Monthly Archives: November 2015

Adidas Take It Commercial

For Adidas ‘Take It’ campaign, two directors were hired to accomplish a global campaign, shot within a few short weeks. I worked with director Mark Zibert on the european coverage and Washington DC, while DP Chris Blauvelt shot the rest of the US coverage with director Stacy Wall. Lots of fun shooting Messi, Suarez and John Wall.

Barcelona Key Crew:

  • B-Cam OP – Daniel Vilar / Oriol Busquets
  • 1st AC – Alex Benhamou / Luis Gervós
  • Movi tech – Liam Dalmau
  • Gaffer – Kevin Gonzalez
  • Key Grip – Mirko Claes
  • DIT – Sergi Aranda

Washington Key Crew:

  • 1st AC – Reed Koppen
  • Gaffer – Bob Waybright
  • Key Grip – Joe Kurtz
  • DIT – Matt Riggieri


  • CAMERA – Red Dragon 6K, GoPro
  • LENSES – Hawk V-Lite anamorphic primes
  • MOVEMENT – Handheld, Movi, Segway, Quad w/ stabilized head, Javelin Stick

Rickard’s Red Commercial

Teamed up with director Curtis Wehrfritz to shoot this Rickard’s Red commercial. Shooting with anamorphic lenses, we strove to give this ‘deep’ conversation a very dark and moody tone. Working with liquid stylist Etinenne Proulx and gaffer George Petras, we built specialty battery run LED lighting rigs to keep the beers glowing from any angle.


Key Crew was as follows:

  • 1st AC – Jay Vettese / Paul Taylor
  • Gaffer – George Petras
  • Key Grip – Derek Teakle
  • DIT – Randy Perry


  • Camera – Arri Alexa XT
  • Lenses – Panavision E-Series anamorphic primes
  • Lighting – purpose built LED lighting rigs to all beers

Campbell’s Commercial

For Campbell’s “We All Soup” commercial, I worked with director Yael Staav, to shoot a commercial that bridges everyone together with the universality of soup. We shot in Lisbon, Portugal where we were able to capture a variety of locations to give the feeling of having travelled the world.



  • CAMERA – Arri Amira
  • LENSES – Canon K-35s

Special K #Own It Commercial

Working with director Mark Zibert, we shot this Special K commercial which asked women to Own It. Shot over three days, we covered a lot of ground, and even made the local newpaper’s instagram account.


Key Crew was as follows:

  • 1st AC – Jay Vettese
  • Gaffer – George Petras
  • Key Grip – Derek Teakle
  • DIT – Randy Perry


  • CAM – Arri Mini, GoPro Hero 4
  • LENSES – Canon K-35

Alka Seltzer Commercials

Teaming up with director Vesa Maninen, I shot a series of commercials for Alka Seltzer in August in Vancouver Canada.


Key Crew was as follows:

  • 1st AC – Julie Kim
  • Gaffer – Ian Barrett
  • Key Grip – Finn King / Kevin Lheritier
  • DIT – Tasos Mentzelopoulos


  • CAMERA – Red Dragon 6K
  • LENSES – Hawk V-Lite Anamorphic, Hawk 45-90 Anamorphic Zoom

Pan Am Games Commercial

In a run up to the Pan Am Games in Toronto Canada, I teamed up with director Mark Zibert to shoot a series of commercials for the Canadian Olympic Committee.

Key Crew as follows:

  • 1st ACs – Jay Vettese, Paul Taylor
  • Gaffer – George Petras
  • Key Grip – Derek Teakle
  • DIT – Randy Perry


  • CAMERA – Red Dragon 6K
  • LENSES – Zeiss High Speeds, Angenieux 28-76mm Zoom
  • MOVEMENT – Handheld, Movi, ExoCart w/ Stabilized Scorpio, Electric Motorbike w/ Movi
  • LIGHTING – a lot of flashlights

Honda – Power of Dreams commercials

In April I was hired by Laundry! Productions in Lost Angeles to shoot a series of commercials that revolved around children’s dreams of greatness. The idea was concentrated around a single moment in time, and the evolution of each child’s success becoming visualized in a matter of moments. A youth hockey player skating down the ice and taking a slapshot, jumping through time until they become an NHL player, a little league baseball player making it to the big leagues, or a kid racing his soap box car eventually winning the Indy.

Directed by Anthony Liu and PJ Richardson the script called for the evolution of each child’s success be told through a nearly frozen moment in time or singular action and the camera to move around the child, watching the world around them change through the different periods of their life. We looked at a lot of different options to move the camera and capture the different stages of each story. The camera needed to travel extremely quickly in order to still move fluidly while capturing the images at super slow motion. We ended up settling on using a combination of different capturing technics to pull it all together. We combined the use of Phantom 4K on an ATV (Exo Cart), Phantom 4K on a motor bike, Camera Array (Bullit Time),  Vortex High Speed Motion Control and some traditional circular dolly shots where the grips ran at top speed!


Making a singular revolving camera move through different elements that were not the same size or moving at the same speed was a challenge. With the Finish Line spot, the soap box cars were moving as fast as someone would jog, the F-type race car was driving over 100 mph and the shifter go-carts were coming around a corner at 40 mph or more. Each shot needed to graphically match each other, so that the camera angle when the kid is 8 years old leads perfectly into the shot of the kid as a sixteen year old. However, some action needed to be slowed down much more than others. For Finish Line, the shifter go carts needed to be nearly frozen, but the wheels needed to still be moving, so we could see the tires burning and the intensity of the race as they ripped through the corner. All the camera speeds had to be carefully calculated in order to make the camera feel like it was moving smoothly from one shot to the next.


Thank you to Tony and PJ, Jan Wieringa – Producer, Tim Nolan – Prod Sup., Nick Conroy – 1st AD and the whole team it took to make this commercial work.

Key crew was as follows:

  • 1st AC/BCam Operator – Jeremiah Pitman
  • Gaffer – Jeff Ferrero
  • Key Grip – Bill Buckingham
  • Dolly Grip – Pete Clemence
  • DIT – Mike Kellogg
  • Camera Array – Real FX ~ Jim Gill
  • Vortex Motion Control – Camera Control Company ~ Simon Wakley


  • CAMERA – Arri Alexa XT, Phantom 4K, Camera Array (Real FX),
  • LENSES – Cooke S4 primes, Angenieux 28-76mm, Canon EF Lenses
  • MOVEMENT – HandHeld, Exo Cart w/ Stabilized Scorpio, Motorbike, Camera Array, Vortex High Speed Dolly, Fischer Dolly w/ every curvature of Fischer track possible