What's been happening...
Changing Times … I began this blog as a way to share what has been happening in my world.
Honda Big Sky MT.
Working with Director Bryan Barber is always an adventure, and our recent two-day location shoot in Big Sky, Montana, was no exception. As anyone in this industry can tell you, Murphy’s Law is the one crew member who always shows up uninvited.
We headed to the mountains specifically for the snow, but it’s been a notoriously "off" year—with Colorado and Utah seeing some of their lowest recorded accumulation totals. Fortunately, the snow gods were on our side, delivering a fresh two-foot blanket just before our cameras started rolling.
To capture every bit of that pristine detail and maintain maximum exposure latitude, we opted for a high-end package:
Camera: Sony Venice (filming at 8.6K resolution)
Glass: Tokina Vista Large Format Primes
The Challenge: Managing the extreme contrast between the bright snow and our subjects kept me on my toes throughout the production.
A huge shoutout to Rocky Mountain Grip and Electric in Bozeman. They saved the day with their Camera Crane UTV. This rig was a total game changer—it allowed us to navigate deep snow at high speeds, transitioning between locations effortlessly to nail those epic tracking and crane shots.
"It’s always a privilege to have the right gear and a resilient crew to bring a director's vision to life, regardless of what the weather throws at us."
Ski Shack at 10000ft .
Amazing Locations
Visit Napa
Tourism commercials present a unique challenge that defies the standard 10-hour shoot day. To truly showcase the essence of a location, you have to commit to total flexibility. Weather is the ultimate director, forcing us to chase the perfect sunrise and sunset while tucking interior shots into the harsh light of midday.
Working alongside director Dana Tynan and the Shipyard Agency out of Sacramento, CA, we pushed the limits to create some truly stunning visuals.To achieve the look, we leaned into high-end glass and cutting-edge high-speed tech:
Primary Kit: Shot on the ARRI Alexa Mini paired with Leica Summicron-C primes. (Because let’s be honest—you can never have too much bokeh!)
The Secret Weapon: We also deployed the Freefly Ember. This camera is a total game-changer.
We finally have a high-speed camera that is both affordable and accessible. . It fits in the palm of your hand like a Hasselblad, making it the perfect companion for gimbal work. 5k at 600fps !!!!!!!!!
HempZ
Stepping onto a virtual stage for the first time was an absolute eye-opener. Faced with a budget that wouldn't support a dozen different physical locations, we pivoted to a high-tech solution: shooting plates and building our narrative against a massive LED video wall.
We set up shop at Studioeleven43 in Hollywood, and I can’t recommend them enough. For a product-focused shoot, the facility is flawless, backed by top-tier technicians and a support crew that knows exactly how to handle the nuances of virtual production.
The Technical Setup
To make the environment seamless, we used a dual-camera approach to distinguish the background from the foreground:
Background Plates: I captured everything on my RED Komodo in 6K RAW to ensure the environments had maximum detail and flexibility.
A-Cam: We shot the main action on the ARRI Alexa Mini paired with Leica Summicron-C primes for that signature cinematic texture.
If there is one takeaway from this shoot, it’s this: Lighting is everything. When working with a video wall, things can look artificial or "forced" in a heartbeat if the interactive lighting isn't perfect. We spent the most time ensuring the practical lights matched the digital environment to sell the illusion. The results spoke for themselves. By staying in one studio and swapping digital environments rather than packing up a gear truck, we achieved a staggering level of productivity:
18 Different Looks. One Day.
