Inspire Design Create with David Lee: Recent Episodes
ATDAVIDLEE
A weekly podcast for aspiring filmmakers looking for advice from working professionals and how their stories can inspire you to grow your business and craft. www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Sony just dropped the FX5 II — but does it actually deserve a spot in your camera bag? In this episode, I break down the FX5 through the lens of two questions every working DP should be asking before buying new gear: will it get you more clients, and will it make your workflow faster? Pulling from 9 years of real production experience — including award-winning shorts, branded docs, and global commercial work — I aim to give you the unfiltered truth on specs, pricing, and whether Sony and Lumix shooters can actually mix cameras on set.
Key Takeaways:
- New gear rarely grows your business — I explain why 99% of the time, buying a new camera won't land you bigger clients or projects; that comes from proven work, not hardware.
- 5K recording has a real workflow use case — for feature docs and short films, punching in with a UHD timeline while maintaining a clean image is a legit reason to consider the upgrade.
- CF Express Type A is still a dealbreaker for some — the FX5 keeps using the pricier card format, which may not move the needle on your actual workflow.
- 32-bit float audio is nice, not necessary — I breaks down why I stick with DJI Mic 2s and wireless transmitters instead of paying extra for the XLR handle just for this feature.
- Sony and Lumix cameras can be matched successfully — good news if you're building a mixed-brand kit and don't want to fully commit to one ecosystem.
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Need to know if a brand is worth pursuing? Use my free scoring sheet that takes 2 minutes: https://atdavidlee.com/customer-story-film-score/
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David breaks down nine years in the Sony ecosystem — A7R II to A6500 to FS7 to the FX9, FX6, and FX3 — and the real lesson underneath all of it: your camera system isn't just a creative choice, it's a business decision. He gets into why agencies build workflows around specific gear (and why DTC clients couldn't care less), why he's sticking with Sony for at least two more years, and closes with a breakdown of the incoming FX5 — including why its rumored price tag might be a red flag rather than a win.
Key Takeaways:
- Buying into a camera system means buying into the agency network built around it — DTC clients don't care about your gear, but agencies often require a specific camera on their job listings.
- The FS7's internal NDs, built-in XLRs, and strong 4K codec made it a true do-everything camera — until it aged out and the FX9 became the natural upgrade.
- The FX6 isn't just a cheaper FX9 — it trades away full-frame 5K crop and Super 35 mode for better low light and a smaller, easier-to-rig body.
- The camera market has caught up fast: cameras like the Canon C50 and Blackmagic Pixis 6K now undercut Sony on price while matching or beating it on features.
- The rumored FX5 pricing ($6K–$7K) without internal NDs is a concern — David argues that price point without NDs makes it a B/C camera, not a true A-camera successor.
If you enjoyed this episode please rate it and let me know how i'm doing! Follow the podcast if you're loving the content and share it with your friends!
Need to know if a brand is worth pursuing? Use my free scoring sheet that takes 2 minutes: https://atdavidlee.com/customer-story-film-score/
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In this episode the I break down the rumored Sony FX5 due to be announced in mid-July, discussing expectations like a 5K open-gate Venice-derived sensor, potential frame rates, and comparisons to the Canon C50 and Lumix S1 II.
I cover hoped-for features (CFexpress Type B, SDI/HDMI, improved battery and audio options), pricing speculation, and scenarios for how the FX5 could shape Sony’s lineup over the next five to seven years.
If you enjoyed this episode please rate it and let me know how i'm doing! Follow the podcast if you're loving the content and share it with your friends!
Need to know if a brand is worth pursuing? Use my free scoring sheet that takes 2 minutes: https://atdavidlee.com/customer-story-film-score/
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Your demo reel is the single most powerful marketing tool in your arsenal as a cinematographer — but most DPs are building it all wrong. In Episode 195 of Inspire Design Create, David breaks down how to stop treating your reel like a "best of" highlight dump and start treating it like a precision business tool that gets you hired in the exact lane you want to work in. Whether you're chasing corporate gigs, tabletop food & drink campaigns, or high-end narrative commercials, your reel needs to do one job: tell a story and show your style — all in 60 seconds or less.
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Imposter syndrome was something I wrestled with a lot early on as a DP. Most if not all of my network only knew me as a videography or a "guy who shoots video" - sound familiar? So what happened when I did get the call to DP a commercial campaign for Kobalt Tools and Lowes? I freaked out as I only had maybe a month to prep for it and prior to that the largest light I ever used was a 120D and a light dome. I needed to figure out how to implement all the education content I had consumed up until that point and in this episode I go through everything that really helped me overcome imposter syndrome.
