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I've been a D.P./Operator in the L.A. market for over twenty years. Name a network or cable channel and I've probably worked for them. I've shot TV shows, infomercials, industrials, corporate and literally hundreds of commercials, in both tape and film.

My career goal has been to work on the widest variety of projects in various capacities, and the range of my work experience reflects that goal.

In 1980, I was an instructor at Saddleback Community College, teaching both film and video courses. I also started freelancing as a camera operator.

I became a full-time freelance camera operator in1983. During the next five years I shot high-end video productions in Hollywood, filmed rock videos and D.P.-ed on lots of commercials. I also began directing sport shows for ESPN through Dyno-Comm. These programs were at first done with remote trucks and then individual Betacams.

By the late 80's, I had shot over 100 commercials in both film and video. I bought an Arri S for fun and a Betacam to make money.

In 1989 long-time friend Mike Harrington and I put our Betacam Packages together, bought a third package and a quarter of a million dollar linear edit bay. We opened shop as Big Sky Productions, at South Bay Studios, a hot-bed of automotive production. Along with our normal work, Big Sky did car work for most of the Pacific rim car makers, notably Hyundai and Kia. (That's me with my daughter, Jennifer, shooting a stunt).

I have been a Local 600 IATSE union member in good standing since 1991, when I started my 5 year run as a freelancer for "Entertainment Tonight". Although most of my work is non-union, I still work occasionally as a camera operator on 2nd units for such network shows as "Martial Law", "Thieves", "Invasion" and recently "24".

In the early 90's, when we bought our first non-linear box, the D-Vision, which was the precursor of the Media 100, I knew the future of post-production was about to change dramatically. I decided to leave the post business. In 1994 Mike bought me out.

I took a Betacam Package with me and spent the next six years as a Betacam Owner/Operator. Although 90% of my work was still as a D.P./Operator, I found myself directing more and would occasionally edit and/or produce projects. You can't own an edit bay for 5 years and not learn to produce and edit!

By 2000 I could see a big change in production: DV cameras and inexpensive edit systems such as Final Cut Pro were going to re-shape the business. $15,000 could buy a DV camera package and an edit system. I could see the end of Betacams. Some of my clients were moving down to DV. Others wanted to step up, but didn't want the hassle of shooting in film.

I bought myself a DV camera and Final Cut Pro system while I searched for a new camera. I had seen the HDW-700: It made a great picture, but it still looked like video. But when I saw the Sony HDW-F900 Cine Alta camera, I knew the future had arrived. I immediately ordered mine.

That was 8 years ago. Since then, I have shot and directed over 200 commercials with the F900, a lot of high end corporate pieces, and 5 low-budget horror films.

I directed two of them. And now I'm shooting tapeless HD. I wonder what tomorrow will bring...