Hey,

I’m a multi skilled camera operator offering specialities in Steadicam & Underwater work.  I’m an ADAS qualified commercial diver to 30mand own/operate a range of equipment for steadicam & underwater. 

The industry has given me pretty well everything I have today, including my beautiful wife, a fun way to make a crust and so out of respect for what it’s given me I give 120% back in everything I do. 

Always excited to get involved with a project and can’t wait to see where the next adventure takes me. 

If you want to view more about what I can offer with services and equipment head over to steadiwave.com

Instagram: https://www.instagram.com/nathan_frosty


WHAT’s My technical Background

I’ve had the pleasure to operate on a range of narrative, commercial, corporate, TV reality & documentary productions. And bring to the table skills in steadicam, underwater, segway, drone & gimble operating; along with a keen eye for lighting & composition. 

I had my first big run in the industry working up the lighting department, working and training under some of the best Gaffers & DP’s in the world on films such as Aquaman,  Alien Covenant, Hacksaw Ridge, Unbroken….

After a 10 year stint in the lighting department while also shooting a range of commercials, doco and indie narrative projects. I picked up a Steadicam & Underwater housing and started to hone my craft into all things operating. 

Since then I’ve had the pleasure to work under  ACS accredited DP’s for feature narrative work taking up both full time B-Cam and A-cam positions along with  completing some underwater work on Ron Howard’s Eden on second Unit. I’ve been fortunate enough to shoot underwater for the upcoming Olympics & Harvey Norman commercial campaigns as-well as steadicam operating for international music Artists such as Masked Wolf under Carl Allison ACS. 


WHat do I bring to the table that other operators don’t?

 Access and ability to operate both steadicam and ADAS certified underwater Diving operations. Along with Segway tracking capabilities where we employ our unique CRESES safety model to ensure safe operation on set. This allows production to save $$ on having to hire additional specialized operators and provides massive flexibility by having the equipment you need available when you need it.  

Also with my 8 years working in the lighting department, I’ve found that it’s useful to the DP’s I work with to ensure that as a operator I’m able to work with them or around A-Ops to still find those good pockets of composition and light using the available light that’s been set for A-cam. 

Above and beyond the equipment is my work ethic and extremely strong focus and drive to pull unique and difficult shots off.  As long as it’s safe. I’m always up to ‘give it a crack’.