Matthew Felicetti

Build the course with a team of high riggers, assembling truss, pools, and obstacles. As well as maintaining all aspects of the course during filming such as resetting the obstacles and wiping down the crash pads between contestant runs.

Drove the gear truck from Los Angeles, CA to Tulsa, Oklahoma. On set I was in charge executing the lighting set up with a crew of grips. We also maintained the gear and truck.

Build backyard challenges. Assembling truss, attaching components to the grid, and harnessing up contestants for competition filming.

Shot social media content packages for the HFPA Instagram IGTV such as winners room interviews, BTS days leading up to the event and Red Carpet Live on Facebook Live.

Assist in lighting set up.

I assisted the DP with deciding the best lighting choices appropriate for each scene on the fly in the manufacturing plant. We set up mostly Kino Flo's and LED light panels for the manufacturing process as well as some interviews.

Before shooting I drove the grip truck from the rental property to the studio for shooting. Once at the studio I assisted with the prelight and rigging on the grid. And once we were shooting I would assist with minor lighting adjustments and operate as a Dolly Grip. Myself and another grip would move, level, and set up the dolly track for each shot it was needed in and I took direction from the DP to get the motion and speed correct.

I was the driver and manager of the grip truck and gear. Once on location the DP described the look and style he wanted, myself and another grip set up the lights. Mostly Kino Flo's as well as a small hair light for the models who were using the product and adjusted the lighting throughout the day all the way down to product shots.

I assisted with the set up and breakdown of the camera and LED lighting on set, for interior and exterior scenes. Also clapper slated scenes for the corresponding scene breakdowns.

Assist with rigging and automated flying duties. Checked wire rope cables, motors, and all flying apparatuses weekly for safety. Built and secured set pieces using pulley systems for shows each week.

Setting up and maintaining cameras throughout the day (media, batteries, etc.) and assisting with various other PA-like duties when I was done with the camera prep.

Releasing background people, prepping production equipment, assisting AC's with prep and set up, picking up gear from rental houses, packing and driving 24' box truck with gear as well as production equipment, assisting talent with blocking and cues, assisting a camera operator with build and breakdown of his 40' JimmyJib

Setting up and maintaining cameras throughout the day (media, batteries, etc.) and assisting with lighting changes.

(I was not the Key on this but there was no option for just "Rigging Grip") Building flyswatters, frames, etc. and attaching them to condor crane baskets. Breakdown and organization in the grip truck of all rigging grip gear and equipment.

Assisting the JimmyJib owner/operator in unloading equipment, Jib build (6' to 40'), breakdown of all gear, and load out at end of day.

Setting up and maintaining cameras throughout the day (media, batteries, etc.) and assisting with various other PA-like duties when I was done with the camera prep.

As a First Assistant Camera on this film I have done all traditional duties and responsibilities of 1st AC as well as run a second unit as a Cinematographer. On set I also regularly delegate work for grips and over-see that lighting set-up is executed properly.

While in the field for production I drove the production vehicles, picked up meals for crew and also kept record of talent releases.

I shot the commercial, set the format of recording within the camera, and set up each new shot either with a tripod or a shoulder mount.

I was required to delegate the on-set responsibilities of setting up lights, flags and stands under the supervision of the Gaffer and the Director of Photography. Made sure all rigging and stands were properly secured by sandbags or safety chains. Also set up and leveled the dolly track on location.

I was required to delegate the on-set responsibilities of setting up lights, flags and stands under the supervision of the Gaffer and the Director of Photography. I also made sure all rigging and stands were properly secured either by sandbags or safety chains.

I was on a camera team. My primary responsibility was to operate the camera; but I also worked in rotation as a 1st AC.