Michael Potter

Shot interviews with Trevor Noah and Melinda gates. Two camera setup, one man band DP.

DP for climbing documentary in remote region in Northern Spain. Involved remote locations and setting up a basecamp. Climbing and filming on the wall, verite at basecamp, beauty shots of location and of climbers, drone shots on wall and establishing.

Cam Op for shoot in Madrid Spain. Handheld aesthetic. Filmed in Michelin star restaurant.

I was filming a group of youth environmental activists from all around the world. They were hiking on the Pacific crest Trail for two weeks. I was the solo filmmaker hiking with 100lbs of gear on my back. I came up with interview questions, shot design, etc.

Pilot in Command- collaborated with Director and DP to come up with shots. Had to fly with precision as I flew in close proximity to the talent. Did various tracking shots of the talent in a vehicle in Hollywood. Shots various Broll on my own around Hollywood Hills.

I was the pilot in command- Scouted and prepped sectional charts. Collaborated with Director and DP to make abstract drone shots of a unique architecture and light piece. Involved flying after sunset and in deep woods. Very low to ground shots and skimming tree shots.

I was the DP and Drone operator. Getting boat tracking shots, high up island shots and most importantly on filming Sasha Digiulian and Brette Harrington on the wall climbing.

I was the DP for the rock climbing series with Sasha Digiulian. We shot on a remote island in french Polynesia. Involved shooting up on 250foot rock walls- jumaring and filming. Also involved verite of Sasha and her co-star Brette Harrington interacting and having meals and adventuring. I shot drone as well.

This show does mostly handheld verite for host talking to subjects so a lot of cross coverage and car filming. Also various broll on sticks and ronin/car mount.

AC for black market travel show. Involved prepping 23 cases of equipment, organizing and building in the field, handling Carnet documents, and all AC duties while shooting- swapping lenses, cleaning gear, etc. I also was running Sound during the scenes with a 633 mixer.

I was the DP to shoot an episode of No Days Off with pro rock-climber Sasha Digillian. We shot in Dominican Republic. Involved shooting doc style from the shoulder for talking scenes then shooting beauty shots to establish the country via drones and timelapses, etc. I filmed on the wall with Sasha climbing and also droned her climbing.

I was the drone operator for season 2 of Unsolved Mysteries. It involved scouting air spaces ahead of time, get necessary permission with the FAA, communicating with the director, EP and DP on their creative vision. The shooting style covers everything from the directors giving me a shot list and myself and a PA going out on our own to get all necessary shots/coverage of locations, to also shooting on set with the crew and actors doing coordinated timed multi-axis moves (tracking cars, people, etc).

Had to prep about 24 cases of equipment beforehand. Organized abd built on location. Packed and built and rigged light and grip into a van for easy access. Had to organize gear at the end of every night, charge batts and pull media. Was shooting and doing drone during the day.

I was the drone op for several scenes. Broll in Ghanain fish markets- lots of people, have to be discrete but get creative coverage in high stress situations. Involved night city shooting as well.

Travel show- shot in Ghana. Lots of host and subject cross shooting- Anthony Bourdain dinner scene style. Shot handheld for scene work and using EZrig's. Shot on variety of primes and also EZ1 zooms. Sticks/movi for broll. Also Drone work with Inspire 2/X7.

I was the Drone Operator for a branded piece for the Wounded Warrior Project. A doc-style profile piece on a retired Veteran who now fly helicopters for the State Police medical emergency response team....I collaborated with the Director, art director, DP, Producer to understand what their needs were. I then suggested ways to accomplish this . EX: to give a POV helicopter shot, switch shutter angle to 90 degree and go into sport mode with a longer lens......The objective was to shoot Helicopter POV shots and also beauty shots/establishing shots. I also had to get FAA access to fly at a Regional Airport, and communicated via radio with other pilots, in order to film the helicopter taking off.

