Working with me
How do I get a quote?
Fill out the contact form — it takes about two minutes. I read every inquiry myself and reply as soon as I can, usually with a question or two and a rough sense of fit.
Where are you based?
Washington, D.C. I work across the D.C. metro area and beyond — on call, on site, or on the road, depending on what the project needs.
What do I need ready before reaching out?
Nothing formal. A sense of the event or project and roughly when it's happening helps me answer faster, but "not sure yet" is a fine answer to most of the form — that's what the conversation afterward is for.
Roles
What each option under "Role Needed" on the contact form actually covers.
Technical Director
Cuts the live program — switching between cameras and sources in real time, calling or executing the show's shot sequence as it happens.
Camera Shader
Matches color and exposure across multiple cameras on the fly during a live show, so every angle looks consistent when the Technical Director cuts between them.
Robotic Camera Operator
Runs PTZ (pan-tilt-zoom) robotic cameras remotely, framing and moving shots without a physically staffed camera position — used for extra angles or venues where an operator can't be on-site.
Broadcast Switcher Engineer
Runs the video switcher for broadcast-style production — multicam technical direction and the signal chain behind it, for broadcast, corporate, and live content.
High Res Switcher Engineer
Runs the image-processing and switching systems that drive the audience-facing screens at a live event — LED walls, blended projection, multi-surface sets, IMAG side panels, and confidence monitors. See the Insights posts on Analog Way Aquilon and Barco Encore3 for the platforms this covers.
Video / Post Production
Camera work and editing after the fact rather than live switching — multicam technical direction and post-production for broadcast, corporate, and video podcast content, cut for wide and vertical screens.
Cloud & REMI
REMI (REmote Integration) workflows — running a multi-site production from a single control room, with a venue's signal transported to the cloud rather than requiring every operator to be physically on-site. See the Cloud & REMI Switchers section on the About page for the tools behind this.
Event Types
What each option under "Event Type" on the contact form generally means, in this context.
Concert
A live musical or stage performance — typically the highest production value among event types, with multi-camera coverage, stage lighting, and screens.
Conference
A scheduled multi-speaker program — a member meeting, industry conference, or shareholder event — usually with staging, screens, and multi-camera coverage of an agenda.
Festival
A multi-act or multi-day event, often outdoors or across multiple stages, requiring production that can adapt across acts and changeovers.
Corporate
An internal or brand-facing production for a company — a town hall, product launch, or internal comms piece rather than a public ticketed event.
Broadcast
A production intended for broadcast distribution — television, streaming platforms, or a signal handed off to a broadcaster rather than only shown in-room.
Event
General-purpose live coverage that doesn't fit neatly into the other categories — a gala, an awards show, a one-off gathering.
Show
A produced program with its own run-of-show and format — could overlap with concert, conference, or broadcast depending on the specifics, worth describing in the message field.
Production
A catch-all for scripted or planned video work — if your project is closer to "we're making a video" than "we're running a live event," this is usually the right fit.
A Couple of Technical Terms
These come up in the Insights posts and might be useful context if you're reading through them.
PGM / AUX
On a switcher, PGM (Program) is the main show output — what the audience or broadcast actually sees. AUX (Auxiliary) is a separate, independent output — a confidence monitor, a record feed, an overflow screen — that doesn't compete with PGM for the same resources.
SRT
Secure Reliable Transport — a low-latency internet video protocol built to hold up over unpredictable public internet connections (hotel Wi-Fi, venue internet, bonded cellular), used to get a live signal from a venue into cloud infrastructure without a satellite truck or dedicated fiber line.
Capacity / VPU
On an Analog Way Aquilon system, "capacity" is a shorthand for how much resolution a given layer or output can carry (Dual-Link, 4K, or 5K), and VPUs (Video Processing Units) are the shared pool of processing power that capacity draws from. Covered in more detail in the Aquilon RS & C Family post.
Multi-Camera Shading
Matching color and exposure across multiple camera sources in real time, so every angle looks consistent when the program cuts between them. On my own multi-camera rig, this runs through Nobe OmniScope w/ LivePack, fed by a DeckLink 8K Pro G2 capture card.
Have a project that doesn't map cleanly onto any of this? Just describe it in your own words on the contact form — the "Other" option exists for exactly that.