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What I feared most when I made the decision to start a career path as a DP was exactly that. What WAS the career path? I don't know anyone in my network who is a DP/Cinematographer, what does that kind of life and work look like? It left always questioning myself and my decisions especially in the first 2 years when most of my work revolved around shooting content for local businesses, music videos and BTS. I wanted to share what helped me in hopes that it helps you too if you're a early career DP looking for the light at the end of the tunnel.
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Getting older has all kinds of pros to it. You get a little wiser, you experience life more, you grow in different ways but the one thing no one ever tells you is how to stay healthy as you grow older. I'm sure many of you have gone through a few injuries and maybe reoccurring injuries. I for one have been through my fair share of injuries through martial arts and competition that I still work through even to this day. If you want to stay healthy so you can stay on set then this episode was made for you.
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Have you heard of that golden phrase, "You need work-life balance". I used to think a lot of that phrase as most of my life i've never had any type of work-life balance. Life itself was practically work no matter how you spun it, I just never cared to go on vacations like 99% of the population. However, the 8 years of running my business i've found the value of work-life balance in terms of when work is drowning my creativity down the drain. If this is you or has been you in the past then I hope this episode speaks to you.
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Here we go, end of the year and my oh my has it been a whirlwind of a year for me. A lot of changes and a huge insight I hope I can share with you all.
Enjoy this episode and have an amazing rest of the year fam!
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Today Sony released the A7V - a hybrid mirrorless camera that many, including myself, were looking forward to as it could have been a solid competitor to the Lumix S1II and Canon R6 III. But in classic Sony fashion in the last 5 years, the camera leaves me with a lot more to be desired. A LOT...Let's chat about it shall we?
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It seem that every 4-5 years a ground breaking camera sensor comes out. In 2020 Sony released the A7S III which completely changed the game for filmmakers across the board with the technology and features it offered. 5 years later we haven't really seen anything ground breaking from Sony and I know there are certain people who may be looking at jumping ship to Canon, Nikon, Blackmagic or Lumix. I don't blame them as every other manufacture has pound for pound way more tech and features than Sony's current line up. So why am I sticking with Sony? Give this episode a listen and find out.
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If there were 3 things I would do differently with my business from the beginning it would:
1. Choose a specific goal
2. Treat the business as a business
3. Not be married to equipment
I hope that this episode brings new light and awareness to how you're currently running your business and some ways you might want to start implementing change in your own business.
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Today we have Kofi Yeboah on the podcast sharing his story of how he got into the business of video production, starting his YouTube channel that has grown to over 60k subscribers, and where the line is being drawn between Filmmakers and YouTubers.
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Recently I was brought on to shoot a short internal campaign for Amazon Fulfillment Services and the agency wanted to shoot on the ARRI Mini LF with rehoused Leica R lenses. Sounds exciting and fun right?! If your idea of "fun" is lugging around a 30lb camera package on a Easyrig for 10 hours. Shall we chat about it? MMMHMMM!
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If you're ever faced in the future with a shoot that is canceled, what do you do? Do you have a cancelation policy in place or if you're working with an agency do they have a cancelation policy in place? These are absolutely critical question to ask for the health if your business when those situations do come up. So...let's chat about it!
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Founder of The Office 954 and The Office Health in Ft. Lauderdale, Jamie is a self-made health and wellness entrepreneur whose journey in providing a unique and boutique experience and certified organic protein has provided her with opportunities and creating a life that she truly loves. A little different podcast than usual but trust me when I say that this episode will provide you with a mindset shift regarding your business and health that will only support you if you choose to make that pivotal choice.
https://theoffice954.com/
https://www.theofficehealth.com/
Jamie's Instagram - https://www.instagram.com/jamiemaitland
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Today we have Director and Writer Matt Garvin on the show. Matthew brings years of directing and writing across multiple genres and his experiences are invaluable. If you've been looking for inspiration and perspective through the lens of a director, then this episode is certainly for you.
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Shall we? I think so!
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Today I was blessed to have my friend and director Sabine Kahwaji along with her producer Jonathan Akkawi to share their latest film "Altisal" that's making its way on the film festival circuit. From the words of Sabine, "I wrote this film after the tragic Beirut explosion in Aug 2020. Sadly, the completion of the film fell with my dad in South Lebanon when the conflicts erupted this Sept. I was living out my film’s story. It was and still remains a difficult time for many". We spoke a lot about their pre-production process, challenges during their production days including a total 100% reshoot as well as what their experience has been taking Altisal on the film festival circuit where it's been very well received.