I was hired to take photos of a building in Baltimore that was going to be lit up blue for Mesothelioma awareness. I scouted and got permission from the city to fly. Then I scouted the orientation of the building to figure out the best time of day and best angles to shoot. I chose to shoot during blue hour to give the most complexity to the sky and images. I went out and shot solo.

I was hired on to shoot all of the productions drone work. Collaborate and communicate ahead of time with the EP/director about creative needs and I would scout the airspace and case depending, apply for access to FAA airspace and advise EP on what's possible. The director/EP would give me a shot list, then as my own unit I would go out and cover and shoot out various locations at various times of day for best light. I would also link up with the full crew to shoot coordinated multi-axis moves with actors and vehicles.

I was the B cam op for a docu-style handheld series. Two cameras shooting, covering about 4-5 people. We did home renovation days and also shooting scenes on the fly at various interior locations.

Was hired as a one-man band, communicate with client/hire PA/light shoot/record audio of a two-person interview/conversation. We shot with two cameras with high-profile figures where we didn't have the luxury of adjusting once they arrived on set.

This show does mostly handheld verite but because every episode has it's own feel the shot design varies.

I was in charge for prepping all of the gear (about 20 cases) and getting them ready for domestic and international travel. I was in charge of the carnets as well. I had to build gear at every location and make sure everything was ready to go. We frequently would use car mounts, which I would rig up as well as using a ronin to get beauty shots. I was ACing in the field for two cam ops and was also the sound mixer and from time to time doing drone work or manning the third camera.

I was in charge of all field audio. Used a 633 mixer, sent two lavs to A & B cam and then had up to 6 lavs going on the 633. This was intense locations and very sketchy scenarios with underground criminals. I had to always lav the host Mariana and then who ever else she directly would interview....I should note I was also simultaneously being an AC- helping swap lenses, etc.

I was a drone operator for several episodes of this series. You have to work fast and under a lot of pressure in sketchy scenarios and locations. I collaborated with the DP to accomplish the shots and style he was after. In addition to Broll at various locations around the world, we do a lot of vehicle tracking shots and have to get creative to build out a scene.

I was the DP hired by Bloomberg digital to shoot a profile piece on a local minority-owned business in Baltimore MD. I was the only one on set so I was in charge on not only lighting, shooting and directing but also I had to come up with a shooting schedule. We did stylized slo-mo portraits, sit down interviews, beauty shots of their product, and verite with the owners at a farmers market.

I was the drone operator- tasked in filming 2 other drones as part of a demonstration video. Involved flying precisely and coordinating with two other drone operators, and collaborated and came up with the best compromise of shots with the director.

I shot a sit down interview for a feature-length documentary. I collaborated with the director and producer to come up with a look and mood that fit their film. We shot two cams- I shot this as a one-man band.

I was the drone operator and in charge of making boring apartments into a visual story. I did so by using a variety of cinematic movements and swapping lenses and building up the shot design.

My primary role was cam op and drone op but I also was the Camera assistant to the DP. This entails prepping all of the gear and making sure gear is functioning and clean on set. Helping set up for sit down interviews, building cameras, lighting, etc.

We shot a lot of verite handheld scenes where a farmer would talk to us about their breakthrough regenerative work. I was also operating during sit down interviews

This is a feature-length Documentary about regenerative agriculture. I was the drone operator- getting establishing shots of the farms, beauty shots of the fields and tracking shots of various farm equipment. We even filmed a kelp farmer in the ocean. I filmed from a boat and covered the scene. There was a lot of collaboration with the director to achieve the shots and feel she wanted for the film.

I was the cam Op with the DP shooting reality show style, lots of shoulder work. I was also in charge of getting specialty shots with a slider and timelapses from day to night. I also helped light the scenes beforehand

This was a commercial for Johnson and Johnson with Alexander Ovechkin. I used an Alexa Mini on a Movi.

I was the DP and tasked with capturing cinematic footage of local union members at the Annapolis courthouse testifying. I chose to put a Canon 5Dmkiii on a Ronin gimble to have mobility and the ability to get cinematic shots.

