I am a driven, highly capable and competent technician dedicated to performing my services at the highest quality possible regardless of adversity. Whether for an extremely low budget project with minimalistic tools or a blockbuster budget that has no limitations, my services will improve your workflow dramatically. Compounding this with an always positive on-set attitude, the ability to have difficult conversations without rudeness or bluster, and a professionalism that guarantees you will have a healthy team connection wherever I'm installed translates my services to being peak value in our industry.
Through years of diverse role seeking toward the end of learning the broad spectrum of skills relevant t the craft and capture of high end images I have become a highly competent support for cinematographers in all capacities they may require. Where I am currently pursuing a deepening of my skillset is as a Chief Set Lighting Technician, or gaffer. I have worked hundreds of sets as an SLT, a Rigging LT, Best Boy Electric, Generator Operator, and now more than a dozen projects, including a full feature length film of not insubstantial budget, Dark Highway, as the Chief Lighting Technician.Concurrent with my electric team progress have I been working in the grip department, primarily as Best Boy Grip, but often as Key Grip, Rigging Key, and on occasion Crane Operator working with the Intel-A-Jib owned by Redman Movies and Stories.Prior to my foray into lighting was I practicing the skills of Digital Imaging Technician, developing my understand of color theory, exposure values and relationships, and the workflow of taking a film from production through post. I performed these services on dozens of sets over the course of 4 years primarily with Radar Mobile Studios, though branching out on my own when they moved toward an automated system.Before working as a DIT I worked as Rental Manager for Redman Movies & Stories, becoming deeply familiar with the industry standard equipment in their warehouse along with the tools used by top of the line Cinematographers, Gaffers, Key Grips, and related departments. Within the 3 years I worked for Redman I clocked in more than 10,000 hours at the warehouse, along with hundreds, perhaps even thousands of hours concurrently in on-set roles predominantly in the camera department.