I spent a week on a documentary shoot in a cramped, dimly lit basement in Dublin, watching a kid half my age try to fix a muddy, flat image by swapping out a prime lens for a more expensive cinema glass. He thought the gear would do the heavy lifting, but he was missing the…
Read More “Stop Chasing Expensive Glass and Start Understanding Aperture and Depth of Field.” »
I remember sitting in a dim edit suite in London, ten years ago, staring at a mountain of nameless folders and a hard drive that sounded like it was trying to take flight. I had spent fourteen hours under hot lights, only to realize that because we hadn’t figured out how to organise media on…
Read More “A Folder Structure You Will Still Understand Later” »
I remember sitting in a dim corner of a rental house in London, staring at a stack of expired 16mm canisters and a brand-new, high-end digital cinema camera. A kid, probably not ten years older than me, was arguing that the digital sensor’s dynamic range would make the film look “obsolete.” It’s the same argument…
I remember a shoot in a drafty warehouse outside of Bristol back in ’04. I had spent three days wrestling with a dying generator and a light kit that felt like it was held together by prayer, only to find out at the edit that the client thought “all usage” meant they could sell my…
I spent three weeks in a cramped, humid apartment in Naples last summer, sweating through my shirt and trying to capture a family’s history before the light died for good. I wasn’t thinking about dynamic range or bitrates; I was thinking about whether I could move my tripod without tripping over a stray cat or…
I spent three weeks on a low-budget indie set in the rain once, staring at a script that was technically perfect in its formatting but completely unfilmable. The writer had spent so much time obsessing over the “correct” way to use industry-standard software and font sizes that they forgot to actually write a story that…
I spent most of my twenties watching people panic over bitrates and dynamic range specs, convinced that a higher number on a spreadsheet was the magic ingredient for a good image. I’ve seen more “cinematic” footage ruined by poor lighting and lazy blocking than I have by a subpar sensor, yet I still see beginners…
I once spent three days on a corporate shoot in a windowless basement, watching a producer spiral because the client wanted “more energy” in a shot that was physically impossible given the lighting we had. They didn’t need a better sensor or a more expensive gimbal; they needed someone to tell them that “energy” is…
I spent most of my life looking through a viewfinder, obsessing over how a single bounce card could change the mood of a scene, so I tend to view everything through the lens of light and placement. When I decided to figure out how to start a vegetable garden, I was met with the same…
I remember sitting in a cramped, windowless edit suite in South London, three years into a documentary that was already bleeding money, watching a progress bar freeze and then simply vanish. There was no error message, no dramatic warning—just a sudden, hollow silence from the hard drive and the realization that six months of my…