I was the drone op shooting various Broll in 5 degree F weather. Night Broll(I have a daylight waiver) of town, lake, and ice fisherman!

I was the Bcam on the verite doc. Following several characters throughout their day and also jumping on my drone.

Cam Op doing slo mo beauty shots of food, various broll of cities, OTFs, and scene work with host and guests

I was the cam op in charge of shooting broll of various exterior locations. Used gimbal and sticks.

Camera operator and DP. Shot and lit a series of interviews in a studio with 5 different Nat Geo explorers.

I was the DP in charge of lighting and shooting 5 interviews with various CEO's at the Wolrd Bank. Had to asses on best location and work under tight timeline.

Pilot in command. Acquired daylight waiver from FAA to film at night. Filming primarily focused on multi-axis movements in extremely close proximity to many buildings at night. I used radios to communicate with two visual observers to ensure safety.

Interviews and Broll. One man band. Shot, lit and ran sound.

I was the timelapse photographer for multiple episodes in the Arctic for 9 weeks. I had to shoot day to nights, milky ways, northern lights, all in extreme cold (-10F) and extreme conditions (snow, rain, hail, etc).

I was the AC, supporting the DP and the producer/AC. For 9 weeks I was in charge of protecting/organizing/cleaning/prepping and schlepping the gear. The weather was extreme. We shot in the arctic so it ranged from extreme 50mph winds, to rain to -10 F and snowing. Shot with cable cam, sliders, cinema lenses. I was also in charge of getting all of the timelapses photography done. Including using a motion rig, day to night lapses and northern lights.

I was the Pilot in command. I had to obtain a Canadian Pilots License (Foreign Pilots license), request airspace authorization and check sectional charts. I operated the drone single operator and dual operator with the DP. Flew in temperatures as low as -10F, and snow.

Interviews with various members of ATKearney. I shot, lit and ran sound.

One man Band DP for Corporate Interview. Running cam and sound.

second AC when not doing drone work. Shot on two sony Venice cameras. Bounced between various formats and frame rates. Set up wireless FF, directors monitors, changed lenses, prepped and wrapped gear.

I was a one man band, collaborating with the Director- running camera and sound for the interview then picking up various broll afterwards.

I was the AC and Bcam op for a verite doc. Building up and cleaning gear every day/charging batts/DIT footage/camera reports. Canon Cine lenses. Sony F55 and Sony A7Sii.

I was the Aerial Cinematographer and pilot in command for a verite documentary profile piece in Storm Lake Iowa. I checked airspaces on sectional charts and got various blue hour and golden hour broll shots of the famous lake, the town, and the surrounding country.

I was the B cam for a verite documentary profile piece in Storm Lake Iowa.

One Man Band DP and sound for Interview at Nasa Goddard Space Center.

One man band interview shoot. 2 cameras, sound, lighting. Assessed multiple locations to deduce which is best aesthetically for the style the producer wanted.

I was the Aerial Cinematographer for various real estate shoots around Richmond VA

I had to put together the equipment list, go to random locations to do a two camera interview which matches the style/look for the rest of the series. I set everything up (lights,cameras) and manned both cameras.

I was in charge of shooting all the broll. I would help set up the interview then go off in my vehicle and a shot list and knock them out in a cinematic way with a slider.

I was the DP for a short investigative doc web series. Involving quick setups for interviews and broll with a host.

In charge of prepping all gear, asistanting two cam ops in the filed. Mixing and recording to 633 mixer during scenes and also doing drone work.

Pilot in command. In charge of making sure flight areas were FAA cleared. Accessed controlled airspace via Airmap. Operated solo with collaboration with Director.

2- FS7's 1-GH5s 1-Ronin In charge of prepping all gear on a very tight turn around, two episodes back to back. . Assisting both cam ops and rolling sound on 633 mixer. Also doing drone work.

