Jayson Carey

I slated, spotted the operator, handled media, etc for a documentary series following the resurgance of the NWA, a professional wrestling company.

I set up a 5-light, 2-person interview setup for an Express Scrips marketing video.

I was the first camera assistant for a 2-camera political ad shot in and outside of Des Moines, Iowa. I built and maintained the cameras, pulled focus on A-cam, etc.

maintaining cameras, managing media, driving, etc.

operating B-cam, setting up lights, etc.

slating, building cameras, marking, assisting the first AC

This was a union film with a budget of $7million. I filled in for two weeks for the main Key Grip due to Covid. I led a team of 5 through blacking out windows, modifying light, and dolly gripping.

operating camera during the ceremony, breaking down equipment at the end.

I ingested and backed up footage, created proxies, etc.

I managed the b-cam equipment, pulled focus, drove the van, and assisted the steadicam operator for a commercial series about the new St. Louis soccer stadium.

I backed up and transcoded all footage shot for a 1-day commercial shoot for General Motors.

I was a 2nd AC for a commercial for Ameren Missouri. I helped build client and directors monitors, move gear, charge batteries, change lenses, etc.

I worked as a 2nd AC and VTR operator for a one-day medical commercial.

I was a camera assistant for a 2-camera, 4-day shoot for St. Louis's new MLS soccer team. I pulled focus for B-camera, assisted the A-cam 1st AC, loaded the gear van, built cameras, charged batteries, set up client monitors, etc.

I assisted with setting up cameras and lighting for a series of interviews, then assisted with B-roll over a 4 day shoot.

I lit a 1980's period piece about a group of friends that work as a Shadow Cast for a showing of the Rocky Horror Picture Show

I was the gaffer for a week-long scripted pilot, leading a crew of 5 people on overnight shoots in a theater, diner, and a mansion.

I assisted two camera operators with verite shooting, then set up lights, cameras, etc for multiple interviews. Additionally, I managed all media on set.

I operated the home dugout camera for the visiting team's broadcast of the Baltimore Orioles @ St. Louis Cardinals series

I operated the High-mid camera for the visiting team's broadcast of the San Francisco Giants @ St. Louis Cardinals

I maintained cameras, managed media, built and managed the producer zoom call for each interview, dealt with traveling with gear, and drove minivans for a season of a traveling true crime show that visited a total of 8-10 cities.

I operated camera for streaming and IMAG for Boeing's reveal of their new T-7 fighter trainer airplane.

I maintained cameras, assisted operators, set lights, managed media, rigged gopros, and drove minivans for a cross-country reality show following recently-released prisoners and the people they're moving in with.

I assisted camera and flew drone for a true crime show. I helped build interview setups, maintained the slider, built cameras, and managed media.

I built and I'm operated the slash camera for the visiting team's broadcast of an NHL game.

I built and operated the main game camera to be broadcast on the NHL network.

I built and maintained cameras, set lights, assisted with interview setups, and managed media for an 8-day run in Johnson City, TN

I lit a large green-sceeen shoot on-location at the Cardinals stadium. The shoot had several Cardinals players walk towards camera for a graphics package for the post season.

I set up and operated the main close-up camera for a 3-day broadcast of Billy Strings Halloween concert series in Asheville NC.

I prepped and maintained three C300mk3's, one on a Movi Pro for a 20-day production.

I lit a 72-page comedy feature

I AC/media managed for 2 cameras and 3 gopros over 5 days.

I assisted and media managed a 2-camera build show pilot, including building and troubleshooting cameras, setting long-term timelapses and gopros, managing equipment, and backing up all media.

I operated camera, gaffed, and assisted on a 3-person commercial for Mastercard at their security center in O'Fallon, MO

I assisted and media managed for 3 camera operators, as well as operating the slider camera during 2 interview days.

I maintained two Sony F5's, took set stills, mounted gopros, lugged gear, etc.

I did all the duties of a second AC; slating, moving gear, assisting the 1st and the operator, changing lenses, etc.

I rigged lighting for a small crew commercial over 2 days, involving over a dozen setups.

I assisted the two 1st AC's, charged batteries, slated, moved gear, etc.

I designed the lighting and lead the G&E team for a 2-day, 3-video project for Brewer Science, a microchip coatings manufacturer.

