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Behind the Camera
One cinematographer, one belief — that every frame should earn its place in the story.
Light first, gear second
I started shooting on borrowed cameras and available light, learning to see before I learned to rig. That habit never left: every project begins with the sun, the room and the faces — the equipment list comes after.
Today I shoot narrative films, commercials, music videos and documentaries across the region, bringing the same discipline to a two-person field crew and a full studio unit alike: plan the light, protect the performance, and never let the camera get in the way of the moment.
What Guides Every Shoot
No look for its own sake. The lighting, lenses and movement are chosen to serve the script's emotional core — if a choice doesn't help the story, it doesn't make the frame.
Thorough prep — sun charts, location scouts, shot lists with room to breathe — so shoot days stay relaxed and the whole crew can do their best work.
Directors, producers and colorists get a straight-talking partner: clear options, honest trade-offs, and images that cut together the way we planned.
The Working Kit
Arri Alexa 35 · Arri Alexa Mini LF · RED V-Raptor · Sony Venice · Sony FX9
35mm Anamorphics · Cooke S4s · Kowa Anamorphics · Vintage Leica Primes
Gimbal · Slider · Russian arm (with certified operator) · Handheld rigs
DaVinci Resolve Studio pipeline, on-set DIT and dailies available