Pilot in Command. Flew in restricted airspace. Had to submit flight plans and get FAA instant clearance on location. Created long complex repeatable moves involving close proximity to talent. Initiated dual operator mode for some shots. Took propellers off for some shots to do handheld gimbal work with moving subject and shallow DOF.

I was in charge of B Cam for our interviews. I set up all Grip and electric before the interview including the 8x8 green screen.

I was in charge of B Cam for our interviews. I set up all Grip and electric before the interview including the 8x8 green screen.

This was a shoot for a billion company called, 'Getronics', a company based in Belgium and Amsterdam. We shot many interviews at their multiple offices in Europe and Broll capturing the nostalgic feeling of Amsterdam.

Shot with Sony Venice, Cooke S4 primes and Panavision zooms. Verite scenes, OTF's, interviews, handheld, easyrig and sticks.

Traveled alone with 25 cases of gear. Shot with two Sony Venice's, Cooke S4 primes and Panavision zooms. In charge of managing media via ShotPut pro.

Did DIT using ShotPut pro with two sony Venice.

Collaborate with the DP & Producer to capture Baltimore. Some side by side with DP directing me but mostly solo shooting at various locations- variety of shots. From complex cinematic motion to statics.

I was the camera operator/AC. Sit down interviews at various locations. Some beauty shot b-roll solo, as well. Manning the B Cam.

Aerial CInematographer. Establishing shots of Charlottesville VA. In and out of the city. Had to map out sectional charts and airspace. Collaborate with the producer to see what we were after and then plot out best sites to launch from.

Verite style doc. Intense and sensitive subject matter getting very intimate with characters. Lot's of OTF interviews and grabbing quick b-role beauty shots. I ran sound- was a two-man crew consisted of myself and the producer.

DP for a segment of a feature-length film which takes place on the small island of Palau. In charge of threading storylines, interviewing and shooting on the fly.

In charge of 3rd camera and solo b-role. Assisted DP's in the field. Managed media.

Shot in the Wasatch mountains on slopes of the Alta Ski resort- skied with 40lb pack(camera, lenses and tripod) to various locations set up and shot the pro skier hit runs.

Third/addtional camera on sit down meals.

Zeiss Super Speeds, Cabrio 19-90's, Cabrio 85-300. Sony F5's, Sony FS5, A7Sii, GoPro's. Packed and in charge of 26 cases of gear. Organized and handled Carnet crossing into and out of Mexico. Prepped gear for river canoe, overnight trip.

Pilot in Command- Scouted and prepped drone locations via sectional Charts. Operated aircraft and camera. Tracking shots of vehicles in extreme terrain. Choreographed complex shots. Various B-role of Canyons. Operating until after sundown.

Zeiss Super Speeds. Prepped/packed 33 cases for flight. Helped DP's in all assets. Swapped lenses. Cleaned gear. Protect equipment in rain/mud. Set up dana dolly and camera on gimbals. Transferred media every day.

DP for Non-Profit video filming sit-down interviews with Senators Warren, Harris and Booker. Two cam shoot; composed shots and orientations of senators and camera, lit the interviews and recorded audio.

DP- Jerry Risius. Entirely shot with USSS in highly secured locations and personel. Protect gear from the elements while on US Coast Guard boat. Assist DP in all assets. Shot B- Camera b-role.

Shot in El Salvador. Organized and coordinated international rental equipment. Planned out shot-design and lighting diagrams in collaboration with producers needs. Shot and lit every scene. Communicated and organized with the crew in solely Spanish with very long days and under tight timelines.

I was the AC and B-cam Op. In charge of getting B-role and second cam for OTF interviews and event shooting.

Was DIT on a very tight schedule. Offloading footage as often as possible in order for the EP to walk off set at EOD with everything on it. I was also AC.

AC on tight schedule. Assisted camera in all facets. Even acted as gaffer setting up lights for sit down interviews.

