Process

Behind the work

How the
work gets made.

Every frame is a decision. Every edit is a choice. This is what happens between the first conversation and the final file — and why it matters that it's done right.

I

Story
first.

The camera is the last thing I pick up. Before anything gets shot, I need to understand what we're saying, who we're saying it to, and what we want them to feel when it's over.

II

Light
always.

Everything cinematic comes down to light. I plan around it, wait for it, and chase it when I have to. The best gear in the world can't fix bad light — and good light can make any camera sing.

III

Nothing
wasted.

Every shot is deliberate. I don't spray and pray. I set up, think, and press the shutter when it's right. That discipline shows in the edit — and in the speed of delivery.

Phase one

01

Pre-production

This is where most of the real work happens — before anyone picks up a camera. A shoot that's planned well almost can't fail. A shoot that isn't planned can't be saved in post. I spend significant time in pre-production because it's the highest-leverage thing I can do for the quality of the final product.

Discovery call

We talk through the project — your goals, your audience, your timeline, and your budget. I ask a lot of questions. That's the point.

Creative brief

I put together a written brief covering the visual direction, deliverable formats, and any reference material. You approve it before anything moves forward.

Location scouting

For shoots that depend on environment, I scout in advance — checking light angles, access, safety, and whether the space actually serves the story.

Shot list

Every shoot has a shot list. Not a rigid script — a framework. It keeps us moving efficiently on set and ensures nothing critical gets missed.

Equipment prep

Canon EOS 80D, both kit lenses, DJI gimbal, DJI Mini 3 Pro, DJI Mic 2. All gear checked, charged, and packed the night before. No surprises on set.

Timing & light plan

For outdoor work, I plan around golden hour, weather, and sun position. The difference between shooting at the right time and the wrong time is the difference between good and great.

Phase two

02

Pro-duction

On set, the plan meets reality — and I've learned to love that tension. The shot list is a guide, not a cage. When something unexpected happens that's better than what I planned, I take it. That's the difference between executing a plan and actually making something.

Setup & safety

Arrive early. Get oriented. Make sure the environment is right before the clock starts on anyone else's time.

Camera work

Canon EOS 80D on gimbal for moving shots, handheld for intimate moments, locked-off for clean B-roll. Every tool has a purpose.

Aerial coverage

DJI Mini 3 Pro in the air when the project calls for scale, context, or an establishing perspective that only elevation can give.

Audio capture

DJI Mic 2 wireless system for clean dialogue and ambient sound. Audio is monitored throughout — not checked after the fact.

Directing subjects

Most people freeze in front of a camera. I know how to put people at ease, get natural expressions, and find the genuine moments that make content feel real.

Coverage & backup

I always shoot more than I need. Multiple angles, multiple takes on critical moments. The edit is only as good as the options available to it.

Phase three

03

Post-production

Post is where the story gets told. The footage is raw material — the edit is where it becomes something. I approach every edit with the same question: what's the most honest, compelling version of this story? The answer drives every cut, every color decision, every music choice.

Ingestion & review

All footage reviewed and logged. Best takes flagged. Nothing gets binned permanently until the project is fully delivered and approved.

Assembly cut

The rough shape of the story laid out. Not pretty yet — just getting the bones right. This is where pacing decisions start.

Color grade

Everything goes through DaVinci Resolve. Cinematic color treatment that's consistent across every shot and true to the mood of the project.

Audio mix

Dialogue cleaned, music balanced, sound design added where it serves the story. Audio that sounds like it was designed, not just imported.

Music licensing

Licensed music sourced from Artlist, Musicbed, or Epidemic Sound. You own the rights to use the final video anywhere — no copyright issues ever.

Export & delivery

1920×1080 · H.264 · 29.97fps · AAC stereo as standard. Additional formats (4K, vertical, square) available on request. Delivered via private gallery link.

A day on set

6:00 AM

Early arrival

On location before anyone else. Check the light, finalize the setup, work out anything the scout didn't reveal. The best shots of the day often happen in the first 20 minutes.

7:00 AM

Golden hour — primary shooting

The most important window. Warm, directional light that makes everything look cinematic with minimal effort. This is when the hero shots get made.

9:00 AM

B-roll & detail coverage

Working through the shot list. Detail shots, environment coverage, cutaways. Building the library of footage the edit will draw from.

