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                               Emmy Award
                   NAACP Image Award

                                         Prod: Antoine Fuqua
                                       Exec Prod:Kat Samick

                                        Director: Seith Mann
                                        Studio: Sony Pictures                                             Digital Super 35mm 

 

Camera Operator
Additional photography
VFX Unit/2nd Unit

    Controlled Chaos is what comes to mind when discussing #FreeRayShawn. A film  produced by Director Antwan Fuqua, #FreeRayShawn is non-stop action, a heart pounding, adrenaline rush, that keeps the viewers on the edge of their seat. Car chases, shoot outs, explosions, fist fights, night exteriors, crowd scenes, visual effects, you name it, we shot it, all on the streets of New Orleans. #FreeRayShawn was a very unique film, it would be the 1st project for new company, Quibi, owned by jeffrey Katzenberg, formerly of Disney. The stakes were high and we were on a tight shooting schedule. The creative approach on #FreeRayShawn was to be instinctual, let experience and intuition be our guide. This film was an action thriller, the director was not looking for stiff, formal compositions, my response was to let things flow naturally, without forcing the issue. Initially hired  as a camera operator, I was ultimately given a visual effect sequence to DoP. I was a little nervous to say the least, having never used the Sony Venice before and knowing that my work would be under the scrutiny of very keen eyes; I was operating for DP Patrick Loungway, who had just completed principle photography on Jurrasic World and Bad Boys 3 with Will Smith and Martin Lawrence.  

                              WriterKenya Barris
                                 Director: Calmatic
                           Producer: Blake Griffin                                  20th Century Studio 
                        Digital Spherical 1:85:1  

Camera Operator

When word got out that we were making a reboot of the classic film, "White Men Can't Jump", there were many skeptics. I was ecstatic when I got the call from Tommy Maddox, ASC, who at the time, was the hottest DoP in Hollywood; I was excited but nervous. Maddox had just won the prestigious ASC award for his brilliant work on "Snowfall", he was on a roll and on top of his game; I was working with the best and felt honored to have been asked to operate. I had a long track record with Maddox, shooting some of his early directorial work in music videos and operating on several of his early feature films, but "White Men Can't Jump" would be different, I had never collaborated with him at this budget level. Both Maddox and  "White Men Can't Jump" Director Calmatic, are fun guys to work with, but, they also demand a high level of  creative energy and competence from their crew; they weren't looking for an operator to simply point and shoot, I would be an integral part of the creative process, contributing to the visual esthetic and storytelling, they were seeing their vision unfold through my eyes. I had a big responsibilty and I was up for the task. There have been some beautifully photographed basketball themed films in the history of cinema, Fred Murphy's "Hoosiers" and Malik Sayeed's "He Got Game" come to mind. As filmmakers, we felt a collective responsibility to honor and maintain the tradition of crafting visually unique and esthetically pleasing basketball and sport themed films. Shot on the Sony Venice, on the streets  of Los Angeles, during a scorching, hot summer "White Men Can't Jump", maintains that tradition.



 

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Post-Production

                                                                                Director: Jake Kasdan
                        Writer: Chris Morgan
                      Prod: Dwayne Johnson
                               Amazon Studios
                                 Digital Capture
                          Anamorphic 2:39:1

  Red One

Additional Cinematography/Camera Operator/
2nd unit

Size Matters, especially when it comes to Red One. Red One is a big movie, a really big movie, with big stars, big sets, and lots of locations; everything about Red One was big, including it's budget. Red One was a film of "firsts" for me. It was the first time I had worked on such a large, grand scale, and it was the first time I had worked with a cast and crew, with so many Hollywood "A" listers. The beautiful Lucy Liu was in this film, as well as Dwayne "The Rock" Johnson, Chris Evans of Captain America fame, J.K. Simmons, and the impeccable Bonnie Hunt, I was awestruck. Red One, was also the first time I had shot both anamorphic and spherical on the same film and often at the same time; I felt well enough shooting 1:85:1 and 2:39:1 simultaneously, but I was definitely out of my comfort zone, operating in a totally unfamiliar matrix; it was exhilarating! 1st unit DoP, Dan Mandel, Asc and 2nd Unit DoP, Patrick Loungway, did masterful work lighting the massive sets, and "A" camera operator/2nd unit, Mick Froelich handled Russia Arm, snowmobile, chase sequences with precision of ease. Operating on the 2nd unit of  Red One was a great experience, I had to be ready to do whatever was required, wear multiple hats, whether it was shooting action scenes, tabletop, or inserts, even doing some lighting, nothing was off limits. Managing a film of this size is a daunting task, 2 units, a  minimum of 6 cameras, rolling simultaneously, in different locations, shooting digital anamorphic and spherical, with some of the most successful filmmakers and actors in Hollywood, was incredible. However, things can get out of control rather quickly at this budget level, if the right team is not in place. Fortunately, a great team of filmmakers were assembled and the results are very impressive.

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