I was the AC/DIT and had to manage shooting 2-4, two camera interviews along with C cam's B-role and make sure there were 3 backups. At the end of each day I had to upload the audio files from the interviews to a server for transcribers to begin.

In charge of setting up two FS7 cameras for interviews, then went out and shot B-role with sony A7SII at various locations with a vehicle under tight time constraint. In charge of all creative aesthetics- shot with Slider and sticks.

In charge of setting up two FS7 cameras for interviews, then went out and shot B-role with sony A7SII at various locations with a vehicle under tight time constraint. In charge of all creative aesthetics- shot with Slider and sticks.

Drone Operator. Operating over crop fields and over heavy machinery.

I was the DP/field producer. I was tasked with going out to a farm about an hour south of Spokane WA and filming a sequence of a farmer planting his wheat seed for the year. I was the only crew member there and in full charge of interviewing the subject, telling the story visually and managing my travel.

I was the SUAV(Small Unmanned Aerial Vehicle) pilot. We shot in the countryside of Blacksburg VA, and on the coast of Williamsburg VA. Did a variety of creative shots, from opening majestic shots, to controlled slow 360's around workers.

I organized and dumped all the footage, on the go, to make sure there were two copies of all the footage. I was dealing with footage from 5 different cameras - Sony F5, F7S, Cannon C300MKii, Phantom 4, and Sony 6300

I was AC/Cam Op/DIT. The DP shot on Sony F5 and I shot B-role/ B-cam with Sony FS7 and Cannon C300MKII. I organized gear, dumped footage, was the second cam when needed. Helped light the interviews, etc.

I was the AC/DIT. We shot in various locations around DC. From a very old small home in Georgetown to an office building in the heart of DC. I was in charge of organizing gear, and helping set up cameras, and offloading footage in a timely manner so the Producer could walk away with it at the end of the day.

I was in charge of F7S as B-cam on a slider during interviews and was A-Cam op during a walking tour of Arthur Ashe Stadium with on Camera talent.

Scouted best location for the interview and set up, one man band, lighting sound and two cameras for interviewing NOAA Scientist

Drone Op on the many Islands of Palau. Involved launching from boats and flying primarily over water and on a moving boat.

I was hired to film a recap video of Explorers week at National Geographic. It involved shooting selectively of the multi day event in order to capture cinematic footage.

I was hired to shoot cinematic footage of the NG Summer Institute program.

DP for an episode of CNN's Freedom Project. Shot on Location at Lincolns cottage in Washington DC. Shot interviews, cinematic B-role, and on camera reporter talking to camera.

Filmed 'home tour' with Wonder Women's, Lynda Carter & lit and shot an interview with her, at her mansion in MD.

In charge of all aspects of the visuals. Scouted location and chose best spot for series of back to back interviews. Two Red Epic's - one frontal CU, second on slider MS.

DP for remote mountain film. Filming in temperature down to -20F. Profile piece on remote adventurer.

I was tasked to film the Glow worms in the underground Caves in Waitomo, New Zealand. So with a strict budget and only myself as the crew, I organized all travel logistics, filming permits, equipment rentals, shooting schedule. The main challenge was the fact that the worms lived in underground caves where the only way to get to them was swimming through the cold water underground, not to mention to get the proper exposure for the very minimal light the worms emit. So with patients and proper planning- many camera tests for the low light shooting, and water proofing gear, wet suits, ect, and with a guide I hiked/swam one mile into the caves to accomplish filming. The filming was over the course of one week.

Drone op on the remote Island of Christmas Island Australia. Involved scouting out locations and hiking miles into locations.

I was tasked to film the Great Red Crab Migration on Christmas Island Austrailia. So with a strict budget and only myself as the crew, I organized all travel logistics, equipment rentals, filming permits, shooting schedule. Researched the Red crabs behavior, hiked several miles to get to remote locations on the island, with all the gear ( tripods,jib, gimbal, drone, cameras/lenses) and sat for hours on end waiting for the right moment to film the crabs, as there was rare opportunity to have multiple hours to film them. Filming occured in the pouring rain (as it was wet season) This included drone work, timelapse photography, gimbal and jib shots, and high speed filming. The remote filming took place over the course of two weeks.

