Notes from the work

I started as a prep technician at Filmquip Media. The path to Jetman ran through camera systems, aerial work, and learning what an image needed before choosing the equipment.

I entered AFI in 2017 and graduated with the class of 2019. Going back as an adult meant bringing practical camera experience into a place where I could examine what I wanted to do with it.

From choosing a subject to deciding on a print, I want a continuous relationship with an image. Large format is making the practical gaps in that ambition very clear.

Two holders, a missing loupe, and autumn snow in Mammoth. The useful lessons were in the parts of the process I hadn't prepared.

My Daylight workflow starts with the DIT's report and ends with playback checks. Rendering the pictures is only one part of the job.

A film in development about Muir and Roosevelt needs room for invention—and a precise account of where that invention begins.

The subject is the brief relationship between a street lamp and the light around it. My project notes begin with when to return.

A script breakdown becomes useful when it exposes a decision the crew still has to make. One line in my cineOS notes explains the product better than the pitch.

Proof scans were enough to find possibilities, but not always enough to explore them. My October 2025 notes describe the gap between a promising negative and a finished print.