Sabine's Instagram: https://www.instagram.com/p/DCaWsh9xlCZ/
Jonathan's Instagram: https://www.instagram.com/thejakkawiarab
Austin's Instagram: https://www.instagram.com/kwkaustin
Link to Alitisal Trailer: https://youtu.be/vhSEmD4DLG4?si=vhZfuZ6NfnOCOBle
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Today I had the pleasure of sitting down with Roger Rojas. Roger has made his career and brand around supporting CEOs, brands and businesses with their content strategy and production. He offered a ton of gems in this episode that I believe a lot of you listening can learn from and take into your own creative agency for growth.
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I had the pleasure of sitting down, virtually, with Anson & Co for this episode. Some of you may know him from this YouTube channel where Anson offers gear reviews for Sigma and Lumix oriented content, but like with anyone I have on the podcast I want to know their story first and foremost. What inspired them at an early age and how that inspiration for stories led them on the journey they currently are.
You can check out Anson's YouTube channel here: https://www.youtube.com/@Ansonandco
as well as his Instagram here: https://www.instagram.com/ansonandco
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Today we have the pleasure of having Sarah Hays on the podcast. Sarah owns a creative agency in Washington state and provides creative strategy as well as directs brand stories in the outdoor-adventure space. We talk about aspects of working on yourself, imposter syndrome, loving what you do and where Sarah hopes to move towards with her agency.
Sarah on Instagram: https://www.instagram.com/sarah_hays_/
Sarah's website: https://haysmediaco.com/
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Today we have creative director and agency owner Jason Anthony on the podcast! I've known Jason for a few years now and it's been long overdue to have him on the podcast to share his story and journey into the industry. Jason was kind enough to give his time and provide key insights to how he went from solo/freelance work to building and growing his creative agency he operates today.
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Today we have Producer April Mendoza on the show! April has produced several shorts along with directing credits for commercials and working heavily as a 1st AD across a plethora of music videos in her career. I wanted to have her on the podcast to share how she started in the industry, what she's seen and advice she can offer to aspiring filmmakers looking to grow their career path.
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Has a client failed to pay you for a project? What were some of the indicators you potentially saw or didn't see that led to the results of the client either never paying or taking an extremely long time to pay? Lucky for you I have been in those situations before and through experience I can provide you THE BEST WAYS to avoid this from happening all together.
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With new Tariffs being placed on every country starting early April 2025, how will the increase in prices effect you? Might be the time to start looking at snagging up some particular pieces of gear before the prices surely increase as well as having conversations with your clients if you've been underselling your services.
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We've all been approached by small businesses looking for content creation or advertising campaigns am I right? The struggle though is that many of them have a "Lacking Mindset" meaning they attribute value to content creation but they say don't have the capital or funds to respectfully pay for the content. That's where we come in to bring light to their "Lacking Mindset" and show them that by looking at the Glass Half Full and paying for high-value content, that their sales and brand equity will grow when they put money BACK into their business.
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I recently tried one of the new AI Generative Apps called Invideo AI to see where the landscape of AI tools is at for video centric businesses. What I learned so far is that the cost to value ratio isn't worth it, yet...
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It's the first day of 2025, LFG! As we're in a brand new year I know many of you are wondering what equipment and gear you'll need for 2025. What gear am I looking to get in 2025? The answer might shock ya.
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Click bait? Nope, i'm re-opening my course on How to Create Compelling Stories for free. However, i'm only opening it up to the first 20 people as it's easier for me to support and answer questions to 20 people rather than 50 or 100 people.
Sign Up HERE
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Of all the pre-production tools I have, Set A Light 3D has been a literal game changer for me. Think of it as a much more user friendly version of Cinetracer. I wanted to share my thoughts on it after using it for the last year, I hope it supports you!
You can check out the software with the link below:
https://www.elixxier.com/en/set-a-light-3d/
And for those who stuck around to the end, here's what i've been up to the last 2 months:
www.class46yoga.com
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If you enjoyed this episode please rate it and let me know how i'm doing! Follow the podcast if you're loving the content and share it with your friends!
https://create-compelling-stories.teachable.com/p/how-to-tell-compelling-stories
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Link to the Course Fam!
https://create-compelling-stories.teachable.com/p/how-to-tell-compelling-stories
USE CODE SAVE50 to Save 50% for the first 24 hours only. The filmmaking course will be available to purchase from 9/08/2024 - 10/01/2024 only, so please don't wait.
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And hereeee weeeee gooooooo! Talking about retainer clients and some ways you can negotiate the price and duration for your retainers.
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When we decided we wanted to become filmmakers I know all of us had dreams and goals of producing and writing original ideas that inspired us. At the same time we all had businesses to grow and maintain and along the way we put our passion projects to the sidelines only to be forgotten as time passed on. However, I still feel that as filmmakers we need to create at least one passion project every year in order to fuel our hearts but also to grow as creatives. What are your thoughts?
