Crossphase is not about any one of these people. Nor is it about any one of our productions, or any one of our talents; It is about being greater than the sum of our parts to create work greater than the sum of it's parts. Careful cinematography means the editor doesn't need to use as many tricks to make the result good and can instead focus his work on pacing, mood, and message. And that's what we're all about: Whether we're charged with the duty of telling your story, conveying your message, portraying your event or selling your product, we're about efficiency and a lack of gimmicks. You probably won't find a catering tent on set, and we probably won't bring a 10 ton gaffer truck, but what we will bring is "it". By doing what we do right, while breaking all those old school rules we disregard, we'll get what you need. We might just change the way you think about what visual storytelling can bring to your message, your product, or your script.
But we digress. Lets meet these guys...
Half artist half mad scientist - meet your cinematographer. A classically trained photographer who sees the world in f-stops and shutter speeds, who also happens to have a deep knowledge of computers, electronics and most other things with wires. The result of this mix is an understanding of the physics the camera is working with to capture your image, and an instinctual knowledge of how to work within them, not just pointing the camera and pushing the buttons.
His work has aired on MTV Networks, NY1, News 12, Optimum Autos, Optimum Homes, MTV.com, Collegehumor.com.
Everything you see on screen started as an impulse in someone's mind. The good news for you is that James's mind is like a constant feed of streaming media. A born storyteller with a penchant for pacing, James often walks onto set with the final product edited, in his mind, before cameras have even been unpacked, let alone rolled. The result is an efficiency of production time that cuts away at your costs while simultaneously boosting the value if your message.
Despite his Film education through the Ghetto Film School and Hofstra University, he prefers to rely on his own techniques and experience for production. If there's anyone who can give your project a defined voice, it's this man right here.
Every project we bring ourselves to is unique, and every project has unique requirements and challenges. Old guard production mantra asks you to throw money at these challenges. We don't have to. We've got steve. If MacGuyver had a who-wants-to-be-a-millionare-style lifeline, he'd call this guy.
His background managing Theater and Stage productions instiled him with a one-shot-to-make-it-work attitude means that we won't be wasting time on set fiddling with the logistics. Whatever the shot needs, whether it's a wall of 30 lights, a camera on a crane, or some sort of robotic dingus we haven't even invented yet, it will work, it will work correctly, and it will work the first time.
Steve's least favorite job is driving the car very very slowly as Jon lays on the roof to get a smooth dolly shot.
These are the guys. They are your crew. But what can they do?
Actions speak louder than words.