First and foremost, I don't want to be known as the person who is posting about jobs complaining about my experiences on set😁. Yet, I know that it is important that I share these experiences with you all so you can learn to be equipped with negotiation skills on any position in the camera dept. I was called by this DP that I just talked to her through whatsapp and at cinegear. I was highly recommended by another DP to her and we finally had the opportunity of working together. When I called the producer to negotiate my kit rental (Preston FIZ, Teradek Wireless system, Cinebolt 7 bolt, etc) We got into the conversation about the 2nd AC and he told me: We have no money. I answered by saying: How do you think I can run a dept with 3 cameras even though there is a B 1st AC; to build a Ronin 2 gimbal takes time and people with experience (He tries to push a green digital utility on me). Long story short, the 2nd ac was approved for the shoot day only. The car rig with the Ronin 2 went smoothly. At wrap, the producer gave me a ride to crew parking and admitted that I was right. There was no way I can do my job correctly w/o a key 2nd ac. Moral of the story: Fight for the personnel and tools that you need; if you don't get approve, write an email and cc the producer, UPM, DP of what the outcome will be if your wishes are not met.

I recently shot a short and worked with some aputure's LED lights and I couldn't change the color temperature on them. And I had no access to gels. I did have access to some titan and astera tubes. What have been your experience working with LED lights?

Hi everyone, I wanted to share some insights into the lighting package I'm using on my current TV series Ripple, which I am the solo Director of Photography on across all 8 episodes and 61 shooting days. Managing the lighting for the entire series working with 4 different directors has been an exciting challenge. Attached are the PDFs detailing my full studio and road lighting packages. For the studio, my gaffer recommended going with a robust tungsten package so we could have more individual sources to spread the light. I tend to prefer big HMI lights, but I saw the wisdom in his suggestion for the studio work. For our road package used for location interiors and exteriors, I put together a versatile kit that allows me a wide range of options. From small battery powered LEDs to large HMIs, I tried to anticipate the varied needs we might encounter. I'm really enjoying the flexibility this package provides. One thing I'm doing a lot is diffusing and bouncing large sources to get the quality of light I'm after. By combining the lighting package with a variety of grippage - large frames, solids, thick diffusions, etc. - I'm able to get all the control I need. Lighting Ripple has been a fun challenge so far. I'm learning a lot having to plan for and manage the lighting across so many episodes, sets and locations. Hopefully this gives you a little window into my process and the tools I'm using to create the look of the show. Let me know if you have any questions!

Greetings film community. I would like to know how is the industry where you live. Have you seen an increase in production or a decrease?

Hey everyone, I know things have been super busy for me lately with Ripple and all the projects I’ve been managing, but I wanted to take a moment to share something important that I think could really benefit a lot of you. When I first started out in this industry, I wasn’t handed the big responsibilities I have today. I started as a Production Assistant (PA), running errands and doing whatever was needed to keep the set running smoothly. After some time, I transitioned into grip work. And let me tell you, I spent days, weeks—hell, months—on the truck, learning every single tool we had at our disposal. That experience was invaluable. Knowing every tool on that truck gave me a full understanding of what was possible in any situation, whether it was rigging a complex lighting setup or solving problems on the fly. That hands-on knowledge is something that’s stayed with me to this day, and now, working on a $20 million TV series like Ripple, it feels like a full-circle moment. It’s the kind of preparation and understanding I wish I had going into this next phase of my career. And it’s something I want to pass on to all of you. Whether you’re just starting out or already well into your career, knowing your tools inside and out is crucial. It’s not just about what you can do creatively—it’s about showing up on set ready for anything, managing things within your budget, and being able to adapt when the pressure’s on. What I Suggest You Do: Get Familiar – I’m attaching a breakdown of the grip and lighting package I’m using on Ripple. I recommend googling each tool on the list and getting familiar with them. You don’t need to know every detail, but having a working knowledge of what each tool does can make a massive difference when you’re on set. Ask Questions – Don’t hesitate to reach out. I’m here to help, and you’re more than welcome to ask me any questions about the gear or anything else. I’ll do my best to upload this post regularly along with some behind-the-scenes photos of the work we’re doing.