10 Bluetooth Wireless Packs (x2)
  • Lectosonics UM400a Transmitters (x2 Block 21 & x1 Block 22)
  • Lectrosonics UCR411A Receivers (x2 Block 21 & x1 Block 22)
  • Sennheiser EW 112P-ENG G4 Wireless Packs (x3 Band A)
  • Sennheiser EW112P G4 Wireless SKP100 Plug-On Transmitter (Band A
  • Sennheiser EW 112P-ENG G3 Wireless Packs (x2 Band A)
  • Sennheiser EW 100-ENG G1 Wireless Pack w/ Plug-On Unit (600 Mhz
  • K-Tek & Gitzo Boom Poles
  • Galaxy Audio MultiMixer Jib/MM 4 Ch Field Mixer
  • Galaxy Audio AS-950-4 Wireless In-Ear Monitor Band Pack (P2 Band
  • Audio-Technica MT830cW Lavs (Beige & Black)
  • Sennheiser ME2 Lavs (Black)
  • JVC LS300 4K Video Camera
  • SmallHD Focus 5" Monitor w/ SDI
  • SmallHD DP-4 Monitor
  • DIT 15" Reference Monitor
  • Atomos Ninja 5" Monitor/Recorder w/ SDI Module
  • Teradek Bolt 300 TX/RX
  • Hollyland Mars 400S Wireless TX/RX
  • DJI Ronin Gimbal (x2)
  • Tilta Armorman 2 Gimbal Support Vest w/ Arms
  • Easy Rig DJI Ronin Gimbal Ring
  • Bogen/Manfrotto 3066 Fluid Head/3191 Tripod Legs
  • Manfrotto 501 Fluid Head w/ 525MVB Tripod Legs
  • Manfrotto 701 HDV Fluid Head w/ 055XB Tripod Legs
  • Tilta Nucleus M Wireless Follow Focus Kit
  • DJI Ronin-S Focus Wireless Follow Focus Kit
  • DJI Ronin Bluetooth Thumb Controller
  • Canon EF 50mm 1:1.4 II Prime Lens
  • Canon EF 85mm 1:8 Prime Lens
  • Canon L Series EF 17-40mm 1:4 Zoom Lens
  • Canon L Series EF 24-105mm 1:4 Zoom Lens
  • Canon L Series EF 70-200mm 1:4 Zoom Lens
  • Canon EF 70-300mm 1:4-5.6 Zoom Lens (x2)
  • Rokinon Cine DS EF 16mm T2.6 Prime Lens
  • Rokinon Cine DS EF 14mm T3.1 Prime Lens
  • Rokinon Cine DS EF 24mm T1.5 Prime Lens
  • Rokinon Cine DS EF 35mm T1.5 Prime Lens
  • Rokinon Cine DS EF 50mm T1.5 Prime Lens
  • Rokinon Cine DS EF 85mm T1.5 Prime Lens
  • Rokinon Cine DS EF 100mm T3.1 Macro Prime Lens
  • Rokinon Cine DS EF 135mm T2.2 Prime Lens
  • Metabones Smart T EF to MFT Mount Adapter
  • Metabones T Speed Booster Ultra 0.71x EF to MFT
  • Various Lens Filters (ND - VND - Polarizers - IR Cut - UV - Etc.
  • Ikan PD Movie Remote Live Follow Focus Kit
  • Ashanks C300S SmoothOne 4' Motorized Camera Slider
  • Photo Tools Slide Cam 3' Manual Slider
  • ProAm Video Products 8' Jib
  • Bogen / Manfrotto 3127 Tripod Dolly
  • QuickSet 4-76010-4 Tripod Dolly
  • Heavy Duty Slider Dolly w/ Manfrotto Heavy Duty Fluid Head
  • Magicue Teleprompter Kit
  • Dracast LED Light Kit (500w - 1K - 2K Equivalent))
  • FloLights Fluorescent Light Kit (6 Bank w/ 5600K & 3200K - x2)
  • FloLights Fluorescent Light Kit (4 Bank w/ 5600K & 3200K - x2)
  • FloLights Fluorescent Light Kit (2 Bank w/ 5600K & 3200K - x2)
  • KinoFlo Foto-Flo 400 Fluorescent 4 Bank Panel w/ Ballast
  • ARRI Tungsten Lighting Kits (x3 - w/ Various Accessories)
  • Lowel Tungsten Light Kit (x2 500w Omni & 800w Tota)
  • ARRI ARRILite 1K Tungsten Open Face Lights (x4 w/ Barn Doors)
  • ARRI ARRILite 2K Tungsten Open Face Lights (x4 w/ Barn Doors)
  • Mole-Richardson 650w Tungsten Fresnel Lights (x2 w/ Barndoors)
  • DaVinci Fusion 650w Tungsten Fresnel Kit (x3 Lights w/ Barndoors
  • ARRI 650 Plus Tungsten Fresnel Lights (x3 w/ Barndoors)
  • Lowel Omni 500w Tungsten Kit (x4 Lights)
  • QuartzColor Redhead 650w/800w Tunsten Light w/ Barndoors
  • Pepper 300w Tungsten Light w/ Barndoors
  • Pepper 150w/200w Tungsten Light w/ Barndoors
  • ARRI 150w Tungsten Light w/ Barndoors
  • Generic ARRI-Like 150w Tungsten Light w/ Barndoors
  • QuartzColor-Pepper-ARRI Tungsten Light Kit (800w-300w-150w x3)
  • Mole-Richardson 2591 Molequartz Baby 2K Tungsten Softlight