I was the still photographer working alongside a video team to produce content for a local car dealership.

I designed and implemented lighting for a short film alongside a crew of other industry professionals. Additionally, I filled in as b-cam operator and AC from time-to-time

I assisted the two camera operators, built cameras, set light panels, drove the gear van, and managed all media.

I was the sole 2nd AC under two firsts and two camera operators. I slated scenes, ran batteries and media, changed lenses, etc.

I operated one of the mounted camera for qualifying and Pro2 competition, then operated the shoulder mounted pit and interview remote camera for the remaining 2 days.

I assisted two camera operators covering the removal, transportation, and rebuilding of a log cabin in St. Genevieve, MO. In addition to building, maintaining, and packing up cameras, I managed media and made sure to observe all COVID-19 mitigation steps.

I traveled to Sacramento to be the only AC for a 3-operator shoot. I built a mobile live broadcasting rig, rigged gopros, live cameras, and lighting in ambulances and fire trucks, maintained the cameras, assisted operators, and did media management.

I built the camera, set up lighting, attended to batteries, and anything else needed to make a small crew commercial job go smoothly.

I operated B-camera for interviews and b-roll, managed media, set up lights, and moved gear.

I built and maintained cameras and equipment for a 3-camera traveling reality shoot, set up lighting for all of our interviews, and managed media. I also operated the C camera during interviews.

I set up video village, assisted B-camera, slated, and did various other AC duties.

I ran cables and assisted with building both locked down and mobile cameras for the broadcast of the Stanley Cup Finals in St. Louis. During the home games, I was assisting an ice-level mobile camera operator and helping him set for locker room hallway and player bench interviews.

I was the sole camera assistant for a 2 camera shoot. I built, prepped, maintained, and packed cameras for travel, as well as light G&E work. At the end of each day, I downloaded and logged media.

I lit and gripped an indoor/outdoor Nike commercial featuring an NBA player.

I was the sole AC on a Los Angeles-based 3-camera car build show. I prepped and maintained gear, logged media, and made sure the operators had everything they needed. I even stepped in and helped with the builds of the cars from time to time.

I was the sole AC on a 2 camera, small crew investigation series. I built and maintained cameras, set lights, and kept track of media. I also worked as B-cam operator during interviews.

I built and maintained the cameras for two operators using easy-rig mounted Sony F5's with Fuji Cabrio and Zeiss CP2 lenses. I also mounted and maintained the two Black Magic Micros that we used for in-car cameras, set lights and G&E gear, and managed all of the media throughout the shoot.

I helped build, set, and maintain cameras for a live taping of Hart of the City in St. Louis MO. We used 5 Sony F55's.

I worked as an AC for a 2-camera shoot in the Tootsie Roll factory in Chicago. We worked with 2 C300's, a 5D that I shot for safe wides, multiple GoPros, and a Mavic drone.

I built cameras, managed media, set time lapse cameras, rigged interview lighting, and shot with the B-camera.

I assisted the camera operators with media changes, lens cleaning, battery management, lighting, etc. I also took location stills for the production.

I assisted the DP with light setup, lens swaps, carrying gear, and interview setup.

In addition to standard PA duties, I also assisted the B-camera operator with moving equipment, lens changes and cleaning, and wrap out.

I am an AC and junior shooter that they bring in for big days. I build cameras and gear, set b-roll timelapses and motion control work, and shoot with a 3rd camera during interview and build sequences.

I was the AC on a single-camera commercial shoot for Big Bear Hunting. In addition to standard AC work, I balanced and built the DJI Ronin and did light G&E work, lighting an interior scene.

I worked as a local AC and assisted the traveling AC. I was assigned to the B-cam operator as well as the B-roll camera operator. To that end, I built cameras, troubleshooted any technical issues, and stayed one step ahead of all media and battery changes. Additionally, I drove the camera cargo van and helped with wrap out.

I was in charge of all G&E for the production. Working with the DP, I lit each scene to look ambient (as the style of the show is very similar to The Office), but with a higher quality.

I was the gaffer/swing for 5 episodes of Food Paradise. I was in charge of setting stands and lights for beauties, reality, and interviews, as well as gelling lights, running power, and driving the gear van. Each location was only a single day of shooting, so load-in and load-outs happened at the beginning and end of each day. This required high efficiency and quick working.

