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.

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.

Hello everyone. Am mintesinot, a starting out cinematographer from Ethiopia. Very excited to join this creative and fun academy.

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’m excited to announce the launch of our newest course in Provision Academy – Art of the Pitch! 🎬 This course is designed for creative professionals ready to take their pitching skills to the next level. Whether you’re pitching a film, a business idea, or a creative project, this comprehensive step-by-step framework will help you craft presentations that demand attention and secure opportunities. Here’s what you’ll learn: • How to create compelling presentations that make your vision crystal clear. • Anticipating and answering client questions with confidence and ease. • Mastering follow-ups to stay top of mind without feeling pushy. • The importance of preparation, research, and practice – key tools to becoming a powerhouse pitcher. What makes this course different? It’s not just about learning; it’s about doing. You’ll have the opportunity to collaborate, share best practices, and receive feedback from a supportive community of like-minded creatives. Let’s sharpen those skills, elevate our pitches, and open the door to more opportunities together. Click to start: https://www.skool.com/provision-academy/classroom/25bd46c6