Working as the assistant director on the Hell or High Water music video was a fast-paced, collaborative experience that leaned heavily on adaptability and trust. With a skeleton crew on set, each of us wore multiple hats to bring the vision to life. In addition to coordinating the day’s schedule and keeping things on track, I helped set up lighting for dramatic contrast, prepped the gimbal for smooth tracking shots, and kept backup cameras ready to go.

The shoot had a rough-edged, surreal feel, and we aimed to match that energy in every detail. I handled audio playback during key takes to keep everything synced, and helped with continuity between setups as we moved through the day. Being a small team meant stepping in wherever I was needed — whether it was wrangling gear, adjusting lights, or jumping behind the camera. It was an environment where everyone pitched in and problem-solved on the fly, and the finished video reflects that kind of hands-on, creative effort.