  • Videssence Fluorescent 2 Bank Studio Light (x2 - 3200K or 5600K)
  • Videssence Fluorescent 4 Bank Studio Light (x2 - 3200K or 5600K)
  • Altman 750w-1K Fresnels (x4)
  • 1K Par 64 Stage Lights (x4)
  • Times Square 1K Follow Spot
  • 1K Ellipsoidal Leko Stage Spot Light
  • FloLights Mountable LED Kit (x2 150 & x4 250)
  • Various DJ/Event Lighting (Par Cans - Lazers - Strobes - Etc)
  • American DJ Fog Machine
  • High Output Portable Air Blower
  • Sony FX6 Full Frame 4K Camera Kit
  • Canon L Series EF 16-35mm f2.8 II Zoom Lens
  • Canon L Series EF 24-70mm f2.8 II Zoom Lens
  • Canon L Series EF 70-200mm f2.8 II Zoom Lens
  • Metabones EF to E Mount Cine Adapter
  • Atomos Sumo 19 Production Monitor/4K Recorder Kit
  • Tiltamax WVT-02 Wireless Video Transmitter w/ 2 Receivers Kit
  • Blackjet UX-1 Cinema Dock (SSD-CFast 2-XQD 2-CF-SDXC-microSD)
  • Blackjet TX-2DS Dual-Bay TB3 Cinema Dock w/ DX-1A Master Caddy 2
  • Blackjet DX-1A Atomos Master Caddy 2 Media Module for TX-2DS
  • Blackjet DX-1CXA CFexpress A Media Module for TX-2DS
  • Blackjet DX-1M M.2 PCIe SSD Enclosure Media Module for TX-2DS
  • Blackjet VX-1C USB 3.2 Gen 2 CFast 2.0 Reader
  • Lexar Professional Workflow CR2 Cfast 2 TB2/USB 3 Reader
  • Kingston Workflow Dual SD USB-C 3.2 Gen 1 Reader
  • Dell Precision 7750 17" High End Mobile Workstation
  • Apple Macbook Pro 2021 13" M1 Laptop
  • HP Z440 Desktop A/V Workstation with HP 10 Bit Monitor
  • HP Z420 Desktop A/V Workstation with 10 Bit Monitor
  • OWC Thunderbay 4 Thunderbolt 3 DAS with SSDs
  • OWC Thunderbay 4 Thunderbolt 2 DAS with Fast HDs
  • Home studio with pro sound booth for vocal / sound recording
  • ADR projector setup with home studio's sound booth

Skills

  • Spanish
  • Producing
  • Video Production
  • Directing
  • illustration
  • Final Cut Pro
  • Photography
  • Casting
  • Screenwriting
  • Budgeting
  • Adobe Premiere
  • Adobe Audition
  • Camera Operator
  • Director of Photography
  • Cinematography
  • Adobe Creative Suite
  • Lighting
  • Motion Graphics
  • Location Scouting
  • Graphic Design
  • Visual Effects
  • Music Production
  • Acting
  • Ableton Live
  • Adobe Illustrator
  • Adobe Photoshop
  • Adobe After Effects
  • Adobe Media Encoder
  • grip
  • Color Grading
  • DIT
  • Sound Recording
  • computer tech
  • Gaffer
  • Microsoft Office Suite
  • Set Design
  • Assistant Camera
  • Sound mixing
  • Adobe Lightroom
  • AVID Pro Tools
  • Voice-over
  • Filmmaking
  • Gimbal Operation
  • ShotPut Pro
  • Adobe InDesign
  • Drone Operation
  • Client Relations
  • Adobe Prelude
  • Jib Operation
  • Boom Operation
  • Project Development
  • Playwrighting
  • PC & Mac
  • live event videography
  • Video Design
  • Media Conversion
  • Izotope
  • Brazilian Jiu Jitsu
  • Judo
  • Disc Authoring
  • Compostiting
  • Computer Systems & Communications
  • Digital Film and Video Editing
  • Fight & Dance Choreography
  • Image Editing & Manipulation
  • Light Scale Animation
  • Media Encoding/Transcoding
  • Green Screen Video Production
  • Crew acquisition
  • Small business owner
  • All-Arounder
  • Division I Wrestling
  • General Sports/Athletics
  • Outdoors/Nature Skills
  • Good w/ Animals
  • Gear Acquisition
  • Green Screen Set Construction
  • Learning DaVinci Resolve
  • Learning Boris FX Silhouette & Sapphire
  • Learning Boris FX Mocha Pro
  • NAS Networking
  • A/V Setup & Operation
  • DJ'ing
  • Live Sound Setup & Operation
  • Time Code Operation
  • Wireless Microphone Systems Setup & Operation
  • Making Something from Nothing
  • Media Management / Date Wrangling