Craig Waller

I was a Key Grip at Turner Studios for most of 5 years working on TV shows like "Dinner and a Movie" "Cartoon Fridays" "TCM with Robert Osborn" "Movie and a Makeover" as well as countless commercials for WCW Wrestling Atlanta Braves baseball Atlanta Hawks.

My underwater resume has been of recent with "Black Panther 2" "Metropolis" "Stranger Things" "Red White and Blue" and "Moanna". I am a certified technical SCUBA diver with a cave diving and MCCR rebreather certifications. I have worked with the worlds top underwater DPs and have kept a close relationship with all of them.

My recent Key Grip / Gaffer work hs been with NFL Films, Ford, Rooms to Go, NBA, and many more..

I have always loved photography and shoot commercially and as a hobby with my free time. My clients ranged from Road Atlanta / Panoz Motorsports to Edge HOG scuba gear. I started with 35mm film cameras to help my career move towards shooting as a Director of Photograhy. Life always has a different path and it moved me into NASCAR when the economy was on a down turn. My photography can be seen on my website. www.craigwaller.com

• Developed comprehensive equipment lists and budgets for each project, ensuring all necessary resources were available on set without exceeding cost constraints.
• Contributed creative input during storyboard sessions to optimize visual storytelling while considering practicalities of equipment usage on set.
• Assisted in the successful completion of complex stunts and special effects sequences through expert rigging execution.
• Mentored junior grips and shared best practices, fostering teamwork and skill development within the crew.
• Overcame challenging weather conditions and tight deadlines by adapting grip setups swiftly, keeping production safely on schedule.
• Collaborated with cinematographers to achieve optimal camera angles and movement, resulting in visually appealing shots.

For seven years, I worked on live TV broadcasts from all race tracks throughout the season. I contributed to three major live shows: Track Side Live, NASCAR Race Day, and NASCAR Victory Lane. I designed and implemented a dynamic lighting setup for our broadcasts, accommodating multiple locations—both indoors and outdoors—including a large stage, broadcast booth, media center, and a mobile rolling stage.

Each week, we produced approximately 15 hours of live television over three days for 42 weeks a year. Since most broadcasts were outdoors, we never let weather disruptions stop us. I quickly adapted to changing conditions and consistently delivered 100% effort.