Services
Hire a Crew That Is Already Acclimatized.
Director of photography, camera operator, director or a turnkey field unit for series, broadcast and brand productions. One contact covers planning, camera and aerial packages, data and post.
What I do
Four Jobs, One Standard.
Where the road ends
Multi-week shoots at altitude, on rivers and in deserts. Eric has filmed on several Everest expeditions and climbed above 6,000 meters more than once, so the camera keeps working when conditions don’t.
- Pre-trip planning: power, comms, permits, weather windows
- Satellite phone, Garmin inReach and VHF on every remote job
- Avalanche Level 2 training, class IV whitewater, 5.10 rock
- Documentary interviews with a light, fast audio kit
Eyes above the ridge
FAA Part 107 certified with current recurrent training, plus years of helicopter and small-plane aerial work around the world.
- DJI Inspire 3 and DJI Mavic 3 Pro
- Airspace authorizations and permits handled in planning
- Heli and fixed-wing camera work
- Note: most national parks prohibit drone flights, so plan early
Campaigns that look like the place
Tourism boards, hospitality and outdoor brands. Cinema cameras, lighting and production sound, with a crew that puts talent at ease on location or in the studio.
- RED Epic-W and Gemini, Sony FX9, FX6 and FX3, Canon C300
- Zeiss cinema and Sony G Master glass
- Movi Pro and DJI RS3 Pro gimbals, motion-control time-lapse
- Sound Devices 633, Schoeps CMIT 5U, Zaxcom and Tentacle timecode
Cut to the music
Music-informed editing is where the story lands. Licensed commercial tracks or an original score, color, captions and every delivery spec your platforms need.
- Adobe Creative Cloud editing suite
- Music selection and licensing, or an original score
- Color, captions and multi-platform deliverables
- Organized archives, so footage stays findable for years
Ways to hire
Four Ways to Put Eric on Your Production.
Every bid is itemized: crew, kit, travel, prep and wrap days, and post. Start with the structure that fits and adjust from there.
Director of photography or camera operator
Plug into your crew as director of photography or A-camera, with or without the camera package.
- With or without kit
- Camera, drone and travel itemized
- Prep, travel and wrap days quoted up front
Episodic and recurring productions
Multi-episode and multi-year programs that need the same eye, crew and archive every time, the way A Rally for Rangers came back rally after rally.
- Consistent look and delivery specs across episodes
- Archive managed across seasons
- Recurring rates for ongoing programs
Days to weeks in the field
A self-sufficient camera unit that keeps pace with the team, the weather and the schedule.
- Per-day field rate
- Travel, prep and acclimatization days quoted up front
- Carnets, permits and satellite comms planned
Edit, color, sound and deliverables
Offline through final masters, cut to music and delivered to broadcast and platform specs.
- Project or day rate
- Music licensing or original score
- Masters, cutdowns and captions
How it works
From Brief to Delivery.
Bid request
Send the bid request: story, locations, dates, deliverables, crew and kit. About ten minutes, and you can save and finish later.
Bid and plan
An itemized bid and production plan: crew, kit, travel, permits and backup gear for remote locations.
Shoot
Pre-dawn call times welcome. Footage is backed up in the field, on every shoot.
Deliver
Edit, music, color and files in every format you need, plus an organized archive.
Questions
Before You Book.
Do you travel?
Yes. Most of the work on this site happened far from Idaho: Nepal, Fiji, Mongolia, Myanmar and at sea. Travel days and gear shipping are quoted up front.
Can you fly a drone for commercial work?
Yes. Eric holds an FAA Part 107 remote pilot certificate and keeps his recurrent training current. Airspace authorizations are part of planning. Most national parks prohibit drones, including Grand Teton and Yellowstone, so aerials there need a different plan.
What cameras do you shoot?
RED, Sony and Canon cinema systems, chosen for the job: RED for maximum image, Sony FX bodies when weight and battery life matter, and mirrorless for the pack.
Who owns the footage?
It depends on the agreement. Commissioned footage is usually licensed or assigned to the client as written in the quote. Archive footage can be licensed separately.
How far ahead should I book?
Expeditions and multi-day shoots: as early as you know the dates. Single shoot days: two to four weeks is typical, but ask about short notice.
How do I hold dates?
Choose a first or second hold on the availability or bid form, with the date you expect to confirm or release. Nothing is paid up front. Once the bid is approved, Eric sends the proposal, production agreement and deposit invoice, and the dates lock when the deposit clears.
Availability
Tell Me Where You’re Going.
Dates, locations and deliverables are enough to start an itemized bid.