RAW stories in wild places

What first drew you to filmmaking, and how did it turn into a career that’s taken you across the world?

Growing up in rural Alaska, I had no electricity or even indoor plumbing. Without electricity, there was no television either. Movies became my escape, and I quickly became obsessed with them. In my early 20s I moved to Los Angeles to become a filmmaker, not knowing anything or anyone. I rolled up my sleeves, borrowed cameras, and started learning how to tell stories. 

Two decades later and I’ve made TV or films across six continents – and even won a couple of Emmys. Mostly, I work as a director or cinematographer and often as both at the same time. Given my upbringing, I have specialized in working in remote and challenging environments. I’ve ventured deep into remote Siberia, the Amazon jungle, lived in tents and traveled on horseback, all while telling stories with a camera. My next big goals are to direct a feature film I have written, or make a documentary with an A-list musical artist. 

From your earliest shoots to high-pressure productions like Deadliest Catch, how has the Shogun influenced the way you work?

I’ve used the Shogun for years whenever I needed to capture ProRes RAW footage. My first experience with it goes back over a decade, when I was making a documentary and I wanted to capture it in 4K. I was working with a variety of cameras – RED, Panasonic Lumix and the then-new Sony A7S, which didn’t support internal 4K recording at the time. Back then, the only way to get 4K footage out of the A7S was through the Shogun, so it quickly became an essential part of my kit.

As Director of Photography on reality television series Deadliest Catch, we relied on an array of Shoguns to record feeds from the fixed deck cameras aboard the fishing vessels. These cameras need to roll around the clock in harsh, unpredictable conditions, sending the feeds to Shoguns equipped with high-capacity SSDs. It proved to be a great workflow!

Could you tell us more about your recent project in Botswana, and how your gear helped you?

I was in Botswana directing a (top secret) project. I brought along a single 42mm Atlas Anamorphic prime lens and carried it everywhere mounted on my Lumix S5IIX. I became obsessed with having such a powerful, yet small cinematic package and I was filming with it constantly, to and from location every day, on scouts and even on my days off.

The Shinobi II monitor really helped because it offers a de-squeezed view, has several amazing peaking options and it’s very bright. In the harsh African sun, the Shinobi was often the only way I could be confident in achieving critical focus with the lens. I ended up capturing a massive amount of footage, some of my very favorite from my entire career, and I plan on crafting it into a short personal film later in the year.

“The best stories usually suck while they’re happening. But later, they’re the ones you’ll never forget. So embrace the suck.”

Looking back, what moments have defined your journey as a cinematographer?

I’ve always said yes – even when I was a little unsure or afraid. Sometimes getting an opportunity is the hardest thing – and they don’t always come wrapped in a nice little bow. I know I’m pretty good with a camera, but so are a lot of people. What I’m truly proud of are the fleeting moments I’ve managed to capture, and the human connections I’ve made through them, all around the world.

What advice would you give to filmmakers shooting extreme outdoor environments?

You have to get comfortable with being uncomfortable – too hot, too cold, wet, dirty, or tired. That’s just part of the job. In every moment, you need to know what matters. Sometimes it’s the image, sometimes it’s just the audio – but you have to know and be prepared.

Keep your kit simple and solid – less is more, so build the most robust yet efficient camera package you can and always be ready to move. And remember, the best stories usually suck while they’re happening. But later, they’re the ones you’ll never forget. So embrace the suck.

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