Set jokes…

Learned this one from our Swing person:

What did the Silk say to the Solid? Why so negative?


…for filming. Not totally true. Yes, I do love New Mexico for filming and part of me loves New Mexico’s beautiful landscapes, amazing sunsets, the family adventures and attractions but most of all, the people. I just couldn’t live there. But I will be back and with luck, often.

Back to the folks there. I just finished a feature there – a crime-thriller. The crew was absolutely amazing – one of the best I’ve ever worked with. Makes me want to return and soon.

Hopefully soon I’ll be able to post photos and additional detail on the shoot. For now, many thanks to the fantastic crew who made the show possible.

“Paradox” on iTunes today

Last year I shot a small feature called “Paradox” and today it comes on iTunes. There’s a short theatrical run in Los Angeles at Arena Cinemas from the 22nd through the 28th. Much of the cast and crew will be there on the 24th so hope y’all come. Till then, here’s the trailer.

Featuring: Zoë Bell, Malik Yoba, Adam Huss

PSA I shot a cinematography finalist at NY One Show!

Excited to hear that a commercial I shot is a finalist in the category of Cinematography in New York’s One Show and it’s in good company. It’s also featured near the top of the agencies webpage. Sweet. More soon…

2016 OneShow


Dead7 is coming to SyFy

Mark your calendars, April 1st is the world premiere of “Dead 7” on SyFy.  Till then, here’s the trailer to whet your appetite.

proof of concept…

Wonderful day shooting a couple of scenes from an upcoming feature script. Great group of folks.


img_9883-1I grow more and more in love with the Dana Dolly.
img_9871-2Time to take the camera for a spin.

Marriage Equality PSA

Every once and a while you’re presented with a project that you know going in, is going to be something very, very special. I had the unique pleasure of being part of such a wonderful project. It’s a PSA for PFLAG Canada called, “Nobody’s Memories”. Take a look.

Agency: FCB Toronto; FCB Chicago
Production Companies: Lord + Thomas; Duckpond Creative


We prepped by visiting Old School Camera to test various 8mm and 16mm cameras. We had a two Bolex (of course), three Bell & Howells, a Canon, and a Nikon. We mostly used three film stocks but our favorite was the 16mm Plus-x. These particular cartridges we used were very old and had been around in someone’s fridge a very long time. Enough that some of the cases showed signs of rust. When I saw some of the footage, I couldn’t help but think how many hours of After Effects work would be required to make it looks good/bad.



↑ Step one: Battons like this were often used during the 40s through 70s for home movie filming. Fortunately, I had lots of spare parts to make my own based on a “covered wagon”. The two inside globes are 95W spots and the two outside are 95W floods.

↓ Step two: Testing included bare bulbs and various grades of diffusion: 215, 250, Full Grid, Half Grid, 1/2 Soft Frost as well as CTB and CTO. Without the diffusion, we got 3050 lux at 12′ or ƒ4.5 at 64 ISO.  I think every time we used the light it was without diffusion to keep it period.




↑ We had more than a few “wha…!?” moments.

↑ For those of you new to the party, this is called a “changing tent”. In the before time, in the long, long ago, a camera was loaded with film and that often took place inside a changing tent like this.  Here’s Mike’s in the wild.

untitled-0017↑ 1st AC Mike S.  – Just look at that form. Take note people.

↑ Our fearless leader.

A day with the Briese Focus 140

I love testing new equipment (well, new to me). For a recent shoot, I was asked to recreate the look of some high-end photography but for a video. After analyzing and breaking down the photographs, I realized I would need some kind of an large umbrella/parabolic light. I reached out to Monster Lighting who offer the Briese Focus parabolic reflector in both HMI and tungsten in a wide range of sizes and with continuous lighting (i.e. not strobes). We opted for the 2K tungsten Focus.2 140.  I’ve used the Broncolor Para 88 for still photography in the past so I knew what to expect from such a light. Still, such a beautiful and versatile light with more than enough punch – T8.0 at talent in near full flood.

• Arri Amira camera with Cooke S4 lenses (from HD Optics), 23.98, T8.0 (T5.6 after prompter), 800 ISO, 1/48 shutter, recording to Log C/2K/ProRes 4444
• 3-Ton Lighting and Grip (from Monster Lighting)

↑ my notes

IMG_1032↑ Setup, build, using it (notice the soft grid on the

Soon I’ll be able to post footage or framegrabs from the shoot. I’ll try to also include the photo that the lighting is based on.

A million thanks to Eric and Peter from Monster Lighting, the folks at HD Optics (the Amira rental), my wonderful crew (Gaffer Mariscela and Key Grip Kelsey), and Producer/Director Justin Viar who made it all happen.

Warriors… come out and play-ayyy…

More good times with Greg and Lou. This time we’re recreating the look of the “Warriors” for an upcoming video. More soon…

IMG_0824↑ Greg and Lou ↓


While on a shoot where we needed to record some scratch audio to the camera, we found ourselves in need of a small, camera mountable microphone. Our sound mixer offered this gem… it’s a short, shotgun mic housed inside a shotgun shell casing. He swears by the mic and given his excellent record at recording sound on location shoots, I have no reason to doubt him. However, might not be the most appropriate piece of kit to take out at some locations. Awesome though…