Bradley Carper

I was assigned as the night-time producer to cover any unexpected story moments with our husband/wife cast that struggled to repair their marital problems while attempting to work together to survive 10 days in the wilderness of Hawaii.

I was embedded on the deck of a crab fishing boat as a shooter/producer with one other partner to track and document major story coverage, character development, boat branding and specialty camera rigging for specific story moments. Some of my other daily duties included loading long-play tapes every 4 hours into 3 tape decks for 24/7 high and wide camera coverage, typing story notes and making daily scheduled calls to the LA office via satellite phone to collaborate with the post team on developing long-term story arcs.

I was embedded with a small crew on the remote parts of Kodiak, AK in search of hair samples from Kodiak Brown Bears for later DNA testing in Montana. Some of my duties included secondary specialty camera, rigging GoPros and managing our media.

I led a team of shooter/producers that were embedded with Sheriff Deputies in the backwoods of Harlan, a small economically suppressed and crime ridden town deep in the heart of the Appalachian Mountains. I spear headed my team that documented unpredictable law enforcement officials in hostel parts of the county while I tracked episodic and seasonal story arcs to tell the story of a tenacious Sheriff trying to clean up a corrupt town.

I tracked daily and seasonal story arcs on a crew 7 that followed the lives of steel welders dedicated to maintaining the commercial fishing industry in Kodiak, AK. My team shot most scenes based on a soft script approved by the Network. Some other duties included secondary camera work and being the liaison to maintain a good working relationship with cast and crew.

I was hired for this particular role specifically to see first hand how difficult the cast was to deal with on this show as well as understanding the uniqueness of the cinematography and story telling before heading out to lead my own field crew on the following leg of the first season of this show. I was the first person on the post production work flow process to manipulate the raw footage that came in from the field. I utilized the story notes from the producer responsible for covering this story in the field in order to cut down 5 hours of raw footage into 12 minute beats on the Avid.

After returning from the field as a Field Producer/Shooter, I created string out cuts of all my major story beats on the Avid. The production company felt it would be beneficial and more time efficient to bring in the same producer from the field to cut my own beats together in post for the finishing editors as I knew exactly what was documented in the field.

I was embedded with a deep sea gold mining operation for 6 weeks in a remote area on the frozen ocean near Nome, Alaska. As a camera operating story producer, some of my daily challenges included character branding, coordinating dangerous shoots with a specialized underwater camera team, targeting story driven POV GoPro shots while simultaneously managing several fixed rig cameras that required tape changes every 4 hours. My team was one of 5 crews that documented major story coverage about the personal lives of gold prospectors during the unforgiving winter months in Alaska.

I was embedded on the deck of the F/V Wizard as a shooter/producer with one other partner to track and document major story coverage, character development, boat branding, specialty camera rigging and sound bites for specific story moments. Some of my other duties included loading long-play tapes every 4 hours into 3 tape decks for 24/7 high and wide coverage, typing story notes and making daily scheduled calls to the LA office for via satellite phone for story downloading to the post team for developing long-term story arcs.

I was embedded as a camera operating story producer on a 40 person ship lead by conservation group, Sea Shepherd. This organization is dedicated to protecting various species of whales from illegal poaching in the Southern Ocean around Antarctica. I was a part of a 7 person team that tracked and documented major story coverage about the lives of transient animal rights activists in one of the world's most treacherous and controversial international water ways.

I was embedded with an off shore gold mining operation for 8 weeks just outside of Nome, Alaska. As a camera operating story producer, some of my daily challenges included character branding, coordinating dangerous shoots with a specialized underwater camera team, targeting story driven POV GoPro shots while simultaneously managing several fixed rig cameras that required tape changes every 4 hours. My team was one of 5 crews that documented major story coverage about the personal lives of gold prospectors during the summer and unforgiving winter months in Alaska.

I was a camera operating story producer on a 7 person TV crew that followed three nomadic harvesters around various mid-west states to document their massive combining operations as they cut barley, corn and wheat during the 2011 crop harvesting season. My main duty was to document the story of the owner/operators from inside these large pieces of farm machinery and to coordinate with our DP and specialty camera riggers to get story driven cinematography from the outside.

I was a junior shooter/producer that was assisting my DP and Field Producer with Pihl Logging Operation near Vernonia, OR. I was responsible for taking detailed story notes, time lapse cinematography and rigging GoPro cameras on heavy logging machinery in a commercial logging site.

I was stationed with the Coast Guard on the remote island of St. Paul nearly 200 miles between the mainland of Alaska & Russia in the middle of the Bering Sea. It was my job to deploy on an H60 Jayhawk helicopter with a USCG crew of four to document Search & Rescue cases over the Bering Sea's designated crab fishing areas. This role earned me an Emmy Award for Cinematography in 2011.

I was a junior shooter/producer that was assisting my DP and Field Producer with Connor Helicopter Logging Operation near Darby, MT. I was responsible for taking detailed story notes, driving sound bites with the cast for specific story moments, setting up time lapse cinematography and rigging GoPro cameras on heavy logging machinery in a dangerous helicopter logging site.

I assisted my Audio Supervisor by putting mics on the cast, changing batteries on our wireless systems, building mixing bag systems for our floor sound mixers, operating the main control board when my Audio Sup had to trouble shoot major tech issues.