I was tasked to film the Great Red Crab Migration on Christmas Island Austrailia. So with a strict budget and only myself as the crew, I organized all travel logistics, equipment rentals, filming permits, shooting schedule. Researched the Red crabs behavior, hiked several miles to get to remote locations on the island, with all the gear ( tripods,jib, gimbal, drone, cameras/lenses) and sat for hours on end waiting for the right moment to film the crabs, as there was rare opportunity to have multiple hours to film them. Filming occured in the pouring rain (as it was wet season) This included drone work, timelapse photography, gimbal and jib shots, and high speed filming. The remote filming took place over the course of two weeks.

I was tasked to film the Glow worms in the underground Caves in Waitomo, New Zealand. So with a strict budget and only myself as the crew, I organized all travel logistics, filming permits, equipment rentals, shooting schedule. The main challenge was the fact that the worms lived in underground caves where the only way to get to them was swimming through the cold water underground, not to mention to get the proper exposure for the very minimal light the worms emit. So with patients and proper planning- many camera tests for the low light shooting, and water proofing gear, wet suits, ect, and with a guide I hiked/swam one mile into the caves to accomplish filming. The filming was over the course of one week.

I was the DP for an adventure mountain film. Filming involved hiking into Teton VIllage National Park with Red Epic, gimbal and other camera package to get beauty shots of the star of the film. Then various early morning hikes to get golden hour light on the grand teton.

I was hired as the DP to make a cinematic style commercial in a 'on the fly' enviornment. The shoot took place at the Tait Towers facility in PA. I assembled a three man crew (AC, Gaffer, PA) and we either went handheld, or used a slider on wheels with a parrallax bar. The gaffer and I used peppers for lens flairs and very soft lighting for our interviews. This was a day shoot.

Was hired as the Cinematographer for a 3 day corporate doc style shoot in Rodchester NY. We interviewed 10 people; I researched and scouted locations to film detail shots and B-role around the city. I shot timelapses, used a drone, and we shot the interviews using two camera set up and a 3 point lighting kit. I was also in charge of sound.

Drone Op filming the Tait Towers headquarter.

I was the DP for a music festival video on Governors Island, NYC. The goal was to capture the event in a cinematic way- a lot of detail shots to capture the mood. In order to be very mobile and keep the cinematic look I used an Easy Rig while shooting at a high frame rate.

I was hired as the DP to shoot an interview for RMC Discovery, a french TV channel, for the hour long documentary called 'Hidden Traces' which is about the hidden traces of the Vietnam War. Interviewed a historian- It was a two camera shoot, that I lit and operated the cameras with a Associate Producer on site.

I filmed and lit three interviews with, Kirk Cousins, Josh Norman, Ryan Kerrigan. Lit the cyc green and filmed each player in a sports car. Then had to really punch the light for our 'action', high frame rate, shots of the players.

I was the DP for a music festival video in San Francisco. The goal was to capture the event in a cinematic way- a lot of detail shots to capture the mood. In order to be very mobile and keep the cinematic look I used an Easy Rig while shooting at a high frame rate.

Responsibilities as a Producer: -Create shooting schedule -Create interview Questions -Lock down all logistics remotely- flights, hotel, rental car, ferry -Trouble shoot issues on site -Approach strangers to ask where certain people live on the Island(shooting location) -Get permission to shoot at locations -Have subjects sign release forms and location release forms -Scout for subject

