Clients have asked if I direct and the answer is a big YES.

Although I'm primarily a DP, I'm directing more for a variety of reasons:

1. Simplicity - My 3 biggest clients are strong producers who usually do not use directors. They know what they want and they don't need a middle man, just someone to translate their ideas to images.

I run the crew, set the shot and block the action. I work with the talent, but it's the producer who has final say.

Sleepy Hollow Television has been producing spots for most of the major technical schools for over seven years and I have been both D.P. and Director on literally hundreds of commercials that have aired nationally thousands of time.

2. Budget - Budgets are tighter than ever and producers know they have to stay lean to compete. A Director/DP can be the answer.

Scott Hannah of Redline Studios doesn't want to end up shooting projects in DV or HDV. By hiring me as Director/DP Scott can afford to shoot in HDCAM and deliver his clients the highest posible quality.

3. Experience - Some clients actually hire me as a director who also shoots, instead of the other way around.

I was hired to direct 3 two-minute direct response infomercials and do pick-ups for a fourth. It makes sense to hire a Director/D.P. when half the spots are product shots.

4. Availability - Sometimes the director isn't available and I get the call.

Director extraordinaire Brian Lockwood recommended me to Animal Planet to DP "Mascot Madness", a 3 day HDCAM shoot here in Southern California. Unfortunately, the first day of the shoot Brian was double-booked on an Animal Planet horse jumping show on the East Coast.

The first day was the toughest day logistically because we were working at the Aquarium of the Pacific on a Sunday while it was open to the public. Every set-up was a major company move and difficult because of the restrictions placed on production for the safety of the animals.

We made our day, the Aquarium was happy with production and Animal Planet was pleased with the footage. It was a lot of work but a very good day! I was just as pleased when Brian arrived the next day and I could concentrate on lighting.

Trust me, I appreciate how hard directors work!

Directing Since The Beginning

I’ve been directing since the beginning of my career when I did a weekly multi-camera music show and a monthly single camera newsmagazine show.

For a few years I directed multi-camera action sports shows: Wind surfing in Aruba, canoe racing in Hawaii, skateboarding in Toronto, snowboarding in Vermont, jetskiing in Havasu, etc.

Some were shot live or live-to-tape with big remote trucks, like the OP Pro. It’s fun to say, “Ready blimp, take blimp!” I'm also one of the few people to direct a riot. Ask me about it.

We switched to shooting with Betacams (much easier for the snow shows) and I directed using walkie-talkies. Sometimes I would even get monitors!

I bought my own Betacam and my work slowly shifted to single camera productions. For about a decade I've stuck to shooting. But since buying the F-900, I’ve shot a lot of technical school commercials and I began directing again.

I recently directed my first feature and I'm in prep on a second.

How I Direct

I direct from the technical side as opposed to the actor's side. I believe you "choose" the acting during casting and it's up to the director to get what you cast for.

I'm used to tight budgets. I believe the only way to make it through the day on budget is through careful pre-production before the shoot and also being flexible on set. Preparation allows spontaneity.

I believe the budget sets the shooting schedule and it’s up to the director to make his day. If that’s the kind of director you are looking for, I’m your man.