Here’s my updated reel. Lots of new stuff, and some classic projects thrown in too. Shot in HD, SD, and 16mm with HDSLRs, Panasonic HVX200A, DVX100B, and an Arriflex 16s.
On the Road
Seven days ago I left San Francisco on a cross country journey to document big band music throughout the US. This project will keep me on the road for another 33 days, and we will touch ground in virtually every state in the continental US. Follow our progress on our website and tumblr. Here’s some tidits from the road.
A Social Brew
A documentary style promo piece I shot for San Francisco’s Social Kitchen & Brewery
Unconditional
Here’s the latest collaboration between myself and the ever talented Alexi P. Shot on location in San Francisco.
Canon 5D
35/1.4L
50/1.2L
85/1.2L
28-70/2.8L
Riding in Cars with Boys/American Beauty
I’ve known the talented Alexi Papalexopoulos for a few years now, and have had the pleasure of shooting several projects with him over the last few months. Here are a couple of exercises we shot late last year. Both pieces were shot entirely on 5D with Zeiss primes.
Direction: Alexi papalexopoulos
Cinematography: Mark Sandhoff
Sound: Chase Keehn
Technical Notes:
Canon 5D
Zeiss CP.2 28mm
Zeiss CP.2 50mm
Zeiss CP.2 85mm
Zeiss ZE Makro Planar 50/2
Zeiss ZE 85/1.4
Hercules Health Center
Here’s a promo video that I shot for the Hercules Health Center. Hosted by the talented Olivia Speranza. Directed by Andrés García-Cruz, with sound by Greg Thomas.
Technical Notes:
Camera:
7D w/Canon 28-70 2.8L
60D w/Tamron 28-75 2.8
Audio:
Rode Videomic
Zoom H1
20,000 Stills
Last month I was commissioned to shoot a timelapse film of San Francisco for the track ‘The Bridge (Pt.1)’ by John Daversa. Three weeks of shooting, two weeks of editing, and roughly 20,000 stills later a unique portrait of San Francisco emerged. Enjoy!
High Society
Earlier this month I shot the first video for San Francisco based ‘High Society’ with my good friend Greg Thomas. Three locations in San Francisco and Oakland in two half-day shoots. Day one took us to our ‘creepy forest’ location in the Presidio District, and to the prepped ‘basement party’ location.
We worked with all natural light in the forest–luckily the canopy cover combined with the typical SF fog gave us relatively even exposures. For closeups we utilized silks above our actors to knock down any unwanted highlights. I chose to light our party scene almost entirely with practicals found in the space. I used warm LED Christmas lights strung around the rafters to create a uniform fill light, and augmented the space with china lanterns outfitted with regular medium base tungsten bulbs rated between 100-150W.
The second day we shot on location in Soundwave Studios in Oakland, CA. After some initial confusion with booking at the venue, they agreed to let us shoot in a warehouse space under renovation on the back of their lot. The space worked perfectly, with lots of natural light coming through several massive skylights. I opted to utilize the light, and augmented it with an open face 1K gelled with full CTB for fill, and an ungelled theatrical PAR lamp clamped in plain view as a backlight.


