Maybe most of my hours behing a camera have been with a long lens. From a hide or not I feel operating the long lens is just second nature. Often very underestimated, but working with lenses up to 1500mm is specialist work. I’m very comfortable working with any long lens, but most preferred are the Canon 50-1000mm and Sigma 150-600, both owned by myself.
I’ve been building my own camera traps since 2013. These days my 4K Video camera traps can work with various cameras including the Sony A7s2/3 and Panasonic GH5(s).
By using my own timelapse gear in the field to visualise stories that take to long for a normal camera or working closely with two very skilled timelapse studio experts in the Netherlands I’m comfortable saying that timelapse is no mystery. Wether its clouds building to a storm or plants and funghi growing in the studio, we love to think beyond the obvious and the ‘its done before part’ as the basics are just basic to us.
The same counts for high speed as I’ve been working as phantom camera trainer many years ago. Since then I’ve been using highspeed cameras (up to 5000fps) for various
I have quite some Movi/Ronin and small gimbal experience as I own(ed) various of these. Also small but growing experience with Shotover Gimbals.
Multi axis Motion control timelapse. We done things as recreating the same shot multiple times to 6m long movements for seasonal changes in the field.
Small dollies, large tracks, sliders and cable cam setups. And of course one of my favourites; the P&S Skater Dolly. There is nothing that works better for low angle setups than the Skater.
Thermal cameras, night vision, infrared or my own custom build starlight setup.
Wether it’s lighting in the field or recreating the field in the studio with as natural light as possible. Designing and building the set, controlling lights, temperature, humidity, etc. All possible in own studio in the Netherlands or on location. For for me just about every building with can be an indoor studio with the right approach. Experience include breeding various types of insects for filming purpose, dangerous animals like snakes and (big) aquarium setups with currents or waves if needed.
I’ve done various projects where IR lighting was necessary for creating a beautiful lit scene in a way the animals wouldn’t notice. I’ve developed a system with various lights running from big batteries capable of lighting a big scene to last at least one full night.
From simple electronics field repairs to rigging a camera to a F16 jet fighter.
Custom designed borescope lens turned into the Hyperion Microshot.
3d printed camera parts or dummy cameras
Adapted cameras for specific scenes and adopted lenses for specific cameras.
Custom cameratrap systems.
I’ve had a side track in my career for few years where I worked as colorist on various productions. These days are still valuable today in my work as a cinematographer. Knowing more about the science behind colour and digital cinema and especially knowing the possibilities in the grading help me to make the right choices in the field to create the best looking image on the screen. This experience has also proven to be very valuable on multiple projects where I could assist as a low key post production superviser or with data wrangling challenges.