I worked closely with the AC, Deon, to ensure the camera department had everything they needed to make the days go smoothly. Additionally, I assisted Ade, the steadicam operator with his setup at each stop.

I assisted with lens and battery changes, G&E work, slating, and monitor setup on a two-weekend corporate/commercial video shoot for Job Genius.

I was the sole broadcast camera operator for a long distance track running event held in St. Louis, MO.

I was the sole AC for the 3-month run of a 3-camera reality shoot at a hot rod shop. My duties included maintaining the various different cameras on set (C300, FS7, 5D, Gopro, and A7s), keeping tabs on media and batteries, setting gopros and motion-control timelapses, and building in-car, on-car, and car-to-car rigs.

I was the Key Grip for a grocery store commercial.

I filled in for a traveling gaffer on Food Paradise in St. Louis. I set up lighting for interviews, cooking process shots, and beauties in a busy, working restaurant. I also picked up and dropped off the rental G&E gear.

I managed all media on set, logging scenes and backing up B-roll and GoPro cards. While on set, I assisted with battery and media changes, lighting, and load in/out. I also drove one of the production vehicles.

I assisted the production with lighting and slider work during the reveal process of a home renovation show produced for Houzz TV on Houzz.com, also released on Youtube

I was part of a three-person team that set up and shot footage for judge review and for sale to the skaters. It was a total of six days; four of shooting with one day each of setup and breakdown.

I was part of a 3-person camera team. I helped to light, shoot, and break down a pilot for a 3-camera talk show that featured one host and a panel of guests.

I was part of a three-person team that set up and shot footage for judge review and for sale to the skaters. It was a total of six days; four of shooting with one day each of setup and breakdown.

I was part of a three-person team that set up and shot footage for judge review and for sale to the skaters. It was a total of six days; four of shooting with one day each of setup and breakdown.

I was part of a four-person team that set up and shot footage for judge review and for sale to the skaters. It was a total of six days; four of shooting with one day each of setup and breakdown.

I was one of two AC's for a 3-camera McDonalds giveaway commercial. My duties included building and setting up the cameras, monitoring media and batteries, and setting GoPros.

I was the key grip for a grocery store commercial campaign.

I essentially performed all of the functions of a reality AC on a show without an AC. I assisted with lens changes, set up charging stations, packed and drove the cargo van, rigged the production mini for safe car-to-car shooting, etc.

This production was an anti-texting PSA for AT&T. I performed all functions of a commercial second AC, including slating, lens changes, assisting with building the camera, light VTR, etc. We used an Arri Alexa Mini with Hawk anamorphic lenses.

I made sure the camera operator had everything he needed including bricks, media, water, etc. I also did light G&E work and drove the crew minivan.

I helped build and run the custom pan/tilt/slide motion control rig, set up interview lights, etc.

I assisted a camera operator with media, batteries and gear hauling along side operating the boom for Toddlers and Tiaras.

I ingested, backed up, and uploaded footage during the San Jose Sharks vs St. Louis Blues Playoff series. Three manned cameras, three stationary cameras, three audio streams, and one broadcast stream were involved in the shooting.

I was the sole AC for four manned cameras and two in-car cameras on a 1.5 week-long stint as a local. I handled bricks, media, charging, filters, lighting, sticks, setups, for all cameras on set in addition to driving the cargo van and making sure multiple, separate crews had the necessary supplies. I also helped train green PA's and built/broke down all cameras on set.

I helped the DP/producer set up and strike four cameras, a live-streaming/switching rig, and a full lighting package for a bowling tournament. I also traded off between manning a camera and switching cameras for the Missouri State Bowling Championships.

I was the lead camera operator under the tech director and lead in setting up a 4-camera, live-streaming shoot for a national basketball tournament. We were there for 5 days total (1 setup day and 4 shooting days) and shot nearly 50 games.

I was the camera operator and worked with the tech-director to set up three stationary cameras, one manned camera on a tripod, and a handheld remote camera. I also took a turn working on the switcher, learning to live-switch at a bowling tournament.

I assisted the AC with camera and drone setup, moving equipment, and driving.

I assisted the two camera operators with lighting and camera setups for event coverage and interviews for a corporate client's sizzle reel, with the goal of producing a documentary. I also drove the gear truck and picked up rental grip equipment.

