Director of Photography 

Brief, Bio and Resume 


   Chris Bos has been shooting film and pro video for more than 25 years. He is a graduate of C.C.N.Y., as well as specialty film courses at NYU, The New School and School of Visual Arts. Chris was an active camera operator in local 600, cinematographers guild, from 1995 until an honorable withdrawal in 2005. 

Chris is an excellent documentary and unscripted reality shooter. He has a great ability to find quality shots using only available time, materials and talent. He understands the power and dynamics of a camera, to tell a story by itself. 

Chris has worked on over 200 music videos and is no stranger to the long hours sometimes needed to get "the" shot. 

Chris is very skilled with classical lighting, composition, camera movement, grip and production etiquette. He is trained and has proven skills with all 16mm, super 16mm, and 35mm camera and lens systems. He is a qualified camera operator, proficient in use of hand-held, fluid heads, gear heads, steadi-cam and remote camera platforms. He is also skilled with time lapse, green screen and motion control work. Chris purchased a Sony EX-1 in 2009. He has also shot on RED Epic, ALEXA, EX-3, and several DSLR camera systems.

Chris is a team player and will get "the shot" by any means necessary. He mainly likes to work on features, music videos and doc/reality projects. But, Chris really just likes to shoot. He enjoys the challenges, especially in the lower budget feature work, that must be met. When you meet Chris you will understand, the positive energy, deep skill set, and ability to think out of the box, that he will bring to your production.
    Chris Bos has been shooting live streaming video at;

Additional contact
YouTube - TheNYCBMX
Facebook - Chris Bos
IMDB - Chris Bos
Mandy - Chris Bos
Stage 32 - Chris Bos
Twitter - @TheNYCBMX


Born in Philadelphia, PA in 1967. My mother, a painter was inspired by a large industrial space, filled with 55 gallon drums full of oily typesetter blocks and sewing machine parts everywhere.
So, I moved to Soho, NY when I was 5. I went to Grammar school in Chinatown and High school on the lower east side. I managed the Canal Street Flea market From 1981 -1985, until it's premature demise. During my tenure at the flea market, there were many moments that shaped my life. The biggest one, of course, focusing my career path. But, let me go back to day one. 

As I recall, it was the day before labor day. Just over a week until my 13th birthday and I was bored and broke, surprise. I remember, I used to take old toys, games, books etc.. and drag them down to the sidewalk outside the Canal st. Flea Market and sell them. That was when I was 11, I'm too cool for that now. So I thought they must need someone to help clean up the place at the end of the day. On that note, I walked over to the Flea Market. I looked for the owner, and after asking a couple of vendors, I found him sitting in a clothing booth and drinking a coffee. I sucked it up and asked him. He said OK, but they were almost done and he said come back at 4:00 tomorrow. Wow, that was easier than I thought. I was psyched, but if I only knew how positive it really was. Anyway, after a month or so, I was coming in early to help set-up the place. Since I was there all day I saw a lot of really interesting things. That super8 camera for $5 sounded cool. I took the camera and teamed up with a neighborhood kid, (can't remember his name) and we made little films, like "Attack of the Killer Sandwich Bags". There are a lot of sandwich bags in a box, come on, it practically writes itself. 

I got into BMXing a year later and it had been a great year. The Flea Market was great, drama, comedy, part soap opera and all the cool things people are hawking. I always felt comfortable at the auctions I was dragged to by my parents as a kid. In fact I don't think I had to be dragged most of the time, they also have lots of cool stuff. By now, the owner of the flea market is like family. His wife gets him a Sony Betamax Camera and deck to record their kids growing. As I hit 16, I had gotten pretty good at BMX freestyle and decided to use that camera to tape my fiends and I riding ramps. Shooting felt as natural and exhilarating as riding. A certain freedom. 

The last sign from a greater force came, when after a year of negotiation they shot "9-1/2 weeks" at the flea market. They actually paid the vendors to come on a friday and set up, but nobody was allowed in to buy stuff. It was the scene where Mickey Rourke meets Kim Basinger and buys her the scarf. They watch the mechanical chicken drop an egg, and I know for sure what I'm going to do after high school. Filmmaking, it all makes sense. I get accepted to CCNY film program. 