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An interesting question is it not? As creatives we all certainly care about quality but do our clients and the agencies we work with care just as much? If not, is there a world where we can utilize much more affordable equipment for those projects and still offer a competitive rate to do so? I think so, let's chat about it.
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Have you wondered what others are charging? How about the big boys under unions? Today we're talking just that, RATES. What are the actual rates for those who are under IATSE and working in the commercial space? There's a great breakdown of them all which you can find here https://www.mediaservices.com/showbiz-software/showbiz-labor-guide/#tab-which-union-rates-are-included - the PDF is free to download once you register some basic information about you. With that said, let's get into the episode!
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When working directly with clients compared to being brought on by a production company or agency there are some pros to that path along with some cons. What are the pros and cons that can help better inform you of which path in your career you'd like to take? Let's chat about it!
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Today we're breaking down a recent commercial project that was three-fold; part TVC, part testimonial and part 30 sec promo. Rather than making this episode an hour long i'll just breaking down one scene that is a day interior with the challenge of white walls and no direct window to light from. Make sure to check use the companion web page on my website for the visual breakdowns.
https://atdavidlee.com/episode-161-they-wanted-a-tvc/
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On a recent shoot for the First Omen Premiere in Santa Monica, CA the production company had a quick turn around time for the deliverable and chose to use a Atomos Shogun with Atomos Connect to get the footage uploaded ASAP to their remote editors. Did it work? What issues did we run into? Listen to this week's podcast episode to learn more!
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On the cusp of NAB 2024 (I was working so I wasn't there) there were so many new release from cameras, lenses, AI integration with NLEs and more. Although I haven't made the purchase of any brand new release, yet, I did purchase a new camera package. Well the camera isn't new but listen to the rest of this episode to find out what I did end up buying for the business.
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Imposter syndrome can be a real thing especially in our business. Perhaps you're asked to do a project that you've never done before, how do you respond to that? Should you "FAKE IT TIL YOU MAKE IT" in order to get the job? What impact will that have for your future career if you do it too much? Let's talk about the thing!
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As we're already heading into the middle of 2024 have you asked yourself, "man I really need to start leveling up my business but i'm stuck..". Perhaps you feel you should be charging more as the cost of living has gone up and you've been charging the same rates for the last 5 years. For some of us the thought raising our rates brings anxiety through the fear of our clients and network not wanting to work with us anymore. That will happen with some clients but the vast majority of them will level up with you but that only happens when you take action to make the change first.
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Did I or am I BSing you? Hard to tell especially when other content creators on YouTube are creating videos with click bait titles as well! Today's episode is more about perspective and honesty, virtues that apparently content creators still value less than the views they get on their videos but hey who am I to judge? I hope you enjoy this episode as always and if you do please rate the podcast on Apple podcast it would certainly help out!
Have you wondered how to branch into new industries? Perhaps you've been doing your regular bread and butter type shoots but have always dreamt of doing fashion videos? Your network is where 99% of your leads come from and if it's comprised of directors and producers within a very specific genre, well that's the type of work you'll get. In today's episode I talk about ways to reach out to producers/directors in order for you to start doing the type of projects you truly want to be involved with.
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When I first started my career it was a lot of verite/documentary style coverage. Which usually meant going hand held and running around grabbing what I felt were interesting shots. As my career progressed and working on larger sets with more demand for a structured approach, I soon realized that my approach was had too many faults. There was a lack of coverage that not only made my time on set longer than needed but in the edit there were a lot of gaps in where I could have told a more thoughtful story. Today i'd like to explore the concept of coverage and why it matters to you as a cinematographer.
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Question Mark ?!
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Last year on a commercial production I was there was a very awkward moment on set that. One of those situations where you have to ask yourself, "if I were in that position what I would do?". I wanted to share that experience so that if you ever find yourself in a similar situation you'll be prepared to respond in the best way possible.
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The last few years we've seen a huge cross over from photography to cinematography, with many adopting the ultra soft light look. Nothing wrong with soft light at all, give me a 12x12 of magic cloth with a grid all day! However, there are instances where balancing between having both hard and soft light has created a new paradigm shift away from your traditional soft source lighting. Today I wanted to talk about how i've been incorporating both types of light and how you might find it beneficial as well.
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Today I wanted to provide a brief review of the CRD Bags and if they're worth it. I own a few of them including the Medium and Large size CRD bags along with their velcro labels which I really love. So...are they worth it??? I think they are, but i'll let you decide after listening to this episode!
