Photographer + DP ·South Florida
You Dream ItWe Capture It
I'm Ariel, a South Florida Photographer, DP and Live Media Specialist, extensively trained on industry-standard Ross Video broadcast systems, from Carbonite switchers and XPression graphics to CamBot camera robotics. I'm just as strong with a stills camera as on a cinema rig, and Hybrid Media takes its name from the hybrid camera, a body built to be excellent at both stills and motion, which is exactly how I work. My photography skills are broad, covering corporate events, award shows and sports, and my video style is rooted in feature storytelling and professionally produced interviews, backed by heavy live multi-camera and broadcast experience. I'm also an Adobe Certified Professional, so from photos to film to live TV, I'm a Swiss-army knife for all things media.
01PhotographyCorporate · Awards · Sports
02Film & StorytellingFeatures · Interviews · Commercials
03Live & BroadcastCamera Op · Live Graphics · TD
Running BCPSBroward County Public Schools's countywide graduation broadcasts cemented my love for live production. Since then I've purposely chosen programs dedicated to the technical operations side of broadcast, not broadcast journalism programs that never touch what actually gets those journalists on air, let alone the industry-standard equipment networks actually use. That's what led me to choose MDC SEDTMiami Dade College School of Entertainment & Design Technology over journalism institutions such as FIUFlorida International University. I'd rather be useful in the control room or behind the camera than in front of it, itching over whether the camera op is getting the shot the way I would.
Camera OpGimbal · handheld · hard camera · Ross CamBot
Camera operation is my biggest strength and where I've logged the most hours, and it's the foundation of my work as a DP in film and as a photographer. Those hours span every kind of rig, from gimbal to handheld and hard camera positions, so a brief description of the shot is all I need to execute it, including tracking and follow shots. They extend to robotic positions as well, where I operate Ross CamBot and PTZ systems, a skill in growing demand as studios and venues automate their camera positions.
Camera CreditsFIFA Club World Cup 2025 · BCPS broadcasts
For the FIFA Club World Cup 2025 referee training matches in Miami, I operated from field positions and elevated scaffolding, capturing the footage referees reviewed on the VAR system. On BCPS's countywide graduation broadcasts, I ran a Sony mirrorless camera on a gimbal with a wireless video transmitter for smooth on-air live shots across the floor.
Graphics OpXPression · Inception · NewBlue Titler · After Effects
I take live graphics as seriously as the cameras. I started in NewBlue Titler, building graphics in After Effects, converting them into NewBlue's format and sending them over NDI into the TriCaster. I then moved up to the full Ross ecosystem at Miami Dade College School of Entertainment & Design Technology, working in XPression and Inception. I even reached out to Ross for a copy of XPression at home, so I could expand my skills designing and building graphics in it on my own time.
Technical DirectorTriCaster Mini · Ross Carbonite · Ross Tria · NDI
I've trained hands-on on the TriCaster, from setup and cabling to configuring NDI sources and switching the show live on the director's calls. On Ross Carbonite, my work extends past switching to running the Ross Tria clip server directly from the switcher when there's no playback operator, which has strengthened my ability to run a show as a single operator.
Crewing a live show? Book me as a camera op, graphics op or technical director.
04AerialFAA Part 107 · Insured
05Photo TurnaroundShoot · Edit · Push · Live
Case in point: STN Nationals in Tampa (2025 & 2026), with Elite Marketing: as students competed and shot stories across the city, we captured and edited photos on the fly and pushed the creative straight to digital signage across Tampa Bay, so students would spot themselves on screens around town. At the award ceremonies the edits went out so fast that the wayfinder kiosks outside the venue updated in near real-time, so winners walked out and posed in front of their own stage photo.
That speed is photo only. Video keeps standard post timelines, and if I'm not the editor, I'll offload footage on location on high-speed cards before I leave.
06Training & CredentialsFilm Florida PA · MDC · Adobe
Film Production Assistant Certification
Recognized by Film Florida, Film Miami and Film Fort Lauderdale. Production Assistant Intensive Training at Miami Dade College School of Entertainment & Design Technology.
View certificate →
01FIFA Club World Cup 2025Camera Operator · Miami
02Latin GRAMMY AwardsUnivision · Talent Escort · 2024
03Premio Lo NuestroUnivision · Talent Escort · 37th & 38th
04Broward County GraduationsTechnical Director / Camera Op · 22–23
05Telemundo AcademyMDC Academic Program · 2024
06Cooper City HS · CTV / STNOperations Manager · 2021–23
The package I shoot on. Most of it is mine, which means you can book me with the gear instead of renting it separately. (Bodies I've also worked with are noted.)
Trained and worked hands-on with: Ross Carbonite · XPression · Inception · TriCaster Mini · Ross CamBot · BirdDog PTZ · Blackmagic switchers · CueScript. This is studio/truck gear I operate on the job, listed so you know the background, not as rental inventory.
Need a DP with a kit? Hire me and the gear together. Booked with me, the rental usually comes in under the ShareGrid rate.
Hire me as your remote photo editor for the event. I cull and color-correct your shots as you take them, so the gallery is basically done by the time the event ends. Swamped with back-to-back jobs, not loving your own edit, or fighting inconsistent color and blown highlights from rooms you couldn't control? That's exactly where I save you. My day job is grading RGB-LED billboards at night. If I can make those read like real life, your event photos are easy: consistent, recovered, and fast back to you.
You shoot → FTP
Most modern cameras push RAWs straight to an FTP as you fire. They land on my end in seconds.
I cull + grade
On a fiber line I cull, color-correct and recover highlights in near real-time, professionally, not "filtered."
Finished, back to you
Edited files come straight back, ready to hand off. It's the exact loop behind the STN Tampa campaign.
underexposed RAW Finalized
corrected edit
Drag the divider. Left is the overexposed and underexposed RAW most people would write off as unrecoverable. Right is the finalized corrected edit, pulled back to how the moment actually looked. How much can be recovered always depends on what your sensor captured.
Culling plus pro color correction on your RAWs: consistent color across the whole set, recovered highlights and shadows (within what your sensor captured), and clean, ready-to-hand-off files. Real grading, not a filter.
Want more than a clean edit? I can build you a custom PSD overlay template, and apply overlays or graphics to your shots live as you send instructions. Both are paid add-ons on top of the base RAW edit. I don't do creative Photoshop work by default.
You stay responsible for final delivery to your client, unless we're simply dropping the edited files into a shared Google Drive link, which I'm happy to manage.
Real talk: short-form comes with ridiculous demands for content that takes way more work than the AI clips it's up against. Neither of us controls whether the algorithm blesses it with a million views or throws it into the void. So I put the effort where it actually pays off: event recaps, corporate overviews, profiles, feature stories, real interviews, documentaries and commercials. Commercials especially. They're directed, they're creative, and they convert into sales. I'd rather make one thing people remember than fifty they scroll past.
Be seen. Everywhere.
Good work deserves good marketing. Vue, the billboard platform I co-own, lets you pick screens, set a budget, upload creative and go live. No calls, no contracts. 80,000+ signs nationwide and growing internationally, and I personally build the creative that runs, so your campaign actually looks the part.
Rather have it handled end-to-end? Elite Marketing builds the whole campaign →
Let's start the shoot.
Tell me what you're picturing: stills, motion, or both. It comes straight to my inbox. No bots, no middlemen.