Monster-speed filmmaking

Can you tell us about your background and what first drew you into action‑sports filmmaking?

I’m from a small town in central Pennsylvania called Selinsgrove. I’ve been working in the action‑sports film industry since 2014, filming skateboarding, surfing, snowboarding, and motocross – all the things I grew up loving. Skateboarding was my first passion, and that eventually led me into racing motocross from age 12 to 23.

Growing up, I watched every skateboard, snowboard, and motocross video I could find on VHS. I spent my childhood filming my friends skating, riding, and snowboarding just for fun – that’s how I first picked up a camera.

In 2016, I launched my own action‑sports media agency and began producing content for some of the biggest brands in the industry. I started with Gonzo‑style sports journalism, I’d like to think – which led to photography out of necessity, and eventually into videography. I began by traveling the world shooting Motocross and Supercross races, and soon expanded into skateboarding, surfing, and snowboarding for countless global brands.

Today, I run Amend Art Works (@amend.artworks), an action‑sports creative agency that specialises in documentary storytelling, branded content, and behind‑the‑scenes coverage, working with top clients including Monster Energy.

What does your current on-set workflow look like?

My main camera is the Canon R5, and my secondary camera is the Canon XF400. I use the XF400 for its optical zoom and incredible autofocus, which is perfect for documentary‑style, run‑and‑gun shooting.

The R5 is my go‑to for cinematic shots and interchangeable lenses. I use nearly every RF lens Canon offers at some point throughout the year. I also shoot a lot of Super 8 on a Canon 514XL to mix into my projects. That mix of digital and film helps me create a visual style that feels both polished and nostalgic, which fits the action‑sports culture really well.

For monitoring, I use the Shinobi 7 RX. It’s bright enough for outdoor action sports, large enough to pull accurate focus, and flexible enough to move off‑camera.

“It’s bright enough for outdoor action sports, large enough to pull accurate focus, and flexible enough to move off‑camera.”

How do you approach capturing behind-the-scenes (BTS) content?

We capture BTS through both photo and video, and we also use Ray‑Ban Meta glasses to show the monitors and Atomos gear in action – then show the final results during our shoots. This gives viewers a first‑person look at how we work, and shows the authenticity behind the final edits.

These clips help demonstrate how Atomos equipment performs in intense, environmentally demanding situations. That might mean surviving a week at a dusty motocross national, or holding up under full sun during a surf trip.

What challenges were you facing before using Shinobi, and how did it change your workflow?

I chose the Shinobi 7 RX because I needed a monitor that could load LUTs so I could see my color profiles in real time. Before that, I was proxying and guessing color, which created way too much extra work in post. The Shinobi also gives me the flexibility to take it off the camera and monitor other angles when I need to put on the producer hat.

The 7-inch screen is a massive upgrade from the monitor on the Canon R5. With the larger display and the focus‑peaking tools, I can pull much cleaner focus and catch details I would’ve missed on a smaller screen – especially when shooting wider lenses. In action sports, missing focus often means missing the moment entirely, so that extra clarity is huge.

And during run‑and‑gun shoots, having touchscreen camera control has become essential. Combined with LUT support, it makes it much easier to get a clean, accurate image while shooting RAW, without slowing down the pace of the shoot.

“Shinobi 7 RX lets me load LUTs so I can see my colour profiles in real time. Before that, I was proxying and guessing colour, which created way too much extra work in post.”

Can you share a moment where the Shinobi made a clear difference on a shoot?

During a recent shoot at Philadelphia Supercross, it was overcast and raining most of the day. I was constantly moving between darker natural light outside and bright stadium lighting inside. Having LUTs loaded into the Shinobi was key for monitoring white balance and getting a solid color profile.

With rain coming down and obstacles everywhere on the muddy track, the red focus peaking on the 7‑inch screen made pulling focus effortless. It helped me nail shots that would’ve been nearly impossible on a smaller monitor.

What’s on the horizon for you and Monster Energy?

Next, we’re shooting with young motocross phenom Ryder Ellis for Monster Energy and Monster Army in Tulare, California. After that, we’re heading to Fox Raceway in Pala for the first round of the 2026 Pro Motocross series to film a documentary for Monster Energy and Star Racing. Then it’s off to Mammoth Mountain for their annual motocross national, where we’ll be filming a documentary.

The Shinobi 7 RX will be part of all of it, especially for BTS content on social media, and for monitoring how the gear holds up in brutal conditions like snow, heat, rain, dirt, mud, dust, and constant travel. I’m excited to push the Shinobi even further in these environments.

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