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A brand new year means the potential for new rates and budgets. In this episode I wanted to talk about some ways to communicate with your clients the increase of your rates whether that be your day rates, rentals or the entire budget itself.
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It's that time of the year friends, where all the pre NAB and Cinegear hype is coming in! New equipment to water our mouthes and to delete our bank accounts with. However, I believe the beginning of the year is the best time to start to look at the equipment you have right now in order to identify which you need keep, sell and what business purchases make sense for your in 2024. Let's chat!
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Should you still be posting to Instagram these days? What about YouTube, is it still worthwhile creating video content on a very saturated platform? I believe it is, but you also should have a very specific goal in mind otherwise your time and effort might not be put towards the best areas in your life. In today's episode i'll be covering some of the reasons people shy away from posting more on social media and ways we all can get over the initial hump to growing our personal brands and thus our businesses.
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HEREEEEE WEEEEEEE GOOOOOOOOOOOOO
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Today we're breaking down a scene from the feature film I was on earlier this year. We'll take a look at one of the night interior scenes and the approach I took for fighting against what could otherwise be a very flat and dark image. Link to the breakdown images will be right here for you to follow along!
https://atdavidlee.com/breakdowns/
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Is this a joke? What do you mean tools for success without gear?!?! Clickbait??? Nope, just real talk on how to set yourself up for success when it comes to the business aspect of being an owner/operator. Things like communication, team management, client expectations vs your own person needs are skillsets that will help you grow your business year in and year out.
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With the recent strikes in the industry concerning mostly the use of AI, I felt it was time to make this episode as some crew members i've spoken to this year have been concerned around AI taking away jobs from practically every department of production. From working on virtual production sets to speaking with union members I can honestly say that you don't need to be worried about AI taking away jobs. At least for the foreseeable future...
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Yup, she's gone boys but she had a great run for the last two years. As 2024 is approaching i've already started my business purchase sheet for next year and the Komodo would have been sitting in a pelican probably for the rest of the new year. So let's have a little chat and why I decided to let the Komodo, go.
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Is Cinematography an Art or more of a structured approach to the visual arts? How do we reconcile our drive to "create art" but also get paid and be able to earn a living doing what we love? Let's a little heart to heart conversation shall we?
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One fear many owner/ops hate being in the middle of is the fear of being undercut by others and missing out on a job. Now I totally understand that getting paid is way better than not being paid at all, however when you do too many jobs where you intentionally undercut yourself, not only do you continue a pattern of losing out on overall income but you soon start to realize (or I hope you start to realize) that you're not getting paid what you're actually worth. So let's talk about it!
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Short episode today but one I think many of you might need. We're talking all about rentals, how to price your rentals, ways to keep things organized and resources online to get the information you need.
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In today's age of digital and quick to access exposure tools, are light meters still useful? What benefits are there from using a light meter compared to false color and other monitoring tools we have? Let's have a nice discussion about it shall we!
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Let's talk about the FX3, PRORES RAW, Gimbals and why would a $80 million dollar budget used a YouTuber friendly camera.
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In 2023 are SmallHD monitors still worth it? What type of productions are you consistently on that might require the purchase of a SmallHD or Atomos monitor? As I own both monitors from both brands I wanted to share my own experiences on set with what I see more of and what I would recommend for you to look into.
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Long time Pelican owner? Maybe you've been using only SKB cases for a time. Well as someone who owns all three but over the years i've only been buying Nanuk cases. Why is that? Let's find out!
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Wonder why your monitor looks vastly different than your viewfinder? Can't figure out why your display is too blue or warm and it's been driving you crazy? Chances are you most likely need to calibrate your monitors, both your onboard monitors and post production monitors. In today's podcast episode we talk all things calibration related included what tools and software I use to keep my monitors looking color accurate and to help match them all as closely as possible.
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There's a fine line between charging a half day or a full day and many times we're stuck with deciding on which to charge. Is a half day for you 4 hours, 5 hours, maybe 6 hours? Is a full day for you 8 or 10 hours? And when the time comes when you're met with a potential or confirmed half day, how do you approach charging for it? Let's talk about it!
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The great debate between owner/ops, free lancers and film school graduates; should you join your Local under IATSE? Whether you're camera department or G&E, heck even HMU and Wardrobe have their own union should you wish to join! What are the advantages and disadvantages of joining your local union? The last year i've met with colleagues of mine on various shoots and have catalogued their answers. These are working professionals who are Local 600 or who have been in the industry over 10 years so needless to say, they got some experience with working no both sides of the entertainment hemisphere.
