What are your rates? My rates are reasonably flexible depending on the show, and are comparable to the standard union rates for a Camera Operator in the local area. I charge my day rate as a Camera Operator, plus package rental if needed. Contact me for a quote based on the specific needs of your show.

Will you travel? Yes... with or without gear... nationally and internationally.

What kind of camera experience do you have? In the past 14 years, I have shot handheld, jib, pedestal, dolly, hard, and build-up for all types of multi-camera EFP productions, including live music, live sports, award ceremonies, political events, corporate events, gospel television, studio broadcasts, live drama, stage, film, episodic television, commercials, documentaries, and webcasts. I also have nearly a decade of ENG experience. Specific projects are listed on my resume page.

How much jib experience do you have? I first started shooting with the Jimmy Jib III in 1998 for gospel television. During my career, I have used Jimmy Jibs and CamMates with a boom reach up to 35 feet for live music events, award ceremonies, studio broadcasts, ENG shoots, and commercials.

What have you done as far as lighting is concerned? For ENG shoots, I typically use a 4-piece Lowel lighting kit that includes several reflectors and a CHIMERA Lightbank. I also like to add several MR16's for creative accents on the set. I have lit up sets in every environment, from studio floors to mountain-tops at sunset. Usually, a traditional 3- or 4-point lighting setup is what the client expects. But what they don't expect is the creativity that I bring to the table. Whether it's as simple as adding a splash of color in the background, or fighting the wind during a sunset, I have what it takes to light up any scenario.

What separates you from the rest? I show up on time with the right attitude and work hard for every shot, even as the day gets long and nerves run short. At the end of the show, my work isn't finished just because I'm done striking my gear. I will continue to work hard through the load-out to make sure everyone gets home as quickly as possible. I believe every shot is part of a story, whether shooting live music, sports, or any other type of show. I shoot with an awareness of my surroundings and think several shots ahead, so I often have the shot ready before the director calls for it. I understand music, and can feel where a song is headed which allows my work to flow seamlessly with the dynamics of the performance. Some operators bounce from shot to shot with no consideration for the editors. I am quick, but I shoot with enough pad to make sure the editors have what they need. I don't settle for ordinary. My camera work is my art, and I work hard at it. As a handheld operator, I will do what it takes to get the perfect shot. I am creative when needed and aggressive if necessary. I know how to control my breath and keep my shot fluid and steady. As a jib operator, I am constantly pushing creative limits. I can make a small auditorium look like a mile-long football stadium. My moves are consistent, and I can maintain a useable ISO when needed.

What's up with "the human jib?" "Human Jib" is a coined-term for a handheld shot that remains smooth and steady as the camera "booms" around the talent. Directors have commented that many of my shots resemble the fluid movement of a jib.