I’m Griffin.
I am a useful creative person.
I’ve run a small creative studio with my partners since 2016.
I’ve managed millions of advertising dollars, I've sent the sternest emails you’ve ever seen. I’ve worked the most sluggish of agencies, the most incompetent of executives, the most delusional of artists. At this point, there isn’t a cinema camera system I haven’t used at least once. I’ve worked over a decade to develop my eye, my expertise and my attitude. I’m a cinematographer by training, a reluctant business owner and head of production by necessity.
As a DP and Camera Operator, I’ve shot commercials, music videos, features, social media content, true crime documentaries, virtual reality 360 degree capture, virtual production, extended reality and more.
Someone even asked me to make virtual reality porn once.
Anyway.
Let me know if you need anything.
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02 XR/VP
Somehow, my business partners and I found ourselves in a position to start one of the very first Virtual Production stages. We did this in close collaboration with Choreografx, an incredible experiential design studio based out of Brooklyn and Atlanta.
The build was based on prioritizing car process as our main service, but with enough flexibility to allow us to shoot nearly anything.
After months of testing, training and building, we came out on the other side with a fully functional XR/VP studio. We ended up building our stack on the Disguise platform, which worked fairly well with our Stype Redspy camera tracking.
This was our most ambitiuous technical challenge. With the support of the brilliant team at Choreografx, we managed to create something really functional. During it’s relatively short run, our stage supported projects for Jose Cuervo, Zooz Bikes, and critically acclaimed feature film, Molli and Max in the Future.
You can take a peek at the tech and process here.
Whether or not it was a success is a long story. Ask me about it sometime.
Skills Attained: An intimate, hands-on understanding of how virtual production really works, from concept to product. How to budget a virtual production project. How to finance large equipment purchases.
Creators featured above:
Steve Dabal
Sebastian Clore-Gronenborn
Filippo Nesci
Bryan Dodson
Michelle Dodson
Maren Jevremov
The build was based on prioritizing car process as our main service, but with enough flexibility to allow us to shoot nearly anything.
After months of testing, training and building, we came out on the other side with a fully functional XR/VP studio. We ended up building our stack on the Disguise platform, which worked fairly well with our Stype Redspy camera tracking.
This was our most ambitiuous technical challenge. With the support of the brilliant team at Choreografx, we managed to create something really functional. During it’s relatively short run, our stage supported projects for Jose Cuervo, Zooz Bikes, and critically acclaimed feature film, Molli and Max in the Future.
You can take a peek at the tech and process here.
Whether or not it was a success is a long story. Ask me about it sometime.
Skills Attained: An intimate, hands-on understanding of how virtual production really works, from concept to product. How to budget a virtual production project. How to finance large equipment purchases.
Creators featured above:
Steve Dabal
Sebastian Clore-Gronenborn
Filippo Nesci
Bryan Dodson
Michelle Dodson
Maren Jevremov