In a strange twist of fate Time shift video comes back into my life. Oh sorry, A few years ago I used to be a member of a video rental company, Time Shift Video. They used to love it when the BMXers came in. Sometimes we would do tricks or race around the shelves of VHS and Beta tapes. Well now it's my junior year of college and I am the camera whiz. I was second AC on a 35mm feature. The second AD was my classmate, who got me the job. Howard Shepps, we made a good team. We were shooting nights and Howard and I would take turns sleeping in our classes, so one of us got good notes and the other some rest. One of the nights we were shooting and I did a stunt with my motorcycle, crashing into the side of the hero car. Those sleepless nights were an amazing experience. Just the beginning of a lot of sleepless nights.
But anyway, back to time shift video. Frank Chindamo had given a production course up at CCNY and Howard and I were the only ones to get an A. So this started a working relationship with his production company, Fun Little Movies. I was working as a first assistant camera for him. After the shoots I would help log footage in the office. One day we went down to Noho to offline the edit. As frank and I stepped off the elevator, I saw the "Time Shift Video" business card on the door below the peephole. I was perplexed, when Dave Daniel, owner of the old video store opened the door. He instantly recognized me and was happy to hear I was an assistant camera. It turned out, he was a Cinematographer as well as an editor. 

This started a relationship, that would take me all over the country and beyond. I would get to work with some great equipment, great people and do things I could only dream about. I mean darn, we were making magic. I'm not going to list all the projects done in the next 12 years, that's what resumes are for. 

So I'm going to fast forward to September 9th 2001, I was now an established Director of Photography in NY. I was flying back from Miami with Dave. We had just shot for a month, doing the making of "Rocafella" records latest albums. I went to Miami to spend the sunny days cooped up in windowless sound booths. I wouldn't have it any other way. It was a beautiful September day when I got home. I was greeted by my pregnant wife and my 2 year old son, Trager. Two days later, I am supposed to meet Dave and we are supposed to go to Philadelphia to shoot the sequel to "State Property". My wife left to take Trager to Nursery school and I turned on the TV while I waited for Dave to call and tell me when to meet him to go to Phila..
I turned on the TV and there it was. I didn't know it at the time, but this was probably the worst day in my film career, almost the end. I did what every good cameraman would. I got my camera and bicycle, and headed straight towards the World Trade Center. My wife was fighting her way home against the flow of pedestrians fleeing lower Manhattan, and I was flirting with eminent disaster. I finally headed home when I was on Broadway and the first tower fell. I'm adventurous, not indestructable.  I went back to "Ground Zero" 2 days later with camera in tow and helped any way I could, even digging. It was humbling. I still have the footage, don't know what to do with it.   

This world changing event had changed my world. There was no production going on in NY and all of my contacts fled to LA, Atlanta, Toronto and other production hubs. Despite making what felt like a million fruitless phone calls, there was no work. My wife was in her last year of graduate school and she was pregnant with our second child, so relocating, just wasn't in my plans. I finally got a phone call in march 2002, six months after this global event. It was for a one day low budget PSA. I took the job. A few weeks later I got a call from a project manager in a construction company. I had been a finish carpenter for years. It was my survival skill in the event of a career meltdown. Good thing, because that day had come in September 2001. I went to meet the caller, no stone left unturned. He offered me a full time position, with benefits. I had worked freelance since high school, so benefits sounded great to me. Within months I had moved up to a foreman and shortly thereafter to a site supervisor. I embraced the work, but it never felt right. The longer I stayed, the more disconnected I felt. I was providing the support my family needed, but I wasn't getting the support I needed. 

In 2010, I decided I had to go back to what came so naturally. I purchased a Sony EX-1 and began shooting again. I still have my several 16mm cameras, but they have become almost obsolete with the quality of HD photography. I felt I need a current camera and the EX-1 was a great tool. Unfortunately the stable of producers and directors I work with has disappeared. I am in the process of refilling that rolodex, but I am back, and it feels great. I hope that I can add your name to my new rolodex.


20+ years of production experience; over 200 music videos, scores of commercials, dozens of documentaries, dozens of feature films, union and non-union work. Director of Photography, Camera Operator, 1st A.C., Grip, Gaffer, Production Coordination 
Primary focus is in the camera department, but I have a strong working knowledge of all aspects of production.