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With so many dual native ISO cameras out on the market it can be easy for many of us to lean into cranking up the ISO for a cleaner image. However, there's a difference between having a clean image but still a flat looking image and a clean image with depth and contrast. In this episode I talk about how I approached a recent feature film I was on by going with a lower ISO and utilizing all the lighting tricks my team could put together to still create a dynamic looking image.
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So you've watched some video or listened to an interview with someone saying, "Gear Doesn't Matter" or "Just go out and make the thing" right? Now that's partially true but the one thing many people leave out of the equation is the goal you have for your project. Without the goal how do you know how to get to where you want to be or what you wish to achieve? In today's episode I want to break down the difference between low budget filmmaking with a goal behind it and the opposite where you see little no ROI.
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The return on your investment for cameras, lights, lenses and everything in between is a huge factor in the growth and potential success for your business. In this episode I go over my top business assets to focus on with regards to a sustained ROI as well as what category of equipment to consider based upon your geography and the market you work in. I know, it's not a gear review or something that might inspire you but let's face it, if we can't pay the bills and protect our future we won't be in business for long and thus won't be able to live our dreams for long as well.
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No it's click bait, but in actuality if you're working in Resolve 17 or 18 I found out that the new HDR wheels can be applied with great results to SDR content. I'm not 100% sure how it works but with new technology, algorithms and of course "AI" we now have the ability to manipulate our images even more so with regard to remapping certain parts of our dynamic range. I may start making YouTube videos again because some of the content on the podcast I feel can benefit from a video version along with also uploading the podcast first. Let me know if that's something you'd want!
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Ever used a wall spreader? More importantly, WHY haven't you used a wall spreader? They're fantastic! Especially when you don't have any windows to light from and are looking to create your room tone from over head rather than from the ground. In this episode i'll be going over why Wall Spreaders are so handy and especially for the price they will instantly be a part of your G&E kit.
WALL SPREADER ON AMAZON
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Looking to match your Sony FX and Alpha line cameras? Perhaps you're in the market for a B-Camera and want to know how you can match your existing Sony camera to another that isn't the same model as your current camera. I own a Sony FX9 and Sony A7IV which honestly has been the closet match in terms of color and white balance matching. I've also used the FX6, FX3 and A7SIII alongside my FX9 and they're all a little different. The one constant that has helped me match all the cameras in post are the Phantom LUTs. I'm not sponsored by Joel and have purchased his Phantom LUTs dating back to the FS7. This episode isn't just talking about the LUT but the differences between the sensors to give you a better idea of what to expect when matching your cameras.
Link to Phantom LUTs: https://www.joelfamularo.com/colour
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We're back! Can you believe it! Yes I am alive and well, though I would lying if I said the last two weeks of the feature film haven't been rough. Rewarding but tough, anyways! Today we're talking about how to approach shooting fight scenes with the theme of "Shoot for the edit". The main take aways from this episode to help you with your next fight scene are the following:
1.) Know your location so you can know the blocking
2.) Work with your director and fight designer on the specifics (focal length, composition, camera movement etc) so you can start working on your lighting diagrams
3.) Light the space, then use fixtures you can setup fast to keep the flow going for the actors.
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Well well well, looks whose back! Me...no one special sigh BUT we have a breakdown of a scene from my recent Kickstarter project "A Drowning Heart" that we had to shoot two cameras at the same time in this dialogue scene for the sake of staying on schedule. I could ramble on about why and what we used or you could take a few minutes to listen to the episode instead! Shooting multi camera is something we all do from time to time but it's never without its challenges which I hope after today you can take what I did and do way better for your next two camera setup!
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Post Cinegear episode, although I wasn't able to attend Cinegear due to unforeseen circumstances I did make it to a pre-event that week which will be the precursor to this episode. It's really never been better for us as filmmakers, whether you're just starting out or are a seasoned professional. The quality and quantity of gear from lighting fixtures to lenses to gimbals, all at various price ranges, have truly opened up the doors of possibilities and opportunities for all of us. I hope you enjoy today's episode, the insights I offer as it's my way of supporting all of you guys and gals out there.
LINK TO MY KICKSTARTER IS HERE:
http://kck.st/46yCxfU
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Little life update for you all who have been wondering where the podcast episodes have been! Well, life has been extremely busy juggling things between my film, the kickstarter for said film, a feature film i'll be on in July and client work. So here's a short update on all of that before we head into Cinegear LA weekend!
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And we're back! Another breakdown video for a sports water commercial that was part product part lifestyle. We had exteriors to shoot as we ll as interiors that required us to create the light ourselves since we had no option to motivate light coming through any type of window/doorway. The gym itself was active with a lot of customers throughout the day so we had to work around that along with a overcast day during our day exteriors. The biggest thing when it comes to overcast is since the light is already soft you still need to do your best to create some level of contrast or variance in the image and using neg/solids with the combination of diffusion and bounces can be your best friend. For the interiors I feel we did a pretty good job creating the mood and tone and since the cuts were going to be super fast in the edit I didn't want to spend so much extra time as we had roughly 13 setups to do throughout the day.
