- What cameras and equipment have you worked with the most?
If a certain camera has the specs the client needs, then that is the one I will shoot on. I’m not tied to any specific camera brand, though each has its own list of pros and cons. For the past several years, I have worked with the Canon C300 and C300 Mkii as my main go-to camera’s in my kit. However, I love working with all types of cameras and have been trained by AbelCine on the Arri Alexa Mini and the Sony F5/55’s as well as have shot on a regular basis with the Sony F5, F55 and FS7s as needed or requested by clients. I’ve now switched over to the Sony F5 as my main camera, which I can say I am super pleased with, especially for my B-Camera I’ve been using a Sony A7Sii to match. My A7Sii has proven to be a workhorse both in interview settings and on my Ronin-S gimbal. My light kit has a variety of types of fixtures from Arri Tungsten fixtures, to KinoFlow Diva’s, Bron Kobold all-weather HMI’s (for those tropical storms and hurricane coverage days) and a few LitePanel Astra 6X’s. I’m a total gear nut, and I can talk about this all day!
- Do you specialize in a specific shoot style?
I would consider myself a video swiss army knife. I could specialize in one specific shooting style, but I get to have fun and cover a variety of shooting styles while shooting for GTT. I have shot several years of home renovation and docu-reality type of shoots, so if you had to pin me to something, that would be up there. But I do love having the opportunity and time to craft a look for an interview for a sports feature/documentary. The creative juices that flow on those types of sets are unmatched.
- How long have you been filming?
For GTT, 5 years exactly at the time of this writing. But, I have been filming things since I was in high school. Professionally, including GTT, I’ve been shooting for about 10 years.
- Do you have a favorite project you’ve worked on?
Last year I had the opportunity to Produce/DP a character reel and then DP the Sizzle Reel for a potential reality show in Austin, TX. This gave me the ability to flex my wings as a DP and a shooter, with multiple GTT shooters working under my guidance, to really craft the look and feel of what this show could become. I was given complete creative control on set, and the producers that came into work with me on the sizzle reel respected that and respected the relationship that I had built with the talent before they were on board the project. My favorite part was having the trust of people that I’ve never worked with before, to let me do what I do best and tell a great story that is visually appealing.