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

I just posted a vlog and would love feedback form the video side of things. https://youtu.be/qB0H9L1JDic?si=ZbmSvsHuJvid6JUy

Whats your guy's plan for 2025? Anyone interested in potentially splitting a place or getting in on a community home? ☀️

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.

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.