Davin Fitch (He/Him)

Worked with two directors/producers from LA, we got coverage of a hiphop breakdance group the duo were making a feature documentary about. This shoot was very high paced and minimal. We had very little time for setup since it was the nationals, but we were able to get great coverage with what we had.

Worked with athletes who cycled on the countryside, ran in the city, and covered everything in the gym. We also filmed product in front of a white cyc.

Got to work with a bunch of great folks on this one. Shot over the course of 3 days with a crew of 20 and a deaf child actor. Jordan, the director and I put a lot of time into preproduction to figure out what coverage we'd need with all the variants of location, logistics, and budget. I worked with a VFX artist to help deliver the best digital negative for their digital pipeline to replace an empty auditorium and make it a filled stadium. We also had to recreate a real closet on location so that we could get a separate scene and the camera far back enough for the coverage we needed in the same day due to conflicting schedules.

Working closely with DP Michael Koshkin, we were able to get double coverage with the limited time we had with the subject and the locations we filmed at. Sometimes we would run two units to due to scheduling conflicts. The crew size was usually 3-5 on these days, but the smaller footprint is what definitely made it possible.

Worked with a crew of 3-5 most days. Mostly shot in all throughout Texas with a few exceptions in Chicago, New York, and Santa Fe, NM. This long form project dealt with mainly problem solving limited lighting and single camera coverage nonstop. Michael the director and I would discuss what the days we're looking like and get on the same page about coverage philosophy. There were a handful of days where I would dp via zoom for interviews to make sure there was consistency in lensing and lighting. On days where we had 5 crew members we'd prioritize smoother motion and had a b-cam to take with us and really get in the moments with our subject.

We shot this one on film so I helped Sam (the director) with the process and organizing camera tests. I led a full camera crew and G&E team for the two days of production. I worked closely with the production designer to find the location that best matched the time period. We shot on the black and white film stock 5222 and used colored filters.

Worked with a crew of 30 on this one. I worked with the production company to design shots and communicate with the G&E team on the lighting design. Had a full camera crew with the addition of a B-Cam to get additional coverage.