It's about aiming for slightly slower productions, getting more details just right, and competing with the go-go-go-ers peddling the status quo. So, here's to rolling the dice on yourself, knowing your value, and aiming for the stars.

Let's go shoot something, fam. 🎬 (4/4)

But, thanks to having amazing @fwdlabs.com clients who also want turn it up to eleven, I found the opportunity to level up.

Buying these were not cheap – but their value to me goes beyond the bill. It's about investing in myself and the tier I want to roll in. (3/4)

In my earlier years as a DP, I would rent big things like this, often eating the cost to insist on a look that was elevated and visually worthwhile. But from recession through Covid, it was all hands on deck to tighten those bootstraps – especially shooting direct to web. (2/4)

Good question! No tried and true way, but you could always try to self/co-produce a pilot … or adapt it to a lower budget web series … or find a rep/agent with experience getting meetings at maybe smaller streamers like Tubi. 😅🎬

Shout out to William Lu for the borrowed vintage Zeiss primes, Ian Beckman for the borrowed Accsoon Nano for wireless, and EVS for the Dana Dolly. 💯

(4/4)

Storyboarding this short out for the production (using the great little app Storyboarder) helped shape a variety of unique coverage, which is oh so important for short shorts. ✏️

(3/4)

Shot on the FWD:labs RED in 5K. This one utilized an overhead Matthews Maxi Matthpole with an articulating arm off for an Aputure MT Pro, powered by v-mount another 10ft away. The unique blue-green light is a Litepanels Gemini at 10000K + 100% green. Color all in camera. 💡

(2/4)