These stills are from "Yellow Bird," a short film shot on HD and directed by Faye Dunaway.  Yellow Bird was selected to be included in the International Cinematographer's Guild 2003 Film Showcase.

We shot the master of this scene as a night exterior with no coverage.  Weeks later I got the call from Faye.  We needed to shoot the overs and close-ups for this scene.  Now on stage, we had to match the lighting.  We cued up a clone of the existing footage.  With the help of HD monitors and vector scopes we were able to match the lighting levels exactly.  If you examine the two stills closely, you may notice a slight difference in Michael Pitt's hair.

This huge church interior is from a film I shot for Trimark Pictures,"Pinnochio's Revenge". Directed by Kevin Tenney and produced by Jeff Geoffrey. We overcame budget and time constraints with a simple and economical approach, one 6k Xenon on a scaffolding and a "baby" FX fogger.

This is another angle in the same setup. This shot was filled and the backgrounds enhanced using smaller units, babies and juniors. We used Zeiss normal speed primes with no diffusion. The stock was high speed Fuji, which was rated at 400.

Here is a closeup of our young star: I'm very happy with the way the light falls on her face in this frame

Here are stills from "One of Us," a short film I shot in 2001 for Director/Producer John Lighten.  One of our locations was a cafe, out in the desert past Lancaster.  I asked John if we could create a "dark" look for his dramatic comedy.  He said "great, let's go for it."  I spoke with my Gaffer, Kenny Wheeland, and said "let's take a chance and really push the look in this cafe.  No Fill and No Backlight."  In other words, the people would be lit with natural sources, single sources, not a formula approach to the lighting setups.

This is a frame from the feature "Bloodstone". Filmed on location in India.

These are stills from the short I shot for Louis Mann, "A Life Less Than Perfect."  I am pleased with the night interiors on the show.  To me they are subtle and realistic, this is not always so easy to achieve.   We had lightning and rain effects on the windows.  I reviewed some of my past interiors with lightning and said to myself: "Ah, I have another chance!"  The day interiors are contrasty and moody, appropriate for the story of a failing marriage and suicidal mom.