Photographer + DP —South Florida
You Dream It,We Capture It
I'm Ariel — a South Florida photographer and director of photography, just as strong with a stills camera as on a cinema rig. Hybrid Media takes its name from the hybrid camera: a body built to be excellent at both stills and motion — exactly how I work. Photography runs to corporate events, award shows and sports; my video is rooted in feature storytelling and professionally produced interviews, backed by heavy live multi-camera and broadcast training. I'm an Adobe Certified Professional with extensive training on industry-standard Ross Video broadcast equipment and camera robotics. Photos to film to live TV — a Swiss-army knife for media.
Real talk: short-form social slop doesn't convert. There's no soul in fast cuts, blaring sound effects and flashing emoji captions engineered to stop a doom-scroller for half a second. On a feed, you and I aren't the director — the algorithm is, and it rewards watch-time and trending audio over craft. Most reels are buried inside 48 hours, promoted or not.
And once the work is crushed into a blocky vertical clip, a $5K cinema build on real glass looks nearly the same as a phone to the untrained eye — which is how "why pay your rate when my intern has an iPhone?" becomes a question. I'm not torching years of learning light, color and movement to work for exposure and a burrito. Skill costs money.
I make work with intent — recaps, corporate overviews, profiles, feature stories, real interviews, documentaries and commercials, built with craft and purpose. Commercials especially: they're directed, they're creative, and they convert into sales. I'll happily shoot your event and make it genuinely cinematic — I just won't chop it into slop that doesn't represent me, then take the blame when the algorithm doesn't bless it. I'd rather make one thing people remember than fifty they scroll past.
01PhotographyCorporate · Awards · Sports
02Film & StorytellingFeatures · Interviews · Commercials
03Live & BroadcastTechnical Director · Multi-Cam
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 — 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 & CredentialsMDC · FSU '27 · Adobe
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 frames 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 — the exact loop behind the STN Tampa campaign.
Cooked — as shot
Recovered
Drag the divider. These are "cooked" frames most people would call unrecoverable — pulled back to how the moment actually looked. Recovery is bounded by what your sensor captured, not by effort.
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.
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.