04 — The Person
Hooper first. Builder always. I didn't take the shortest path to this studio, but I took the only one that mattered.
RALEIGH → AIKEN → WINGATE → ATLANTA
Raleigh kid. Played D2 at USC Aiken and Wingate — the 6am practices nobody films, the bus rides, the film room. Then I tore my ACL at 20 and had to figure out who I was without a jersey.
What I kept was the part that doesn't tear: I know what a real rep looks like, what a locker room sounds like, and what it costs to take the game seriously. That's the eye behind every frame.
I picked up a camera and a keyboard at the same time — two ways of building when I couldn't hoop. Design became the career, but the camera stayed close. I cut my teeth shooting artists and music videos, learning light, movement, and how to let someone be themselves under a lens.
The career taught me the system. The court taught me the game. The camera is how I bring them together.
the camera never left.Now, every skill I've built points back at the floor. The design years are why your content is planned, consistent, and built to compound instead of being random. The production years are why it looks cinematic instead of templated. And the hooper years are why I know when to shoot — and when to just let you work.
Serious hoopers should look as serious online as they are in the gym.
Film V1 — a longer basketball story — is in production now. It's the slowest, most deliberate thing I've made, and the reason the camera bag keeps getting heavier.
I'm also opening the studio up to more directed work — concept shoots, brand stories, campaigns built around the game. Documentary taught me how to find the moment. Directing is how I build one from scratch.
In the bag
LUMIX S5IIX ✕ LUMIX S9 ✕ GODOX SK400s ✕ CUT IN DAVINCI RESOLVE
glass that earns its keep.
Some days that's documenting your real grind. Some days it's directing a full concept shoot. Either way, the work has to move like you actually move.
I know the game from the inside — the reps, the rhythms, the moments that matter. That's what I bring to every frame, from open runs to brand campaigns.
One viral clip is luck. A consistent, compounding body of work is a strategy. Everything I make is built to last a season, not a single scroll.