11:00 AM

Drone work

DJI Mini 3 Pro up for aerial establishing shots and perspective coverage. Planned around wind conditions and airspace clearance checked in advance.

1:00 PM

Interview or feature content

If the project includes talking-head interviews or subject-led content, this is where it happens. DJI Mic 2 wireless, controlled environment, DJI gimbal for movement.

4:00 PM

Second golden hour

If the schedule allows, we stay for the second golden window. Sometimes the best light of the day comes at the end of it.

Evening

Wrap & backup

All footage backed up to two separate drives before leaving the location. Nothing moves to post until everything is safely stored in two places.

In the edit

What post-production
looks like.

Every project goes through DaVinci Resolve — the same software used on Hollywood features and high-end commercials. I use it for editing, color grading, and audio mixing. It's not the easiest tool to learn, but it's the right one for work that needs to look cinematic.

Color grading is where footage stops looking like a video and starts looking like a film. I grade every clip individually, match shots across the edit, and apply a consistent look that's true to the mood of the project. The grade is part of the storytelling — not an afterthought.

Music is licensed through Artlist, Musicbed, or Epidemic Sound depending on the feel the project needs. Every track is cleared for commercial use so you can post the final video anywhere — social media, your website, paid ads — without copyright issues.

DaVinci Resolve

Primary editing, color grade, and audio mix. Industry standard, used on major feature films.

Artlist / Musicbed

Licensed music library. Every track cleared for commercial use — no copyright claims, ever.

Export: H.264

1920×1080 · 29.97fps · AAC stereo standard. Additional formats on request including vertical and 4K.

Private gallery delivery

All deliverables sent via a secure private link. Download in original quality, no compression.

What inspires the work

Filmmakers

Roger Deakins

Cinematographer. The greatest living director of photography. Every frame is a painting.

Christopher Nolan

Director. Practical over digital, always. Scale and intention in every shot.

Brandon Li

Indie filmmaker. Hyper-kinetic, visceral style. Proof that one person with a camera can make something extraordinary.

Parker Walbeck

Commercial filmmaker and educator. Cinematic commercial work that set a standard for what's possible at an independent level.

Photographers

Larry Chen

Automotive photographer. The definitive eye for cars in motion. Nobody does it better.

Steve McCurry

Documentary and portrait photographer. Proof that a single frame can contain an entire story.

Annie Leibovitz

Portrait photographer. The ability to make a subject feel like a cinematic character.

Alex Strohl

Landscape and adventure photographer. Light as a subject, not a tool.

Music & Culture

NF

The discipline and rawness of his work translates directly into how I approach storytelling — honest above all else.

KB

Faith, craft, and culture in the same space. The same tension Molten Frame tries to hold.

Elevation Worship

Cinematic production applied to worship. A reminder that quality and faith aren't in conflict.

Car culture

The community, the obsession, the craftsmanship. A world that takes beauty seriously and always has.

Common questions

How far in advance should I book?

At least 2–3 weeks for most projects, longer for complex productions or shoots that depend on specific conditions. The more lead time, the better the pre-production — and the better the outcome.

How long does editing take?

Typically 5–10 business days for video projects, 3–5 for photography. Complex multi-day shoots take longer. You'll always have a clear timeline agreed before we start.

Do you travel outside Colorado?

Yes. Travel is available for the right projects. Travel costs are discussed during scoping and included in the proposal transparently. No surprise expenses.

How are files delivered?

Via a private gallery link — high quality, downloadable, organized by project. Video deliverables come in all formats you need. Gallery access is available for 90 days.

How many revisions are included?

One round of revisions is included in every project. Additional rounds can be added at an agreed rate. Most projects are approved on the first delivery because of how thoroughly the brief is developed upfront.

Do I own the footage after delivery?

You own the final edited deliverables and can use them anywhere. Raw footage ownership is discussed on a per-project basis. Usage rights for all licensed music are included.

What if the weather doesn't cooperate?

We reschedule. I won't shoot in conditions that compromise the work. Weather contingency is built into every outdoor project timeline from the start.

Can you shoot vertical content for social media?

Yes. The DJI Mini 3 Pro shoots true vertical natively, and all other content can be delivered in vertical format. Social-optimized cuts are available for every project.

Now you know
how it works.

The process exists to protect the work — and to make sure you get exactly what you came for. If this sounds like the kind of collaboration you're looking for, let's start a conversation.

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