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Apologies for the late episode upload but I had to wait until the full product was delivered before I could release this episode. So here we are! First virtual production and my experience working with the volume wall. We had a curved wall we were working on about 20ft tall by 40ft wide. There was a mixture of video playback occurring on the wall as well as live tracking for one of the scenes. Overall I had a great experience with volume technology and I can certainly see it's application over green/blue screen but like everything when it comes to technology there will always be issues both on the hardware and software side of things which I talk about in this episode.
Link to the BTS images and videos:
https://atdavidlee.com/breakdowns/
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What's good friends! Today we have a long one but it's an interview episode I was on with the good folks Aaron and Chaz from Story Over Everything:
Link to their Apple Podcast: https://podcasts.apple.com/fr/podcast/story-over-everything/id1437280815?l=en
Link to their Spotify: https://open.spotify.com/show/5f6PL89RJ7jL8Eey6G3yIN
Aaron ask's a lot of great questions when it comes to pitching, production, post production and client relations with regard to Branded Documentary projects. If anything you can hear me rant about things for an hour as well if you fancy that!
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When the client/agency says, "Do we need all these people here today?" you look without hesitation and say a big, "YES". I'm sure you've been in that position at least once in your career, it's an awkward place to be because you feel inclined to defend your reasoning for why you have the amount of crew you have. We all know it's not about flexing, especially since we're dealing with money, it's about ensuring that everything the client/agency needs is captured on the day and that means efficiency. Without the proper crew on the day you have to sacrifice something (amount of shots, amount of ads etc). In today's episode I wanted to talk about ways you can tackle these conversations on the day as well as during the pre-production phase so that we can get the crew we need based upon business goals for the client.
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I was having a conversation with someone recently and the topic of, "how do I find more work?" kept reoccurring. I felt it would be a great topic especially with a brand new year underway so here we are! For the most part, networking is still the best way to continually get work. The hard part is building your network first, and that takes time. What I wanted to do in this episode is provide some insight on how I built my network, the tangible things I did that led to a desired outcome.
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It's that time of year again, although i'm late by a few days, with the end of the year review for 2022! I'm going to cover my income numbers, days on set, most used equipment, least used equipment and some lessons learned from 2022.
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Not directly related to Cinematography but an important toolset to have when working with talent. Whether it's a narrative project or a commercial these are 3 of the best tips i've learned when working with actors that can support you through getting the lighting you were hoping for as well as ensuring both the director and talent can work in your favor to achieve the pre-production plans you made.
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Bit of a random question but what jobs do you like taking as an owner/operator? Do you enjoy camera operating a lot and take a good amount of those jobs throughout the year? Perhaps its Gaffing or being a 1st AC? I remember when I first started out I was taking anything job I could get my hands on. As my career progressed and working more as a Cinematographer there were still jobs coming my way. Even to this day i'll take select camera operating jobs and gaffing jobs when I feel I could be useful to the production as well as increasing my yearly income. So my question to you is what jobs do you like and why? Don't feel bad if you're ALWAYS working as a DP because that day will come. Instead find two or three roles you enjoy and mix them all to keep your financial goals steady as well as growing your skill set.
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One of the most important questions a owner/operator can ask of him/herself is, "How do I increase my rates?". When I first started out making $200/$300 to shoot AND edit a project was huge! However, we all know we can't realistically stay in that space forever especially those of us who are looking to make cinematography our specialty and thus a career for ourselves. How do you start increasing/upgrading your rates? In today's podcast I attempt to answer that question with one of those most important elements to know in our business - talk to your clients with a business mindset first and not a creative mindset. Listen to the podcast for the whole story though!
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Celebrations are in order as my latest commercial "Mentor for Change" took home Best Commercial at the Oniros Film Awards of New York AND at the Cannes World Film Festival! On top of that I'm grateful that we also won Best Cinematography at the Oniros Film Awards, that definitely so great to have industry recognition for a commercial piece of all things. That being said I'm breaking down the commercial for you all and hopefully you can take some of these tricks I use to better your pre-production, cinematography and add to your own lighting arsenal.
Link to the commercial: Mentor for Change
Website for Still Images: https://atdavidlee.com/breakdowns/
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Not it's not click bait but a practical way to use a longer focal length as your wide shot. There's times when you're stuck with a not so ideal location or perhaps having to shoot at the worst time of day and you need a wide shot for a particular scene. One trick I picked up on last year which I used was to use a longer lens, bring the camera back and have more options for shaping light. Think it's BS? Try it out, you'll find that many times you'll be able to get away with better lighting options which in the commercial realm can make a huge difference.
