Always love working with director Bronson Farr, This was a single day fun shoot in the summer with a great group of people. Everything was shot natural light with the energy and rhythm found in the edit.

Shot this Blue Cross spot with director David Schmidt and Naked City Films. Kept the cinematography bright, clean, and approachable, matching the positive vibe of the campaign. Always enjoy collaborating with David and the team—straightforward visuals, genuine moments, and good energy on set.

Shot this piece for Walmart with production company Lobo right in the middle of COVID. I flew out to Phoenix—literally the only person on the plane—and worked on-location while the directors dialed in remotely via iPhone. It was a low-tech setup but impressive how smoothly everything came together despite the challenges. Pretty memorable shoot and a great example of adapting quickly to get the job done.

Filmed this Harney and Sons spot with director David Schmidt and NB Content. We had a big cast, which made things interesting—lots of moving parts, plenty of dolly shots, and careful planning around setups. Played with dramatic lighting and clean framing to keep the visuals polished. Shoots like this are always fun—especially with a larger crew and cast working together smoothly.

Shot this commercial in Orlando with director David Schmidt and NB Content. We used a SnorriCam rig, which kept the camera close to the actor and allowed for natural, dynamic movement. Handling the weight of the RED camera on the SnorriCam setup was definitely challenging, but it created a really immersive feel. Great experience overall, and the Orlando crew made everything run smoothly.

Shot this Walmart spot with director David Schmidt and Naked City Films. We mixed in a vintage VHS aesthetic for some scenes, which was fun to create. The shoot moved fast—rigging up moving lighting carts inside Walmart, quickly jumping from one setup to the next, and blazing through different locations. Definitely kept things interesting.

Shot this commercial with director Chris Shimojima. Hospitals are always tricky places to film—you’re constantly working around their schedule, and moving a whole crew through tight hallways can get complicated fast. Still, we got some memorable shots, including one in the ICU with a newborn, which isn’t easy to get access to. Props to Chris and the crew for making this challenging shoot come together so well.

Filmed this UPS spot in Brooklyn with director Mateus de Paula Santos. The shoot had a lot going on—keeping the framing dynamic while managing the chaos of Brooklyn streets definitely kept things interesting. Always love working with Mateus, who had a clear vision blending the live-action footage with animation. Great seeing the final mix come together.

Filmed this spot with director Fany Texier and the crew at NB Content. It was a fun shoot—kept things fresh and natural with clean visuals and simple framing. Great working with Fany and bringing Jasmine Brown’s personality to life on camera.

Directed and shot this commercial for Sunsweet with Consolidated Content. It was a fun but challenging summer shoot in Orlando—managing both directing talent and handling cinematography was definitely demanding, but that’s exactly the kind of challenge I enjoy. Having a great crew made a huge difference, and it’s always interesting to navigate the balance between working closely with talent and capturing compelling imagery.

Shot this spot with director Neil Solomon and really enjoyed diving into dramatic lighting setups to highlight Greenpeace’s powerful environmental message. We went bold with contrasts, deep shadows, and dynamic framing, aiming to give each scene a strong visual impact. Using dramatic lighting to highlight key moments was crucial in emphasizing the urgency around these environmental issues. Definitely a rewarding shoot—love when cinematography and storytelling align for an important cause.

Shot and directed this commercial myself, which made it an interesting challenge—handling both roles solo definitely kept me on my toes. It was a summer shoot, so we went simple, relying on natural, clean visuals with quick, intuitive framing. Working solo meant staying nimble, but it was cool seeing everything come together naturally.

Filmed this Neon Cactus spot during summer back in Sydney, Australia. Great natural light and simple setups kept things looking clean and fresh. Always love shooting in Sydney

Filmed this Bombay Sapphire spot at Gum Studio in Brooklyn with director Mateus de Paula Santos and the team from Lobo. We had a big, detailed lighting setup to give the directors flexibility and freedom in how they wanted to shoot. The lighting crew did a fantastic job making it happen, which made everything else flow smoothly. Always great collaborating with the Lobo team.

Shot this commercial with director David Schmidt and Naked City Films. Kept things natural and approachable, matching Zarbee’s family-friendly vibe. Clean lighting, simple framing, and a relaxed atmosphere on set made it a smooth shoot. Always great teaming up with David and Naked City.

Filmed this commercial around NYC with director David Schmidt and NB Content. It was a seriously cold winter shoot—operating the camera in freezing temps is always tough. But shooting all over the city was pretty special; we captured lots of great NYC moments. Definitely felt like an ode to the city, and despite the cold, worth it.

Hospital commercial with the one and only Chris Shimojima

My commercial showreel!