LIGHTING · CAMERA WORK · AUDIO

Production & cinematography.

I know how to make a video look and sound good. I bring a deep understanding of cameras, lighting, and audio, along with my own equipment and the experience to put it to work.

Beauty portrait with pink and purple studio lighting — Studio color & shape

Chip Dizard interviewed beside a window — Coworking-space interview

A woman in a car with warm sunlight behind her — Available light

Interview in a bright pink room with a geometric wall — A distinct visual identity

A man in a red hoodie interviewed in a transformed classroom — An ordinary room, reworked

Golf coverage against a wide mountain landscape — On-location golf

Michelle Harris seated in a softly lit white room — Soft, bright interiors

P2 Sandhu seated in a warm environmental interview — Depth & background separation

Natalie Franke interviewed in her home — Warm, natural environments

01 / Lighting

Shape the light.

I use natural light, fixtures, and modifiers to create depth, shape a face, and make the setting work for the story.

Interview and studio lighting
Light control, exposure, and color
My own lighting and grip equipment

02 / Camera work

Build the image.

Framing, lens choice, and movement all have a purpose. I capture strong individual shots and coverage that works together.

Composition, lenses, and camera movement
Matching multiple cameras and angles
Exposure, color matching, and grading

03 / Audio

Get clean sound.

I choose and place microphones for the situation, monitor the recording, and carry clean dialogue through the final mix.

Boom, lavalier, and wireless microphones
Location recording and monitoring
Dialogue cleanup and mixing

Filmmaking breakdown · Chip Dizard

From conference room to interview set.

I built this setup around the room’s windows, then used my lighting and audio equipment to shape the image and capture clear dialogue. Camera placement and lens choice kept the busy coworking space outside the frame.

Behind the scenes: my lighting and boom microphone positions, annotated around the interview setup — The room behind the frame. My lighting and audio setup, with each position labeled.

Play my filmmaking breakdown

Part of Showit’s Free to Be Me series, made with James Adams. James led the interviews; I handled cinematography, lighting, audio, editing, and finishing.

Natalie Franke · Showit

Keep the room’s character. Shape what the camera sees.

I used my camera, lighting, and audio kit to build two matching interview angles in Natalie’s home. Soft light and careful framing kept the setting warm and natural, with attention on the person speaking.

My equipment and interview setup in Natalie’s home.

Third Church · Interview production

Fast, flexible studio builds.

I turned a small Sunday school classroom into a two-camera interview set using my own cameras, lighting, and audio equipment. The compact setup let me move efficiently between interviews and documentary coverage over two evenings, then carry the footage through editing and finishing.

Watch the finished film

Refugee Tutoring Program · Third Church

The Heights Church · At the Movies

Large-scale multicam production.

Working as part of a 10-person crew, I led camera placement and lens selection, matched settings across three cameras, and checked exposure. I supplied lighting equipment and helped shape the lighting around the presenter and changing LED-wall backgrounds.

I also helped direct the on-camera delivery and photographed behind the scenes. Other crew members handled audio, teleprompter, and monitoring.

The Heights Church multicamera set with my lighting equipment around the presenter and LED wall — My lighting equipment on set, working alongside the Heights production team.

The presenter lit against the Heights LED-wall background — The lighting in place.

The crew preparing a take on the Heights Church set — Preparing the next take with the crew.