seanoncamera84olympicsSean Rojas, aka “DJ Infinitee, Sean Infinitee” has been immersed in broadcast media since as early as he can remember.  His father, Luis Rojas, a 5-time Technical Emmy Award winning cameraman at ABC TV and ABC Sports, raised him shooting broadcast TV cameras and spending infinite hours on studio sets, in sports stadiums, and TV trucks around the country as a child.  Growing up in the production end of the TV business, technical jargon and working with complex gear came as second nature to Sean; no matter whether it be Video, Audio, or Post-Production-he developed a keen ability for technical work at a very young age. Watching guys like Craig Jannoff (Director, ABC Monday Night Football), and what seemed to be his father’s band of unsung heroes of the TV industry work their magic, it’s no wonder why Sean enjoys spending all his time in the studio today.

His late father Luis, also a talented drummer and vocalist, had a dream to be a rock star and raised Sean with a pair of drumsticks in his hands as early as 2 years old.  In his travels to NYC to visit with his father, he would frequently join him in jam sessions with fellow technicians and sports stars from ABC Monday Night Football moonlighting as professional musicians at Prince Studios, Big Apple Studios, and Montana Studios where he would have his first  taste of the musical studio environment as early as age 9.  A natural vocalist, percussionist, and dancer, Sean was always rhythmically inclined, and driven to perform.  Always a hit a parties and weddings, Sean’s love for the dance floor (especially breakdancing) carried on through his childhood. As many aspiring young performers do, Sean would frequently put on “shows” and perform breakdance routines with other fellow dancers in living rooms and on stages through his early years.   At the ripe age of 15, his love for dancing would further ignite his passion for music, and more importantly, DJing and Audio Production when his older cousins Camilo and Diego Moraga took him to his first “Rave” in San Francisco.  Having certainly spent time in Audio Production booths on TV trucks seanmarveling at 48 track mixers throughout his childhood, Sean was no stranger to the concept of mixing audio signals, and being a child of the mid-seventies, Sean was taught very carefully how to handle his father’s turntable and record collection.  However, the concept of a “DJ mixer” and a DJ’s challenge of keeping a dance floor moving by skillfully selecting and mixing two records seamlessly was unfamiliar; and one that Sean found himself instantly enamored by.  The wondrous amalgamation of music programming, coupled with technical focus and creative ability to command a room full of people’s attention on a dancefloor-a musical performance commonly known as the art of “Disc-Jockeying”-was nothing short of mesmerizing to Sean.  Like oxygen to a flame, he found himself fully engulfed in the fiery-hot SF Rave scene in the early 90′s, working feverishly through high school for nothing other than support his dream to be a DJ.  Honing his skills for his first couple years in his bedroom and DJing house parties, Sean was quick to adopt the trade and needed a name.  Having always been the quintessential “ADHD boy,” Sean’s infinite supply of energy was recognized early on within the budding rave scene, quickly earning him the nickname “Infinite E” and ultimately the moniker, “DJ Infinitee.”

Now that he had a name, there was still one huge challenge-branding.  Being the early/mid nineties, access to design software was limited due to  high priced “Power-Mac” systems, and with a extremely low budget, costs for professional design and printing for promotional tools like demo mixtapes, logos, promotional flyers and stickers were very high, and ultimately, prohibitive.  Having grown up heavily influenced by art and illustration, Sean had a keen sense for design, and after learning they had two Power-Macs running Adobe design software at school, Sean took Graphic Design in his senior year.

Newly armed with a wealth of field production experience helping setup and run events in the SF Rave scene, Sean moved back East to NY/NJ fresh out of high school and began working alongside his father and other Emmy Award winning cameramen like Richie Westlein, Mike Todd, Gene Samuels, Georgie Montinez, and many more as everything from a Grip/Gaffer/Utility, to Field Audio Engineer, and Handheld/Studio Camera Operator.  In his 5 years doing Electronic Field Production work or “E.F.P.,” Sean is credited with work in both studio and live broadcast productions with almost all major networks, including ABC, CBS, NBC, HBO, TBS, USA, MSG, FOX, Sky, Harpo (Oprah), Court TV, etc., as well as having experience working many corporate “sit-down” interviews, P.S.A.’s, and Press Junkets.  Sean is also credited with having apprenticed under Christopher Cave, Post-Editor, and learning to cut his first shows on what was then known as the first “non-linear” digital editing system called “Media 100″ (later acquired by Apple and known today as Final Cut Pro).

Today, Sean’s focus remains on music and music production, however, his experience with all forms of media production from live to studio broadcast gives him a unique level experience.



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