Beats by Dre // ULTRA VIOLET Collection
In this Beats by Dre project, I worked as Director of Photography and Camera Operator. By using a motion-controlled stop-motion system (pictured below), we captured various lighting setups, which allowed us to seamlessly transition from one to another in post-production, simulating an in-camera lighting shift.
Red Bull // Music Academy Festival
For this Red Bull campaign, I took on the role of On-Set VFX Supervisor during the shoot and VFX Artist for all post-production assets, aiding the camera department with ways to obtain the desired effects requested by the client and directon.
Nike // REACT Flyknit Hyperdunk
For this Nike campaign, I stepped into the role of High-Speed MRMC Bolt Operator - we used this motion-controled robot paired with a Phantom Flex 4K to capture precise slow-motion footage up to 1000fps. This frame rate demanded strong light sources for our subject, which allowed us to achieve this low-key light ratio while obscuring unwanted details.
MeUndies // Bralette | Soft
In this MeUndies video where I served as Director of Photography, we decided to go with a large overhead light source to provide a high-key light ratio, which best represented the softness of the client’s product. This simple yet effective setup provided plenty of mobility and flexibility on set during our shoot, which was essential the number of different prop setups we had to shoot.
Rag Doll // Stop-motion film
Rag Doll is one of the few bigger non-commercial films I had the pleasure of working on in the earlier years of my career. As Director of Photography, I found that lighting small moving puppets came with its fair share of challenges. This project took over a year to complete and with its strong subject matter—Chinese oppression—it remains one of my favorite projects up to this date.
