Many years ago I stopped editing to concentrate on my passion: shooting and lighting. For the last three decades I have worked exclusively as a Cinematographer/DP--and very occasionally as an LD/gaffer. I work on some longer projects, but the majority of my work is a day or two at a time. As I tell my friends, I go on a field trip everyday. I really enjoy the variety of my work, being in new environments and meeting new people.
Working on a project, I view my over-arching responsibility as determining the needs of the director/client, giving them what they want in an aesthetic manner, and in general making their day as productive and stress-free as possible. When I hire crew, I look for people who feel that their job is to help me accomplish the same. My crews tend to be lower-key, higher functioning individuals with many years of production experience; good problem solvers who present well.
Working on a project, I view my over-arching responsibility as determining the needs of the director/client, giving them what they want in an aesthetic manner, and in general making their day as productive and stress-free as possible. When I hire crew, I look for people who feel that their job is to help me accomplish the same. My crews tend to be lower-key, higher functioning individuals with many years of production experience; good problem solvers who present well.
I like a team approach, with everyone willing to help out where needed. Good communication and respect for everyone on set is important to me: from treating PAs well to helping make the people who will be on camera feel comfortable. We are most often visitors in other people's environment, and we should act like good guests
My aesthetics vary with the need and look of the project. I can take the lead, or I can take direction well. I am good at replicating looks. I have shot many hundreds of interviews. I think that one of my specialties is walking into an environment and quickly figuring out the best location to set an interview.
My aesthetics vary with the need and look of the project. I can take the lead, or I can take direction well. I am good at replicating looks. I have shot many hundreds of interviews. I think that one of my specialties is walking into an environment and quickly figuring out the best location to set an interview.
Where it makes sense, I like camera movement to give energy to a shot. I do a fair amount of hand held. In the past I often shot off Fisher and Chapman dollies, or Tulip Cranes. Nowadays I own a Dana Dolly, an Eldekrone slider, an Osmo gimbal, and a skateboard dolly (platform for tripod.) I do not own a Movi, Steady-cam, remote jib arm, or drone, but I know good operators who do.
I have shot a lot of time lapse over the years. I like shots from unusual angles or that give the viewer a new or surprising view of a process or environment.
I own a VW Eurovan that I converted with metal shelving to be a dedicated lighting/grip van. On board I have most items that one would find on a 1-ton grip truck plus lots of extras. I have several HMIs, Kinos, LEDs, Dedos, Fresnels and many helpful production items that I have accumulated over the years. I arrive on location, ready for most anything that could come up.
I have shot a lot of time lapse over the years. I like shots from unusual angles or that give the viewer a new or surprising view of a process or environment.
I own a VW Eurovan that I converted with metal shelving to be a dedicated lighting/grip van. On board I have most items that one would find on a 1-ton grip truck plus lots of extras. I have several HMIs, Kinos, LEDs, Dedos, Fresnels and many helpful production items that I have accumulated over the years. I arrive on location, ready for most anything that could come up.