Richemont is a Switzerland-based luxury goods group (currently the third largest in the world)  and I’ve worked with the Richemont Americas communications team in New York for a few years now,  producing internal videos around workplace culture, business updates, and end of year recaps.

We’ve also shot and edited content for their corporate sustainability and global apprenticeship programs.

On Earth Day, Richemont Americas hosted a conversation about the company’s sustainability efforts with Chief Sustainability Officer Dr. Bérangère Ruchat, and Head of Sustainability of Richemont Americas, Jose Prudencio.

We covered it with a basic 3-camera set up with excellent lenses, and got a clean audio feed from the remote PA system brought in for the event.

We also handled some event direction on this one:  consulting on where to situate the speakers and audience for optimal aesthetics and video imagery; working with building staff to get camera friendly chairs, decor and plants delivered on time; positioning plants to be in the ideal place not just in the live event space, but in the frames for all  angles; bringing in additional light on our speakers so the windows (world of New York outside) would remain properly exposed for video; and finally, rigging the overhead lights and cables up in the exposed ceiling space above, to keep the floor space open and safe for all attendees.

We shot the New York segment in this series of vignettes on Richemont’s various apprenticeship programs.

The challenge was capturing great looking content that would pair well stylistically with the high quality material being shot internationally by Richemont’s team in Europe.

To establish the apprenticeship story of our featured subjects, and capture the feeling of New York City and its towering architecture in midtown, we did some “run and gun” walking shots in the lobby of the Olympic building, and then headed to Cartier, one of Richemont’s maisons around the corner on 5th avenue. The gentle falling snow really added to the beauty and serenity of the story.

I love every chance I get to shoot for James Brown Media because the projects are always centered on big environmental initiatives and our energy transition.

The NACFE Run on Less program is a powerful non-profit initiative supporting decarbonization and efficiency in the trucking and freight sector.

I’ve shot a few events for NACFE’s Run on Less program, including one of the kickoff videos back in 2017 with Richard Branson, and it was great to be called on to handle production for one of their video segments on Frito-Lay’s brand new electric truck fleet in Queens, New York.

The challenge was to deliver footage that fit in stylistically with the larger Run on Less video series – featuring the latest electric truck depots around the country – but at a much older, short duty-cycle facility in industrial Queens, with active construction happening on the site.

We knocked out 12 interviews in two days under the summer sun with the various players and stakeholders that make this kind of project possible:  Frito-Lay and PepsiCo executives, fleet managers, drivers, infrastructure and OEM executives, and reps from New York City utilities and NGOs.  We also tracked and interviewed two Frito-Lay drivers during their delivery routes, in the cab, and with our drone operator.

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Many of us have a general sense of the benefits of vehicle electrification in the environmental context:  improved energy efficiency, reduced greenhouse gases, and improved air quality in our neighborhoods.  But what the PepsiCo/Frito Lay decision to transition to an EV fleet in NYC shows – beyond the inspiration of seeing how many teams across the private and public sectors are coming together to tackle technological and logistical challenges and make projects like this happen – is that these decarbonization and efficiency initiatives are actually being driven forward not by politics, but by economic interests and improved quality of life, for nearly every stakeholder involved.

Video Edit by NACFE/James Brown

Worked as a freelance videographer with Engadget’s editorial and video teams, shooting and editing tech product reviews.

Role included directing and handling all camera, lighting & audio needs on the shoot; providing creative direction for in-use & product B roll; and handling all editing and post-production for the video before submitting to the Executive Producer for approval, and going live on their channels.  Jobs sometimes involved extra time-sensitive “supercut” video edits during high-profile product release events.

Videos on Engadget channels often averaged 150k views across platforms.

I’ve worked with the internal communications team at Condé Nast in New York City, designing and editing miscellaneous video content for their global meetings and events – involving business updates, people, and sizzle reels.

A video series in conversation with media executives at the Daily Beast, The Guardian, Refinery 29, Dailymotion, Brut., Parsec, Intersection, Verizon Media, and Fast Company, centered on the changing landscape of media, and delivering more meaningful advertising and entertainment experiences.

Created by Havas Media Group, and produced by Robin Lewis of Havas and brand strategist Tim Ryan, I was brought in to takeover the video production and editing duties for the existing graphic Q&A template.

We had an hour to set the room, find the frame, light, set up both cameras and mics, and shoot!   

My neighborhood ice cream shop owner Shelly, and her business partner Kelly, created a DIY dry ice cream mix product you can make at home, and asked for help with their Kickstarter launch.

Ice cream, women-owned start up, pastel colors?   We get to shoot a block from my apt?!  Book it!

Yes!  I do!  …spontaneous, magical bridal gown emoji videos…

Hayley Paige’s team reached out to create a playful video to introduce the launch of her new app “Holy Matrimoji”, for a facebook live event they had scheduled later that week.

They scripted it, chose the music, we shot it in 2-3 hours in her Manhattan studio (me coming up with the shot list, framing, blocking and shot list on the spot), and I turned around a rushed edit (including animations for the text threads).

Such a random project for me, but one that was a lot of fun, and required some quick thinking about narrative, low-fi in-camera effects, and animation.