Haley, an alienated, directionless content writer haunted by her past potential, drifts through depression, chronic pain, and distant relationships as she searches for her future.
Daydreams is currently in pre-production.
Contact [email protected] for funding and more information.
Director: Brennan Huizinga
Three high schoolers in 1968 have their worlds flipped when they discover footage of the John F. Kennedy Assassination and its killer; who's closer than they might have thought.
Construction Manager, Associate Producer, First AD, First AC, Colorist
The Collins Film is the largest production 640 has ever produced. I worked closely with Brennan to run the day-to-day operations on set, creating call sheets, and ensuring we meet our days. I also served as the First AC and focus puller. Additionally, I managed the construction of the film’s key set, building flats, painting, and budgeting. Now, in post-production, I am the colorist on the film, utilizing the Eastman Tri-X Show LUT I made for on-set viewing.
Director: Spencer Swenson
Artist: Tonguecutter
Cinematographer, Colorist
Spencer Swenson and I wanted a look that was warm, yet reflected the coolness that comes with an Autumn day. I first created a Show LUT to view on set through a BMPCC6K. The film’s final look doesn’t stray too far from the Show LUT. In addition to the grade, we wanted to create gritty film grain look to match the energy and vibe of the band.
Director: Spencer Swenson
Artist: Casket Cassette
Cinematographer, Colorist
Created a Show LUT for director Spencer Swenson to visualize the video as it was shot. Lead the camera and lighting crew on. Utilized color grading and VFX to create the final look. Delivered the final master files in multiple codecs.
Louise, an overworked server, begins cheating on her unemployed boyfriend Jon who spends his days studying Marx’s Capital. Overworked and exploited, their relationship suffers. Louise forgets traces of her other love in their one-room apartment. As Jon discovers them, new tensions rise in their already burning relationship.
Producer, Writer, Director, Production Designer, Sound Designer, Colorist
70-minute feature film on Amazon Prime Video, YouTube, and Blu-Ray. I led a team of 10 crew members on set, communicating the vision of the film. Additionally, I managed the film’s budget, production schedule, and distribution. I also built and designed the entire set for the film. I held key post-production roles designing the sound and color grading the film.
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Director: Travis Burgess
After the shocking death of a small-town reverend, an insurance investigator arrives in town. Against his better judgement he agrees to help find the actual cause of the reverend's death. He proceeds to interview all the congregation members, sifting through a web of red herrings and self-serving lies. Over the next 24 hours he interviews six suspects and seeks to solve the case.
Props Master
I collaborated with the director and production designer to build key props and set pieces like a stained glass mural frame and baptismal pool.
Director: Alex Leon
In the wake of his worsening illness, Silas leaves his significant other one night and hitchhikes West, encountering increasingly eccentric characters, and unearthly experiences.
Producer, First AD, Camera Operator, Colorist
I worked closely with director Alex Leon to coordinate the production of Atrophy in Grand Rapids, MI as he is based in Philadelphia. We shot in multiple locations in West Michigan over 3 days. I organized the shooting schedule, casting calls, and operated a camera on set. Additionally, I worked with Alex to create the look and feel of the film. We went for a soft, dreamy, surreal look to complement the narrative.
Director: Brennan Huizinga
A lonely wedding photographer falls for a wedding crasher, who disappears under untold circumstances.
Capital City Film Festival -- Official Selection; Adrian International Film Festival -- Official Selection (Winner); Royal Starr Film Festival -- Official Selection; Threadbare Mitten Film Festival -- Official Selection (Winner)
Producer, First AD
Something Blue was shot in 3 days on virtually no budget, with no more than 8 crew members at any given time. We shot in various locations across West Michigan, at times with nearly 20 extras.
Director: Parker Keye Eisen
A woman witnesses a plane explode and struggles to communicate its effects to her friend.
Writer, Director, Producer, Editor, Colorist
Regardless of how I feel about Par Avion now, it was a massive project for me as a student filmmaker. It uses a combination of black and white and Super 8mm film. In the film I explored the limits of narrative filmmaking by trying to use atmosphere in a way that allows audiences to create their own meaning. Does it fully do that? Not sure. But things I learned on this film still impact my filmmaking today.