I was a Producer Director and the Cinematographer for this micro-documentary for CNN's viral video arm "Great Big Story." Responsibilities as a Producer: -Create shooting schedule -Create interview Questions -Lock down all logistics remotely- flights, hotel, rental car, ferry -Trouble shoot issues on site -Approach strangers to ask where certain people live on the Island(shooting location) -Get permission to shoot at locations -Have subjects sign release forms and location release forms -Scout for subject Responsibilities as a Cinematographer: -Prep all necessary gear for sandy/humid/underwater shooting -Compose cinematic shots of subject 'on the fly' Responsibilities as a Director: -Choose when to direct subject to do actions of 'day to day life again' or from another angle to get the right shot - Make sure we captured all the visual components we needed onducted interviews, shot underwater footage, and coordinated all logistics on island of Culebra. https://www.youtube.com/watch?v=MO4lkOjlXaM

Scout locations, find new locations, send photos to producers, acquire permission, negotiate with owners, lock down permits, organize schedule, liaison to store owners and producers

Got contacted for a very quick turn around to assemble a crew, equipment/van rentals, location scout and coordinate with the Ad Agency for a shoot for the World Cup of Hockey.

I was tasked to shoot the leaders(players intros) for each of the World Cup of Hockey players that were on the Washington Capitols. We had a very tight schedule and had to shoot each player on a 20x20 green screen, however we had to bring the green screen on location. So we had 15 minutes with each player and had to get a sequence of shots. I had to light the green screen and the players in such a way that their helmets had no reflections.

I was given rough guidelines as to what shots the director wanted and the mood she was going for, then I went to the location- I've never been to before- and had to create lighting, pleasing the client with a realistic representation of the tanks lighting and the Directors vision. I then creatively made the decision to rent a jib to decrease time shooting and mobility since time was limited. http://time.com/floating/

I was given rough guidelines as to what shots the directors vision was, I was introduced to the client, given the location, and then I had to produce from there, including: -booked flights, hotel, car rental remotely -coordinated schedule -met with the client -scouted location -secured rentals http://time.com/floating/

- Fully produce 2 minute piece -Organize interviewees, location scout, secured music rights, production coordination - Concept design, created shot design

Researched, pitched, produced, and DP'd this micro documentary for National Geographic Society. Created shot design, lit interviews/ picked locations on the fly. Drafted interview questions, coordinated shooting schedule, travel, brought on motion media artists, obtained music rights, and secured all legal documents.

Edited, Produced, and DP'd a short documentary for Benedetto Guitars, the world premiere Jazz guitar manufacturer. Coordinated with the client, created shot design and shooting schedule, reserved the rental gear, in charge of all aesthetics while shooting (lighting and composition). The video received more than 100,000 views on Facebook and Youtube.

Had to light a scene to shoot at 240FPS, and to create a studio look with only using a Arri 3 light 650 kit. In charge of creating shot design.

I was the cinematographer for a documentary shot on a remote island off the coast of Puerto Rico. I filmed underwater with scuba gear, and used aerial photography and timelapse photography It consisted on scouting locations before the sun rose, and filming long after the sun went down.

-Run and gun shooter following various individuals for 5 hours or more at a time. -Interviewed subjects, came up with my own questions and was a producer in this sense. -Fully self sufficient, on my own away from rest of production crew.

Was the cinematographer for a one minute commercial. Locations included exteriors at golden hour, and interiors of a warehouse. I was in charge of the shot design, lighting and composition.

This was a documentary style promotional video for a bike tour company in Brooklyn NY. There was a lot of 'run N' gun' filmmaking.

This is a short environmental documentary about the GA Salt Marsh. It needed many timelapses to show the beauty of the salt marsh to the audience, which was the biggest challenge, but the most rewarding.

I was in charge of the Second Unit Timelpases.

I was the cinematographer for 3 of a series of 5 short films that were created to raise awareness about overfishing. I also was apart of the research and writing for several of the shorts.

As a PA, i was in charge of getting craft services, and anything else the crew needed. I also picked up and drove talent and crew to various locations.

We shot on the Red Mysterium X. This was a trailer for this film, by the Executive Producer "Stratton Leopold".

Gaffer for two commercials for this company.

I was the camera operator for several shoots. Ranging from shooting in the woods with obstacle courses, to events in the French embassy.