I assisted the DP, Matt Gulley, in lighting the scenes for the St. Louis stop of Travel Channel's Food Paradise inside of Sauce on the Side. Because I was local, I also transported gear to and from the location and the rental house.

I assisted the camera department with their responsibilities at all three locations of the shoot day: setting up the charging stations, managing batteries, cleaning lenses, G&E work, etc. Additionally, I drove one of the production vans.

I drove a stake-side truck from the gear pickup and acted as gaffer for a multimedia Medtronics insulin pump commercial.

Under DP Kyle Krupinski and alongside gaffer Forest Wharton, I lead a G&E crew of 8 members on a medium-budget comedy short. It was filmed over 3 days, taking place at night in and around a 1900's era mansion.

A-camera operation and gaffing

I assisted the gaffer and ACs with their duties; setting lights, carrying and building grip gear, driving the grip van, etc.

I was the only PA for this job. I did everything from light AC work to getting nearly 250 releases signed, to driving the production vans on runs.

This was a friend's short film, and I was the only G&E member on set. I set lighting, tended the generator, built the car rigs, rigged the dolly, etc.

Runner on the tech scout day, followed by shoot days where I assisted the camera crew, carried gear, assisted with lens changes, etc.

Driving and organizing the 3-ton grip truck, assisting the Key Grip and Gaffer with their duties, rigging overhead and on-stand lights.

For the three-week shoot, I assisted the Key Grip, Gaffer, BBE and BBG with any of their duties, from running power lines and setting up lights to rigging overhead light banks and building grip equipment.

I assisted the AC's, prepped and drove production vehicles, handled lunch and crafty, etc. This run was my third and fourth episoides with the crew.

I provided lights, set them up, then monitored multiple stationary cameras and operated one on a fluid head during the interview.

Over 5 days total, I was flown to Kansas City, drove a 15-passenger van to St. Paul, MN, assisted on set in St. Paul, then drove to St. Louis, where I assisted on set there as well.

I assisted the b-camera operator, built and packed away the camera, showed the operator around the city, etc.

I set up lights and manned a smoke machine for this 48 hour film. Additionally, I art directed and built a few props.

I assisted the camera operator with lighting, grip work, lens changes, camera setup, etc.

I shoot and edit short videos for local companies to be shown on websites like Yelp and YellowPages.com. I've been with the company for over two years and have worked on more than fifty projects with them.

I captured still images to accompany video and written content in a cohesive multimedia documentary project highlighting an activist living with HIV.

I handed out wristbands to participants, separating them into "talent" and "support," guarded the door to make sure only registered performers entered, packed and unpacked the truck.

Secretly following and filming the subject to ensure that they were following the prescribed diet and excersize regimen.

Driving production vehicles, light G&E work, setting GoPros, loading and unloading equipment, etc.

Light grip work, driving the production van, paperwork and releases, and anything else I could do to make the shoot run smoother.

I was in charge of safety on set, rigging, and all of the grip department.

I was the full-time studio product photographer and videographer for regional furniture retailer, Rothman Furniture. I positioned the pieces in the studio, photographed them, moved them to the next department, organized and archived files, edited, cut out, and retouched images, and passed them along to our designer and web developer.

For various episodes, I was a camera operator, Director of Photography, propmaker, gaffer, special effects tech, etc. It was a small indie production with a very small crew, and everyone wore several hats.

I designed and constructed a "mind control" device to look like it had been pieced together by a quack of a mad scientist on an extremely limited budget. During filming, I assisted with practical effects (including a lot of fake blood) and was the on-camera photographer.

Grip and lighting direction, set dressing, on-set/promotional still photography, occasional B-cam operation. This webseries has been nominated for "Best Cinematography" by the IAWTV for 2013/2014.

48Hour Film Project, created title cards and credits, acting, lighting design.

I planned light placement and grip setups in an antique house, while directing a crew of 4-6 in the grip department. Grip duties included steadying multiple large lights outdoors on grass and soft earth, track-dolly operation, etc.

I set up multiple cameras and lights, created the mask and wearable articulating tentacles for the monster, and created bullet hits and other practical effects.

Lighting design, set dressing, B-camera operation, small amount of acting

Jib construction/operation, camera operation, on-set still photography, set design/dressing, propmaking.