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!

I recently shot a short and worked with some aputure's LED lights and I couldn't change the color temperature on them. And I had no access to gels. I did have access to some titan and astera tubes. What have been your experience working with LED lights?

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 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.

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