Documentary films for mining, heavy industry & infrastructure
I'm a documentary cinematographer who works across mining, heavy civil, and industrial infrastructure. Underground, on active job sites and in the air — shot and finished by one person who has already been down the hole.
Eddie DaRoza · Cinematographer & Editor Los Angeles + Santa Cruz, CA Available — worldwide
Cautivo Mining · Piura, Peru · Gold
Artisanal miners chasing veins along the Ecuador border, the plant that takes their ore, and the people who run both. A roadshow film from interviews, aerials and underground footage — cut to give an investor the place before the numbers.
Interviews on location, aerials over the concessions, plant and underground detail. Spanish with English captions.
Silver Viper Minerals · TSXV: VIPR · Sonora, Mexico · Silver & gold
Eastern Sierra Madre Occidental. Drill pads reached by mule train, a camp four hours from pavement, and a trend that runs from El Tigre through La Virginia to Dolores — told as a place, not a slide.
Aerials, drill-floor detail, bilingual field interviews, animated trend and claim maps.
West Red Lake Gold · TSXV: WRLG · Red Lake, Ontario · Gold
A past-producing mine being brought back. Mill commissioning, underground development and the maintenance shop that decides whether a restart schedule is real — filmed while the work was actually happening.
Underground and mill coverage, aerials of the headframe and haul roads, executive and technical interviews with lower thirds.
Anfield Energy · TSXV: AEC · Utah, USA · Uranium & vanadium
One of three licensed conventional uranium mills in the United States: built in 1979, run for four months, then kept for forty years. The CEO walks the restricted area and lays out the restart — a feature that turns a standby mill into an investment case.
Aerials over the mill and the canyon, the SAG mill and the control room, management on camera, the site's safety protocol as it happens.
First Nordic Metals, now Goldsky Resources · TSXV: GSKR · Västerbotten, Sweden · District-scale gold
Analysts and bankers walking the outcrop in the Swedish boreal forest. This is the room where capital decides what it thinks — and the footage that lets everyone who could not fly to Sweden stand on the same rock.
Site-tour coverage, trench and core-shack detail, aerials over drill roads and lakes.
Most crews have never been underground. I have been down nine of them, on three continents, and I have never slowed a site tour down.
I work the way your technical people do: I turn up with the right PPE, I understand what a headframe, a TBM, a core shack and a processing circuit actually are, and I know which shot tells an investor or stakeholder that the asset is real.
I have shot alongside the analyst site tours — the ones where the bankers and the print press walk the ground. That is the standard I shoot to, and it is why my footage tends to end up in the deck, the news release and the AGM rather than in a folder.
One person, one invoice: camera, drone, sound, edit, colour and finish. For an operator or contractor, that means no production-company overhead. For an engineering firm or IR team, it means a proven second unit who can be on a site anywhere on short notice.
The cinematic film that shows the asset, from three minutes to twelve when the story earns it — for the website, the deck, the news release and the roadshow.
One shoot, many cuts: verticals, thirty- and sixty-second versions, a teaser before the hero film is finished, each sized for the platform it lands on.
Every shoot loads your media library — cleared, labelled, graded footage your IR team and the press can pull from for years.
CEO, technical and IR interviews shot on site rather than against a hotel curtain, with graphics and lower thirds.
Drone over the pit, portal, alignment and haul roads; cleared and equipped for underground tunneling, heavy civil and plant interiors.
Permitting, reclamation and local-hire stories — the material that has to exist before a hearing, not after.
Booth loops, presentation capture and short cuts sized for the show floor.
Edit, colour, sound and finish in Premiere or Resolve on material your team already shot.
eddie@darozafilms.com
(831) 251-0236
Los Angeles & Santa Cruz, California
Full films for any of the above are available on request. The Southwest is a drive; everywhere else is a flight I have made before.