hey there.



I am a freelance videographer living in San Francisco. My experience ranges across a variety of mediums with the sole focus of controlling every aspect of anything I touch. Use the nav above to explore my portfolio, and please don't hesitate to contact me with any questions.


This portfolio contains a selection of my work over the past 5 years.


read more about me

 

Links


First of all I'd still be sending people a link to a deeply embeded url with my demoreel somewhere if it wasn't for the W3schools website.

 

The layout and much of the code was inspired by Steve Leggat, a designer working out of Taipei

 

Everyone hits a wall at one point or another, and when I do I go to Design Meltdown for inspiration.

 

My charity of choice: the One Laptop Per Child Project

 

An indespensible color swatch tool:

Adobe's Kuler

 

 

title sequence

 

The title sequence for The Weakest Beat. I was initially hired just for this but somehow ended up making the entire show.

Sample episode, cambo

 

All of The Weakest Beat episodes can be found on iTunes. This is but one of many.

 

 

 

 

The Project.

The Weakest Beat is a reality show, based on hip-hop creation. The Show's host, Greg Milk, would go to a producer’s house, and surprise them with a picture. The producer would then have 2 hours to make a track that matched the emotion of the image.

It started off as an audio podcast, without much promotion the show picked up speed, and quickly gained an impressive audience. Podshow picked up the podcast with the idea of fleshing it out into a full-fledged reality show.

The Details.

I was originally hired solely for the title sequence, but was eventually picked up to do the entire show. It's demands were pretty steep: An episode a week at 10 to 12 minutes, 1 shoot per week (usually on a Saturday), 2 episodes per shoot. Each episode had custom effects that branded the show. I was the only person following Greg on most shoots, and it was a two camera setup.

 

This project pushed every ability of mine to it's breaking point, as there was a constant struggle between resources and quality, delivery and originality. None of the producers had been in front of a camera before, and had to be directed to the best of my ability. There was no pre-vis, when we went on a shoot, I did not know where we were going, or what the space looked like. I had to light on the run, using a bunch of lanterns and an Arri kit.

 

The title sequence was a similar situation in front of a computer. I had under a week, had some footage of Greg, and had the instruction of "hip hop".

 

Balancing directing and shooting while keeping the larger picture in mind proved to be an invaluable experience.