David Footman

Responsibilities included but were not limited to the design, budget, development and build of multiple camera VR/AR stages for volumetric (holographic) video capture and streaming live feeds. This included scouting suitable locations, recommending power infrastructure, sourcing and supervising construction. Worked closely with software developers to create client facing operating systems, and to train clients to operate the system to control, lighting, sound recording for stages with 30 and 60 cameras.

I wrote the video script with Leah Jee. I secured the equipment and locations. I hired the cast, crew and editor.

Arranged and shot additional interviews and B roll footage for the documentary.

Oversee the general production needs including but not limited to: Load in set. Hang and focus lighting elements under the direction of the LD Assist Pyro operator pre and post show. Operate on stage effects (fog and mechanical set pieces) Strike set and lighting elements at wrap of show.

Built and executed the shooting schedule for the "24 hours of Sebring" featuring the client's products. I shot and recorded all interviews, B roll footage and product shots.

I remotely coordinated field interviews in the for the Norway based hosts, producers and crew. I was also a member of the shooting crew when needed. Duties included, but not limited to, negotiating talent rates, publishing deal memos, securing locations and permits (where needed) and hiring additional local crew & equipment in LA, NYC, North Carolina, Seattle and Vancouver.

I went to Australia to rekindled a dead project. Camera failure left the writer/producer/director with little hope. I renegotiated with the camera house, got a replacement camera at no cost, found film stock & renegotiated crew & equipment deals. Upon completion the film was entered to the Cannes festival.

Build the production schedule and budget, hire crew, negotiate equipment rentals and secure locations.

I oversaw cast and crew hires, managed a predetermined budget, built schedules to shoot multiple scripts simultaneously. I secured locations (and permits when needed), hired local crew and supervised the set. We often shot multiple 20 page re enactment scripts in 5 days.

I performed all PM duties including but not limited to managing the production schedule and budget, procuring requested equipment, securing permits, interfacing with police and fire agencies and approving payroll for the cast and crew. I was also cast as "Santa on roller skates."

I performed all PM duties including but not limited to managing the production schedule and budget, procuring requested equipment, securing permits, interfacing with police and fire agencies and approving payroll for the cast and crew for 88 episodes over 2 seasons.

I ran the production office and was responsible for publishing and distribution of call sheet and production reports to cast, crew and the home office in London. I also was responsible for building and executing the travel orders for cast and crew to Sacramento and the SF bay area.

I ran the production office and was responsible for hiring office staff, interfacing with production vendors, publishing and distribution of call sheet and production reports to cast and crew.

I ran the production office and was responsible for hiring office staff, interfacing with production vendors, publishing and distribution of call sheet and production reports to cast and crew.

This was an 8 person crew so everyone wore multiple hats. As Key Grip I designed and built custom mounts and accessories for 9 camera circle vision rig. As Carnet Officer I was responsible for 100 cases of production gear shipped to 9 countries over the 8 month shoot.

I ran the 2nd Unit with notes from director Bob Logan. The unit covered all the water ski, jet ski, ski jump and aerial footage for the production.