Whats your guy's plan for 2025? Anyone interested in potentially splitting a place or getting in on a community home? ☀️

Someone recently asked me about how I go about determining the size and composition of my crew for a television series. It's a great question, and one that deserves an in-depth answer, as the crew truly means everything to me as a director of photography. Assembling the perfect crew is one of the most critical responsibilities I have on any film or television project. The team I work with directly impacts the quality of the visuals we capture, the overall efficiency of the production, and ultimately, the success of the project itself. When it comes to building my crew, I follow a few key principles: 1. Surround yourself with experience: I make it a point to work with individuals who are more experienced than me in their respective roles. Their wealth of knowledge and expertise is invaluable, and I can learn so much from them. 2. Hire for attitude, not just skills: While technical skills are important, I prioritize hiring crew members who are great people with positive attitudes and a genuine passion for the work. I want a team that is truly invested in the project, not just there for a paycheck. 3. Get to know your crew: Before assembling the crew, I take the time to get to know each potential member on a personal level. I'm curious about their backgrounds, their strengths, and their areas for growth. This helps me understand how they'll fit into the team dynamic. 4. Be transparent about your own weaknesses: I'm not afraid to share my own weaknesses and areas where I need support. This openness fosters a collaborative environment where we can all learn and grow together. 5. Ask about their growth areas: During the hiring process, I make sure to ask each candidate about the areas they'd like to improve or the skills they want to develop further. This allows me to provide opportunities for growth and mentorship throughout the project. By following these principles, I'm able to assemble a crew that is not only highly skilled but also deeply invested in the success of the project. We become a cohesive unit, a well-oiled machine that operates in perfect synchronicity.

As a follow up to my previous post about the lighting package I put together for my current series Ripple, I wanted to share some BTS photos showing the gear in action. [BTS Image 1] In this exterior setup, we're using a large HMI on a lift to replicate sunlight streaming into the location. The setup allows us to maintain consistent lighting, even with an overcast sky. The 250 diffusion frame help soften the light, creating a natural look for the scene. [BTS Image 2] This shot captures our camera rig on a dolly inside a hallway. I asked my lighting crew to use a softbox to provide even illumination for the scene, ensuring the lighting was flattering and consistent as the camera moved throughout the scene. [BTS Image 3] In this setup, a skip bounce board on the floor reflects light upwards, creating a soft fill. This helps to subtly lift the shadows and provide a balanced look without overpowering the scene. Jo Leko 750 and some unbleached muslin. [BTS Image 4] A comprehensive lighting setup in a reception area. The use of a grid cloth helps to diffuse the overhead lights, ensuring a balanced and even lighting for the entire space. The rest of the images are the same but different so just wanted to share them here.. Feel free to share some of your BTS setups here so we can chat about them. I hope these images help illustrate some of the ways we've been putting our lighting and grip package to work on Ripple. It's been a lot of fun finding creative ways to bring the scripts to life visually. As always, feel free to hit me up with any questions! Cheers,

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!

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.