Radomir Jordanovic

Editing, audio mixing, and color grading.

Shooting practices and teammate interviews, recording commentary

Camera operator with shoulder rig filming stage performances and interviews that celebrated the 60th anniversary of the company. Helped set up other cameras and coordinated with the other camera operator to dump footage, change batteries, and adjust lights.

Designed the titles for the Sister Mercy film using Photoshop and DaVinci Resolve. The director and I chose fonts and discussed the inspirations behind the layouts and pacing.

I pulled focus, operated the jib, operated the dolly, moved the camera between various places, changed lenses, and helped flag lights in some cases.

We chose to shoot raw video with the Canon 50D for its dated look because this is a year 2001 "period piece." The camera filled its 32GB CF card with every 6 minutes of footage, so I dumped files onto two drives while changing lenses, changing batteries and AC adapters, and setting up the various tripods and dollies we used. I communicated with the director and gaffer to maintain the director's vision for the video.

Pulling focus and changing lenses. Worked with the DP to help communicate with PAs and gaffers about lighting, dolly builds, and more.

I was in charge of finding available camera operators, renting a camera, and collecting money for the team and paying everyone.

Used a Blackmagic Design Production Switcher. With headsets, I communicated with four camera operators to direct the incoming footage.

I operated one of four cameras to capture the wrestling event throughout the day. This meant fighting light changes, white balancing on the fly, communicating with the other camera operators and switcher operator. I operated the camera in intervals while also switching to operate the switcher.

Wrote, directed, and edited THE ROAD TRIP, a Ken Burns-style documentary on a series of social media interactions while on a road trip across the US. This documentary won Best Documentary Short at Motion Pictures International Film Festival.

Operated boom pole and set up room microphone. On days when I the production wanted to use just my equipment, I rented out my boom arm and shotgun microphone, and the director ran sound.

I set up lights, routed electrical cords, taped down everything, and worked with the DP to light the scenes as desired.

I hired my preferred Sony FS5 camera operator, and we drove to New York City to shoot event videos. I was also the event photographer, and later I edited the camera operator's footage for the promo video.

Lead colorist, color correcting and grading the entire feature film.

Edited sound and cleaned hisses and background noise.

After shooting raw footage, I imported the picture sequences into DaVinci Resolve and color corrected all the flat footage to Rec. 709, synced the audio, and then exported DNxHD video files for the editor. After the editor had finished the episode, I used his DaVinci Resolve project file to color grade the episode.

We fought the environment to follow the shot list also with changing schedules, actor availability, and location changes.

I set up a boom arm and worked as the boom operator as well, and I brought cardioid condenser microphones for ADR, which we recorded on set.