There were signs Rin would pursue a creative career from early days. She started performing in theatre productions professionally at the age of 9:  singing, dancing, and generally being a handful.  She wrote her first full length play Room 209 in her freshman year of high school at age 13 and hasn't had an unproductive year since.  


"Growing up in the theatre prepared me for not only for dedicating long hours to work that I love, but also collaborating with folks from  all over the country with extraordinarily different personality types...Cultivating the patience and endurance required of Theatre professionals early on has  given me a good deal of latitude with whom and how I can create something.  I continue to benefit from that background both personally and professionally. 


As a director,  it's truly a gift to have been forced to learn how to guide the eyes of 300 to 3000 people to where you want them to look without the help of lenses--how and when to turn the action subtly or sharply, creating composition with bodies and lights. My directing mentor, Prof. Murray McGibbon, drilled it into me to 'plan my work and work my plan.' I take great care to know my own mind, before I ask a crew to do the same."  


Rin's passion for cinematography can be traced to her maternal grandfather.   


"There weren't many artists in my family, but my mom's father was a shutterbug. I remember looking through  his Ansel Adams and Annie Leibowitz books.  I  would sit on his lap and look at decades of photos he had developed with his own hands.  I remember  thinking how  the texture was so much more than paper.  It was magic to me:  that he could trap the way he saw the world, and I could hold it in my hands. Those experiences with him made me aware of the eye responsible for the image.  Whether it's a photo or a film, we connect to the watcher in a uniquely intimate way. 


I remember watching Jane Eyre with my family and dying to know more about  who made those images.  That shot of Jane on the stool, where she looks like she is in a cage from the shadows cast by this building she hates...'Who shot this? George Barnes? Who is he, and how did he do this?' The how, the labor of  the art: that's what I find addictive.  I am really fortunate that I not only get to work everyday in a job that I deeply love,   but that I get to share that with my partner in life, as well."

Brought up in Carmel by the Sea, California, by parents in the entertainment industry, Graham always knew he wanted to be a filmmaker.   He rarely understands references from from friends of the same age, when they discuss cartoons from his childhood.  When Graham thinks of his childhood favorites, the titles that come to mind are Lawrence of Arabia, The Wind and the Lion, The Great Train Robbery,  Zulu, and Bridge over the River Quay.


"There's this moment in Lawrence of Arabia, where Peter O'Toole is standing on top of an overturned engine, and the sunlight streams through the robes he's wearing.  He's stripped away everything that makes him British.  Peter O'Toole was so awe-inspiring.  All I knew was that he was cool; the light was cool, and I wanted to do that.  I wanted to make that.  I was eight years old, and making movies wasn't just  my dad's job; it was what I was going to do with my life."

By the time Graham was in high school, he was playing  around with his family's camera in the garage, trying to figure out how to make a fighter jet believably appear to be flying through space:  his own personal Star Trek.


"I put a toy fighter plane on a skewer, put green screen fabric around the skewer, and then, I tried to recreate the Star Wars Trench Run by flying the toy plane through pieces of cardboard.   Let's just say, I've come a long way. 

Graham certainly has come a long way, having applied that same curiosity and excitement to  creating both theatrical and documentary features, television series, and a number of digital projects.  As both a seasoned producer and cinematographer, the image is never wanting.

As a total gearhead, Graham spends most of his time with Rin, researching new tools and media, looking toward the future of filmmaking in general... and specifically with his partner. 


The two have filmed on six continents, having commanded crews from 18 countries. When he is not on a production, Graham writes for Cinema5d, a site focusing on the latest tools for every stage of production, which he finds to be a great way to stay up to date on the latest toys, while also granting him the opportunity to never stop learning.  Graham is a member of the Producers Guild of America.


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