As a DP/CamOp/Image Maker, do you care what types of jobs you film? Is it possible to be picky in an economy like this? How responsible are we for the images we immortalize?

Hello fam, just wanted to share with the community a simple process i go through to educate myself and collaborators when a moodbaord or lookbook is shared. I usually talk first with director what should i look for and the reason those images are chosen, what in there resonate with the projects. Then technically speaking i break it down in 3 steps: False color/ Color palette / Waveform. You can do it in Davinci Resolve, or any generator online. I use this one. (https://indiefilming.com/tools/false-color) The reason behind it, to me it's easier to spot the visual language (in terms of levels) that lead to the final product through the piece with the false color. The color palette allow me to go in depth into all the elements needed to create such a tone and mood and feeling, and last but not least, the wave form educate me on how dense the image is, where the shadow and highlights are being set (in grade) relative to the image my eyes see. It allows me to work my levels knowing to aim for such and such density or not this were the signal needs to sleep. Also knowing what we will be working with if we might be thin because close to the breaking point of any sensor. I hope this helps. Have a great week. Cheers.

I’ve been thinking a lot about how special it is that we’re all coming together here, no matter where in the world we’re starting from. I was just in Lagos, Nigeria filming a documentary and it was surprised at how curiosity my crew had for resources that we have here. One of the biggest reasons I’m so dedicated to creating this academy is because I’ve never seen anything quite like it—something that truly brings filmmakers together across borders, cultures, and experiences. I’m genuinely curious to know where we’re growing and what other creative communities are out there in different parts of the world. It’s amazing to think about the possibilities of meeting you all in person someday, but for now, getting a great sense of where everyone’s at is the first step. Drop a comment below with: - Where You’re From (City & Country) - What’s Unique About Filmmaking in Your Hometown or Your Journey So Far I can’t wait to see where we all are, learn about the unique challenges and triumphs in your local communities, and continue building this incredible global network together. Looking forward to hearing from you and learning more about the amazing places we’re connecting from!

In 2020 a DP friend of mine and i were having a conversation about how to grow up learn more and also the right time to get representation. During that time he advised me apply for the ASC Vision mentorship program. It gave me the boost and confidence to do so. As i believed i wasn't up to that level. When i got the letter saying i didn't make it, i kind convinced myself i wasn't good enough and my body of work obviously was not on par. I stayed away from it and just went on work and work but realized i wasn't doing it with the right energy in mind. This year out of the blue another DP friend told me she saw the program was opening soon and she felt like i should do it. At first i was reluctant and realized i still didn't want to face another no. But as i made a deal to myself that i can't back down from 2024 is a year of facing challenges staying out of any comfort zone i applied again. And she was on the process with me all along, discussing with me every piece needed to be submitted. It was a real game changer and when i was done with the process, i ended up telling her how wonderful she has been and the challenge to produce and update everything needed put me at piece. So much at peace i didn't care about the end result as i felt i grew and moved on. The reason i'm sharing this, is i want to believe it would help someone may be in doubt and also again 2024 goals is me being out there and sharing, staying real about my journey. As a 44 years father still struggling to make a decent living from it, i'm working on it. But will no longer pretend it doesn't bother me sometimes. Yesterday i received the 2024 submission letter from the ASC vision mentorship program, and i got in. It might not be anything, but being the first from my country to be part of it, it carries another weight especially when sharing my journey back home and helping the coming generation. You probably heard it before, but nurture your inervoice, struggle and pain are part of life, but as a step to reach peace and comfort.

On any feature, tv series, commercial, etc. Most of the time, there is prep. This is where you make sure the camera and all accessories work. You check the lenses to make sure that they are sharp at 3',6',9',12' and on long lenses 30', 70'. Make sure that you have the right settings. By this time, you already have communicated with the DP what are his/her/they desired settings. Wireless system works etc. Yesterday, I was prepping 3 Arri Mini LF by myself. I spent two days through email trying to explain to the production supervisor that it is impossible to prep 3 cameras by myself. There is always no money to get another 1st or 2nd ac at the prep. My strategy is to reply in an email and include the UPM, Producer, DP that there will be a delay because I was short staffed at prep. This is a promo for Disney. So, there is a pre light day with a lot of down time. However, as a key 1st AC;I always try to get my crew the proper time (and money) to get their camera and work station ready for the shoot days. P.S.: The B 1st and 2nd ac came to the prep to get their camera ready. I am still working to get at least the B 2nd ac to get pay for the prep yesterday. Stay tuned Here is the update from the job: After a back and forth with the UPM and producer. The B 2nd got pay for the prep day. The job went well. A lesson for everyone in this academy, always fight for your team when you see an injustice.