Most of my career has been spent working with film. While I always enjoy those jobs where film is the most appropriate thing for me to shoot, I now specialize in bringing digital projects to life. I have an ability to move beyond ones and zeros, hard drives and file formats, back to the basics of telling a story through light, movement, and composition. Plus the knowledge from years of experience to exploit this new medium for all of it’s advantages.
I first began working with digital cameras back in their infancy when there really weren’t many reasons to go that route. Finally in these last few years digital cinema cameras have caught up, and I now feel that most of the time there are more reasons to shoot digital than to shoot film.
A new aesthetic is being created, and with it comes new opportunities.
It can be a mess though – wading through a mountain of formats, workflows, differences in lighting, crews, resolutions, lenses, DIT’s, color spaces... the list goes on.
There are many DP’s who exclusively shoot film, and can muddle their way through the digital world... and there are many gifted video cameramen with great technical abilities who aspire to cinematic style. It is very rare to come across someone who blends the best of both, and it can be costly in aesthetics, money, and time to work with someone who isn’t.
The road to digital is not always clear. I can make sense of it all for any given project: choosing the right cameras, developing workflows, providing skilled technicians, and of course delivering beautiful images as well.
I’ve worked with every major digital cinema / HD format – for delivery in theaters, on television, DVD, and online. And of course, I still shoot film as well.
Portions of my reel originated on the following mediums:
Super 35, Cross Processed Super 35, Super 16, Red 4K, HDCAM, and DVCProHD
Please click here for more information on what the individual projects on my reel were shot on
