jones_gregger_2017Gregger Jones

Gregger Jones is the Cinema Production Account Manager in the East for Panasonic North America.  Early in his career he worked on a few commercials and feature film projects before realizing he wanted focus on the camera side of production. He did not just want to be an AC or an Operator but focus on the actual business of camera.  After deciding to start in NYC he showed up in The Big Apple with nothing but a suitcase and a dream.  It didn’t take long to create a list of every camera house and put them in alphabetical order.  He had started with Abel Cine and gotten all the way to VER before finally Abel Cine gave him his first real break.  From there the rest is history.  It was an amazing time full of breakthru and uncertainty.  The HVX200 had just hit the streets and people were for the first time beginning to see the potential of shooting on solid state cards as opposed to tape or film. After working in Abel NYC sales for a while he moved to Chicago to assist in getting that office up and running.  The adventure didn’t stop there as he decided to pursue other avenues that made him incredibly rounded and versed in many aspects of production and camera.  He worked as director of operations for Pier 59 Studios in Santa Monica, helped build and develop Daufenbach Camera rental house in Chicago, worked to help launch along with many other things.  He also kept his teeth sharp by shooting and managed to work on a handful of feature films as well as find a small but interesting network of high fashion, celebrity, and commercial jobs.  As planned from the beginning he has climbed his way upstream and become a part of the team that, in his opinion, bring some of the most clever technologies to the market.  Especially the VariCam.  Especially the dual native ISO.  He’s super friendly and approachable and I hope you get one of his famous high fives!




Anatomy of a Workflow – Minimizing Costs for Productions, sponsored by Panasonic

For producers, we’re currently living in the Golden Age of accessible filmmaking tools. But with newly affordable digital camera and post-production technologies such as large 4K sensors and inexpensive subscription-based post-finishing systems, it’s now possible for a producer to keep production and post-production costs low while still maintaining top production value. Topics of discussion will include budgeting for the highest quality camera, reducing lighting expenses, creating cost-efficient workflows, and more. We’ll also examine emerging technologies such as 4K capture, HDR (High Dynamic Range), and VR (Virtual Reality).