What are the specs of your Jib package? * Stanton Jimmy Jib Triangle - 15ft (Additional extensions available up to 30ft) * 3-wheel tripod dolly * Dutch-roll kit * Remote head accommodates cameras up to 50lbs * Remote gears compatible with Canon and Fujinon ENG lenses

What are the specs of your ENG package? * Panasonic AJ HDX-900 DVCPro HD Camera * Fujinon 10x wide-angle lens * Fujinon 22x lens w/ extender * Panasonic HVX-200 * Sachtler fluid head w/ sticks * Sony 9-inch SD field monitor * 4-piece Lowel lighting kit w/ reflectors and CHIMERA Lightbank * Sennheiser EW-500 lapel mic (x2) * 4-channel field audio mixer

What are your rates? My rates are reasonably flexible depending on the show, and relative 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. I am local to both Phoenix, AZ and Austin, TX. I will occasionally offer to work as a local in Southern California as well as other parts of Texas. Please contact me if you would like to discuss travel rates.

What kind of camera experience do you have? In the past 12 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 over 10 years ago for gospel television events. 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, and independent films.

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 when necessary. I know how to control my breath and keep my shot fluid and steady. As a jib operator, I am constantly pushing the creative limits of my jib. I can make a small auditorium look like a mile-long football stadium. My moves are consistent, my focus is precise, and I can maintain a useable ISO at all times.

What's up with "the human jib?" The name "The Human Jib" comes from a particular handheld move that I like to show off. I'm able to keep my shot steady and smooth as I literally "boom" my body around the talent. Directors have commented that many of my shots resemble the fluid movement of a jib.