About Me
Bio
I am a recent graduate from Portland State University with a Bachelor of Arts degree in Film. I have worked on a number of sets in multiple roles and each time on set has increased my love and passion in working in the film industry.
In terms of on-set work, my specialty is in the lighting and camera department. From lower tiers like Grip or Assistant Camera to higher tiers like Gaffer and Director of Photography, in each role I have worked alongside many people to ensure that we can each achieve what the Director, Director of Photography, and Writer envisioned in the script.
I always work well with others whether they are in a role above or below mine and my biggest outlook when entering a set is communication and trust. I want each set to be a comfortable and trusting environment where everyone knows we are looking out for each other and know they can achieve what I want in a shot as well as wanting to continue working with me on future projects.
My Role in Film
I personally like working on all levels of the camera and lighting department whether as a Grip or Director of Photography. I have worked with many people who I have helped their projects and they help me with mine. I like to have that type of working relationship and even grow into a friendship.
Director of Photography
My style and ideas in lighting continues onto the camera. I love playing with color and framing in order to make the scene visually interesting. I take into account the type of film, its tone, or general setting when thinking about the light setup and color theory. For a music video or a scene where someone is high on drugs, I take this opportunity to do something different with color. In a drama set in the real, I focus more into framing and striking lighting to command the visuals. Anime and a number of directors have inspired my style and I continue looking into other avenues to find new ways to create shots or lighting layouts.
I always storyboard my projects and come into the set with it planned out from framing to lighting to camera movement. I plan to continue being a storyboard artist in animation as well since my style could also work work better in animation and it gives me the opportunity to try something that probably wouldn't work in live action.
Jojo's Bizarre Adventure: Part 4 Diamond is Unbreakable; Series Directors: Naokatsu Tsuda and Toshiyuki Kato
Prisoners; Director: Denis Villeneuve and Cinematographer: Roger Deakins
Gaffer
I always try to work closely with the Director of Photography and ensure that the lighting of the shot fits with what they envision but also adding my own touch to it. I really like lighting that makes something normal, interesting. It could be the color or the position of the light, it is always best to try something to enhance the shot or scene in a technical standpoint.
Steadicam Operator
I always have fun using the steadicam and it is always a great workout as well. I always try to rehearse the movement with and without the steadicam to ensure we can get the shot right and I always push for practice and knowledge of the layout of the scene. Overhead schematics, location scouting, and blocking for the scene are important in order to ensure the steadicam session will work perfectly for the scene.