Director of Photography;
Netflix Kansas City Shuffle (Commercial) Heredia Films,
“Street Life” (Reality) Allwriteprods,
“FRICS-Friar’s club comedy competition” (Performance)
“USA Hockey Nationals” (23 games, Live Broadcast) FASTHockey, “Clownsville” (Off-Broadway Performance) Heredia Films,
“Eventide Choir” (Performance) JB Productions,
Susan Carracioli” (Fashion Show) RPM Productions,

Camera Operator;
“TRU-TV-Guiness world records” (Episodic) Wolffilm,
“National College Comedy competition” (Performance) TBS,
“Jolly Boys” (Performance),

Director of photography;
LOTAR (Performance video)

Director of Photography
Rocafella Rocks” (Feature) Behind the scenes - making the album. Director; Damon Dash/ Dave Daniel, Producer; Rocafella records.
Box of Crayons” – (Music Video) Happy Hour Productions.

Camera Operator
Pepsi Morning News” – (Commercial), D.P. Mark Lau, Director; Jeff Ruben. “Gino’s Pizza- Babysitter’s Club” – (Commercial), D.P. Dave “Shadi” Perez, Director: Liz Hinline.

Director of Photography
“Herbie Hancock” (Bravo Profiles),
“Carly Simon” (Bravo Profiles),
“Enterprise Car Rental” (commercial),
“Giselle” (Music Video),
“Separate Poles” (music Video).

Camera Operator
“The Coors” (Music Video),
“Dead Prez” (Music Video),
“State Property” (Feature),
“Bloomingdales” (Commercial),
“Net 2 Phone” (Commercial),
“BCBG Spring/Fall” (Commercial).

1st A.C
“Billy Meyers” (Music Video),
“Afu-Ra” (Music Video),
“The Golffather” (Feature),
“Smirnoff” (Commercial),
“Kraft” (Commercial).

Director of Photography
“S.L.S.” (Commercial),
“Agnostic Front” (Music Video),
“Teri Thorton” (Music Video).

Camera Operator
“American Psycho” (Feature 2nd unit),
“Crash and Burn” (Short Film),
“Whitney Houston” (Music Video),
“Konishki” (5 Music Videos),
“Gangstarr” (Music Video),
“Group Home” (Music Video),
“Naughty By Nature” (Music Video),
“” (Commercial).

1st A.C
 “LL Cool J” (Music Video),
“Mos Def” (Music Video),
“Bell Atlantic” (Commercial),
“K-Mart” (Commercial).

Director Of Photography
“Dick Schapp Show” (Sports Commentary Show),
“Unsane” (Music Video),
“Wu-tang” (Music Video),
“L’Oreal” (Commercial).

Camera Operator
“Naughty By Nature” (Music Video),
“Heltah Skeltah” (Music Video),
“Juvenile” (Music Video),
“Heather B” (Music Video),
“Wu-tang” (Music Video).

1st A.C.
 “Not a Day Goes By” (Feature),
“E-17” (Music Video),
“DJ Honda” (Music Video),
“Funkmaster Flex” (Music Video),
“Dallas & Method Man” (Music Video),
“Imaginary Friend” (Music Video),
“Cream Team” (Music Video),
“AZ” (Music Video),
“Das-Efx” (Music Video),
“Tim Briggs” (Music Video),
“Budda Monk” (Music Video),
“24/7” (Music Video),
“Onyx” (Music Video),
“Soul 4 Real” (Music Video).

Director of Photography
“HED-PE” (Music Video).

Camera Operator
“Born Suspect” (Feature),
“Veronica” (Music Video),
“Camp-Lo” (Music Video),
“Heltah Skeltah” (Music Video).

1st A.C.
 “Keith Murray” (Music Video),
“Nas & MCM” (Music Video),
“KRS One” (Music Video),
“Dave Matthews Band” (Music Video),
“Violent Femmes” (Music Video),
“DFC” (Music Video),
“Redman” (Music Video),
“Power of Three” (Music Video),
“DJ Hurricane” (Music Video),
“Mack 10” (Music Video),
“Gravediggaz” (Music Video),
“Almighty RSO” (Music Video).

Following is a list of Director’s worked with;
Dave Daniel*David Shaw*Matt Mahurin*Dave Phillips*Joe Chan*Jim Feeley
Igor Sunara*Wyatt Troll*Joe DeSalvo*Omar Epps*Andre Morgan
Oliver Bokelberg*Patrick Burns*Diane Martell*Alan Micheals*Dave Meyers
Chris Robinson*Josh and Jason Diamond*GZA

City College, NY; Bachelors of Fine Arts graduated 1990 – Cum Laude
Additional studies at; School of Visual Arts, New School, N.Y.U.


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