Production gear and crew
Equipment does not decide whether a film is good, but it decides what is possible in the first place. My main camera is a Sony FX5, which records up to 5K with 16-bit RAW internally, alongside a Sony A7S III as a second body. In the air I fly a DJI Mavic 4 Pro for calm, sustained movement and a DJI Avata 2 for dynamic FPV flights. That is rounded out by an Insta360 X4 for 360-degree capture and a DJI Osmo Action 5 Pro for angles no large camera can reach. Every one of these I operate myself. For larger productions I am also available as a Camera Operator, Aerial Camera Operator and Gimbal Operator, with my own equipment, A1/A2/A3 certification and first-hand knowledge of locations across South Tyrol and the Dolomites. Which camera goes on a project is decided by the goal rather than by the spec sheet: a corporate film needs different tools than a vertical clip that has to work on a phone.
Records up to 5K with 16-bit RAW internally. That leaves room in the grade that heavily compressed footage simply does not have, which is why it goes on projects with high demands on look and post-production.
Available from late November 2026
Runs as a second angle alongside the main camera, for interviews or situations that cannot be repeated. Small enough to work in rooms where a large setup would get in the way.
Makes the Sony A7S III waterproof, for pool, lake and stream shots on hotel and outdoor projects. The dome port allows split shots, half water and half air in the same frame.
For calm, sustained aerial moves: establishing shots over the valley, approaches onto the building, movement that is impossible from the ground. Flown with A1/A2/A3 certification and flight zones checked in advance.
For dynamic flights: through tight spaces, close past objects, chasing a subject at speed. These are the shots that make the viewer feel like they are flying.
A body-worn stabilization system with a gimbal on the front arm. It produces smooth, walking camera moves through spaces, for example a hotel lobby or a production hall, without rails or a dolly. This is the equipment behind the Gimbal Operator role.
Captures the entire space, with the framing decided later in the edit. Useful for walkthroughs and for situations where it is not clear in advance exactly where something will happen.
Small, rugged and waterproof. It goes where a large camera does not fit or should not be: onto vehicles, into water, onto helmets, right into the middle of the movement.
Editing, colour grading and sound are done at a dedicated edit suite: DaVinci Resolve Studio across three screens, an NVIDIA RTX 4090 for smooth work with 4K footage, and a studio microphone for voice recordings. From the shoot to the final file, everything stays in one pair of hands.
Alongside my own projects I am available as part of larger crews, for commercials, documentaries and television formats. I bring my own camera equipment and drones, hold A1, A2 and A3 certification, and know the locations across South Tyrol and the Dolomites: access routes, flight zones, and the windows in which the light actually works at a given spot.
RolesEnquiries for crew shoot days go through the contact form or by phone.
Yes. For larger productions I am available as a Camera Operator, Aerial Camera Operator and Gimbal Operator. I bring my own camera equipment and drones and hold A1, A2 and A3 certification. For productions coming in from elsewhere, local knowledge is usually the real value: which access road is open in winter, where flying is permitted, and when the light works at a given spot. Enquiries go through the contact form or by phone.
The goal decides that, not the spec sheet. The Sony FX5 is the main camera for projects with high demands on look and grading, because it records up to 5K with 16-bit RAW internally. The A7S III runs as a second angle or where a large setup would get in the way. Aerial work goes to the DJI Mavic 4 Pro, dynamic flights to the FPV drone. The Insta360 X4 and Osmo Action 5 Pro cover angles no large camera can reach.
Yes. The focus is on South Tyrol and the Dolomites, above all the Puster Valley, because short journeys allow flexible shoot dates when the weather turns. I am not tied to that though and take on projects further afield. In that case travel is charged separately and stated in the quote up front.
The other is what you want to say. Let us talk about that.