Life is a series of moments, and key moments throughout my life have shaped my filmmaking career.

Film has been a part of my life from an early age: elementary school friends and I would perform comedy skits and make short films together for fun. These early notions of film carried into middle school, but laid dormant until midway through college. It wasn’t until my grandmother’s passing that I woke up to what I wanted to do with my life.

At the time, I was struggling with indecisiveness and anxiety: overwhelm would have me running away when things got hard, and I felt aimless in college, taking random classes without any real direction. When I shared these thoughts with my grandmother in her last moments, she laughed and said, “Just don’t do that.” It was a key moment and the breakthrough I needed for a renewed focus.  

I completed my Associates degree in San Antonio, then moved to the Dallas area to complete my Bachelors in Cinematography and Film Production at UT-Arlington. My thesis film ‘Moth to the Flame’ is what introduced me to the smooth, controlled motion of Steadicam: my Director of Photography used it for my film, and I was enamored. Seeing Steadicam shots in ‘There Will Be Blood’ and ‘Goodfellas’—and a brilliantly executed scene from ‘Dexter’—literally changed my life: watching talent, effects, and cinematography come together to achieve real, visceral moments like that had me hooked.

These moments kept coming: an accidental viewing by a Creative Director of a Steadicam shot I’d operated for a short film launched my career as a full-time Steadicam operator.

I’ve worked in Steadicam since 2015: now with my own rig, I’ve expanded my range and am constantly experimenting with new accessories and auxiliary equipment, adding to my toolkit and finding creative ways to achieve “the shot”.

My résumé and highlight reel includes corporate and narrative work: feature films (Ike Boys, Hyde, Rearview Cataclysm), big-brand commercials (JUUL, SK-II, Amazon), music videos (Hayes Carll, Black Pumas, Ben Dickey, Midland), and television (Skyvault). I’ve also had the opportunity to work with amazing DPs and directors like Peter Simonite, Kinji Katori, Alex Gallitano, Sean Conaty, Cole Graham, Anh Vu, Lance Edmands, Alan Ferguson, and Lance Edmands. 

I love the hands-on work of being behind the camera and the responsibility it entails with visual production. Working with great, low-drama people who like to have fun on set is what I’m all about: I like to work hard for people who trust my experience and my vision, and I believe that a strong sense of camaraderie and room for fun on set is what leads to truly great work. 

I’m a problem-solver with both the technical and communication skills to create superior work. I’m warm, effusive, and energetic, and am told I'm a ton of fun to work with.

Need my vision on set? Want to book me for an upcoming project?