Cinematographer and Specialty Camera Operator - Nick Bruso: Haus 24 - Episode 009

On this episode of Haus 24, I sit down with my good friend Nick Bruso. He's a Denver-based cinematographer and specialty camera operator and we talk about building a career in cinematography, working on large-scale productions, and navigating the realities of freelance filmmaking.

Nick shares insights from years of experience shooting both commercial and creative projects, including working as a specialty camera operator on major events like the Olympic Trials and live festivals such as EDC, as well as the behind-the-scenes challenges of his upcoming feature documentary where it covers a race to the top of Pikes Peak.

We dive into the realities of life behind the camera, the logistics of large productions, and the passion that fuels independent storytelling.

🎥 Challenges and rewards of working as a freelance Director of Photography
🎥 Working as a specialty camera operator on large productions such as the Olypic Trials and live festivals like EDC
🎥 His upcoming feature documentary. The challenges in logistics during a race to the top of Pikes Peak!

If you’re interested in cinematography, filmmaking, documentary film, camera operating, or building a freelance creative career, this episode is for you.

👉 Subscribe for more long-form conversations with filmmakers, creatives, and visual storytellers shaping today’s visual culture.

Connect with Nick Bruso:
Website: https://www.nickbruso.com
Instagram:   / schnicholas_dp  

00:00 – Red Rocks sighting + Gladiator actor tangent (Gracie Abrams)
00:49 – Shooting a live show at Red Rocks as an operator
01:44 – Camera positions, long zooms, and “safety” coverage
02:08 – 15-camera setup: Venice builds, rail cam, jib, Steadicam, handheld
03:26 – Why live shows are a great operator gig (and brutal for ACs)
04:50 – Favorite jobs: concept-first work, great crews, and staying inspired
07:16 – DP life: docs vs commercials vs narrative, wearing different hats
08:18 – Directing vs DP: when Nick steps into the director role
09:35 – Learning from big DPs on cam-op jobs (and how they think)
10:35 – Live show comms breakdown: director, technical director, DP workflow
11:45 – Nick Bruso intro: Denver DP + specialty camera operator
12:54 – How you two met + early robot arm collaborations (LSI)
13:42 – Robot arm + rotating platform spec: building moves with wardrobe/looks
15:53 – Freelance slow seasons: winter downtime, survival mode, staying sharp
18:16 – Doing more spec work in 2025 (Subaru, Fierce Fuel, more)
19:38 – First feature doc: Pikes Peak International Hill Climb story
21:45 – Race week realities: 5–8am windows, mountain sunrise shoots
23:43 – 14,000 ft cold + altitude chaos (and the canned oxygen save)
26:28 – DP logistics: planning a reactionary documentary shoot
28:19 – Story focus: David vs Goliath, not “winning the race”
30:14 – Race week plan: lower/middle/upper sections + crew positioning
30:52 – Camera strategy: Komodo in-car (global shutter) + GoPro coverage
33:16 – Race day chaos: weather, safety changes, no comms, 18-hour day
35:55 – One-take pressure and trusting instinct on high-stakes shoots
37:06 – Post-production: rough cut status + trailer goals
37:47 – Film origin stories: LOTR inspiration vs skate filmer beginnings
40:41 – High school video work + early filmmaking experiments
42:03 – Full-length skate film era + pivot to Colorado Film School
43:49 – Film school debate: cost vs learning vs modern YouTube/AI era
46:42 – Film school value: boot-camp reps, making films immediately
49:04 – 48 Hour Film Fest idea: build a killer local crew and go for it
49:49 – Creative process as a DP: budget, director alignment, references
52:33 – DP as translator/therapist: getting everyone on the same page
54:37 – The “blank page” client problem (and why it’s tough)
58:04 – Passion projects: why they matter + staying creatively alive
59:36 – Fierce Fuel: building a chaos car spot and why it sparked more
1:03:25 – Wood Shop Choppers: capturing energy, crash zooms, happy accidents
1:06:21 – When plans change: bike issues, second shoot day, rolling with it
1:09:23 – Next year ideas: golf spot + the “Jimmy” concept
1:10:57 – Specialty camera operating: how Nick got into it
1:13:26 – Olympic Trials rail cam: speed, precision, and broadcast stakes
1:15:59 – Director requests mid-run: adapting on the fly
1:18:42 – Live broadcast moment: seeing the slow-mo replay of your shot
1:21:00 – Prep days at Mines: 400 ft track build + shot-over training
1:23:40 – Wrap-up + what’s next