Gallery

Built the frame out of 6” ModX and the carriage frame attachment out of 9” ModX. 6’ vertical of tower provided the high connection points for come alongs that ran out to the frame corners.

Rigged the center of gravity as far toward the back of the bucket without interfering with any bucket tilt capabilities in order to help with adjusted weight.

Commercial shoot for a digital wallet company. Pre rig and a shoot day. Shot in a NYC backlot, we lit 3 interior sets and 1 exterior set.

20x20 flyswatter on a JLG 800S. My preffered flat swatter build off the bucket with speedrail, cheeseboros, tri truss, and steel pipe.

20x20x4 softbox made out of Modulus-X Mx|66|. I find the rigidity of the modulus-x allows you to tilt the box and aim it more aggressively. It’s slimmer and a bit more versatile than a 12” box truss build.

20x20 12” box truss flyswatter on a JLG 1255 telehandler. Ordered the swatter from SGPS Show Rig here in LA. They have a nice little package they send out which ensures you have everything you need.

Built with ModTruss 6” & 12”. Built the upper skeleton of the box out of 6” and beefed up the carriage attachment points with 12”. 12” vertical allowed for pipe triangulation to the box corners.

We had some location lighting, some drone work, some arm car work, and a ton of vehicle rigs for this Hummer EV commercial. I wasn’t complaining one bit.

Bunch of object camera rigs on this job. Directors Jordan and Nicholas Aucella always give us a fun challenge when they come into town.

The goal was to rig the camera to the end of the guitar to see the tuning knobs and the neck. We couldn’t drill into the guitar at all which left very limited options for rigging. Couldn’t bite onto anything on the neck because we’d see the clamp.

This rig appeared simple on paper, but in practice, it presented a few challenges. The lightweight camera made mounting easier, though I quickly learned that the car’s stainless steel exterior was prone to bending.

Modulus-X offset dolly rig for pushing through car windshields and windows. Ran 12’ off the front and 8’ off the back.

Two day job for a fast food chain with DP Cory Burmester and gaffer Josh Hensley. Had just about a little of everything - dolly and track, interior and exterior lighting, swimming in a pool, condor rig, technocrane.

We were asked to help the DP/Dir set up a foxhole that we can dive through an any position in the forest that fits best for the vision they had in mind.

Lots of fun on this 3 day commercial shoot with a couple of different locations for a well known popcorn brand. Our first location was at Air Hollywood.

I used to be a pen and paper guy but have recently decided to keep up with the times. Pen and paper is great - but it makes changing things a little harder.

This highline rig, inspired by systems used by rescue teams, relied on rope access and tree climbing techniques.

Indoor bus rig. The DP requested a slow push-in for the intro of the scene, starting at the front of the bus and moving to the middle, ending with a medium shot of our three characters.

Director wanted a shot that looked like it was a laptop closing. We could have attached a GoPro or similar action camera to a laptop and done it that way but we wanted to preserve image quality and use our cinema A cam - the Alexa mini.

Live action video game shoot for a well known game franchise. Mix between stage days on blue screen and a location day at a studio lot shipping container wall.

Two rainbow rigs for this job at different locations. Different needs for each so each build was different. Both utilized 6” moDulus-X truss and 6” bearings, both from Division Rentals in Los Angeles.

We built this mobile toplight softbox using 6" ModX truss to serve four different sets inside a tight studio space with limited overhead clearance.

This bike flew down the mountain at Griffith Park. Couldn’t use any form of attachment that would fall off easily such as a cardellini. Those and other type of hand tightening clamps loosen up over time with vibration. We opted instead to go with hose clamps.

Camera offset rig built out of Modulus-X Mx|66|. DP Scotty Uyeda wanted to get the camera out directly over the center of the couch.

Par can array rigged to a JLG 1250AJP. 3 rows of 5 par cans each, spaced out 33” apart. Uniformed height and width distances for a balanced look.

This was a spec ad for Wonderful Pistachios we did for a student class down at SCAD. It was a pretty big setup for a student spec, and lots of fun new stuff we did, like chroma screens, and car rigging.

8’x25’x4’ seamless bleached muslin softbox provided most of our soft top daylight ambiance for this spot. ModX top frame with pipe bottom frame.

12x12x6 softbox with magic cloth hung on 1/4 ton motors. Modulus-X 6” skeleton and 8x skypanel S60’s inside.

Stage shoot with 34 motors and 7 different sets. Day and a half of pre-rigging and 4 days of shooting. Grip crew ran 8 deep for most of the shoot and we brought in an additional 5 for the wrap day to get out that night.

This was a 2 day spot for a live event company. We scouted a few days before the shoot and felt pretty good coming into it. We shot 3 different spots in 2 days.

LED walls used to be this big scary new tech. In the early days things like hertz and frame rates would be either a mystery or a guessing game, lighting was a challenge, and camera tracking was a nightmare.

Rollercoaster rig for Top Thrill 2’s media day. This ride went 120mph and was Cedar Points newest and baddest ride. Camera pointing forward and another pointed backward at the news reporters.

Pulled the bumper for this rig to access hard mounts on the frame. Integrated speed rail starter onto the frame and built out with speedrail and hollaenders.

This 3 day job was all shot at a residential house. 1 day to pre rig and 2 days to shoot. One of our main objectives on the pre rig day was to tent both the front and back exteriors.

Water bottle rigged to a Sony FX3. We used 5/8” rods & hardware to secure this water bottle to the camera for a series of shots.