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There's pros and cons to using light domes for lighting as well as using 4x4, 6x6, 8x8 frames etc. To think that one is better than the other shows a lack of experience in the game and to be quite honest shows a great weakness in your lighting capability if you only stick to one. In this episode I offer my pros and cons and when each tool can benefit you depending on the type of project you have. If you're still working your way up the cinematography ladder I hope this episode better informs you on what's available and how it can help you.
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One of, if not the, most challenging things you could hear on the day is, "hey can we make it brighter?". Sure we can! The trick is, not actually making what's being captured brighter but just the monitor output itself! The easiest and safest way to do it is by using a slightly modified version of your standard REC709 LUT. In this podcast episode I explain why you want to have two versions of your LUT, how much to adjust your copied LUT version and my workflow on set when monitoring the image for both myself and client/agency.
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Have you ever been on set when the client/agency wants to change the schedule? You've spent a good month on pre production, or less, working with the director and agency on lighting setups, what time of day to shoot certain parts of the boards only to have it all blow up in your face? Well maybe not all the time BUT I know you've been there before! Today i'm sharing with you how I approach these discussions, how I used to deal with them and potential ways to create a better on set experience for you and your crew.
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I recently rented the A-Set Anamorphics from Atlas and wanted to provide my review of them for those who are looking at renting them for future projects or possibly purchasing them for your own rental business. Overall the optics are clean, the flares i'm not a huge fan, shooting wide open at a T2 is rough and the lenses don't have a lot of character to them. However, these could all be reasons why you want them for your next project so I hope this episode supports you in that endeavor!
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One of the most prominent qualities i've seen from high level cinematographers in the commercial space has been that clients value their work, A LOT. What does that mean? Simply put, clients have a higher value perception of their work. The level of cinematography, communication and professionalism they bring on set as well as to the visual language of the project have propelled such cinematographers to not only ask but demand the higher rates. In today's episode I want to talk about how important it is for a client/agency to value your overall work in order for you to start growing the business side of your career. And yes, a part of that is leveling up your skills as a cinematographer!
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Do you charge hourly for post production? What about fixed rates, is that easier and more efficient for you/your agency? These are the two most common ways to charge a client for post production services and in today's episode I want to go over both. One may be better for your type of company and I always find it best to compare and contrast two methods rather than believe in one ideology off the bat.
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One thing I feel gets neglected is happiness, not just ours but everyone involved in a production. As the Cinematographer/DP part of your responsibilities is to set the tone for the day, along with the Director. If you make sure everyone else is happy they'll do the exact same thing for you and that my friends is a great way to usher in a healthy and successful production. On top of that the more good energy you bring the more times your crew, client and agency will want to work with you in the future. Our job isn't just to ensure we're supporting the director with their vision and to create beautiful photography, it's to ensure the entire team, unit, production is successful and if you can pull it off while having a good time on set then I think you've found a recipe for success.
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False color isn't anything new but the way you look at false color can change over time, I know it has for me. When I first started using false color it was to get a sense of where my key was in the IRE spectrum and if my high lights were clipping. I didn't look at anything else because I wasn't at the level where I could do anything about the rest of the image. Fast forward to 2022 the way I use false color on set to help gauge my ability to create a denser image has changed and I wanted to share that method today!
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Another year, another Cinegear! Though I honestly haven't seen anything worthwhile since Cinegear 2018/2019, this year the turn out was definitely more than last year but the majority of booths are Cinegear already had their time to shine at NAB so nothing "new". The one thing that stood out was the amount of budget friendly equipment from stabilizers, support rigs, lenses etc which is opening up avenues to still create great images at any budget level.
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Two episodes ago we spoke about how to ask for more Post Production budget, today we're flipping it around and talking about Production Budget (crew, logistics, equipment etc) and two scenarios where you might find yourself needing to ask for more cash. The biggest piece of advice I can give is be 100% firm that you need the extra cash for production. If you are (and likewise confident that you actually need the additional crew member, dolly grip, light etc) you'll be able to transfer that confidence to the client/agency who ultimately says Yes or No.
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It's hour number 7 of a 10 hour day, the director asks you to go get some b-roll or inserts knowing that he/she doesn't have enough variety of shots and it's up to you to deliver. What if it were the other way around? What if the time taken for pre production was actually utilized to mitigate the random shots that end up never looking good from a photography stand point? That's what we're talking about today, OVERSHOOTING. What it is, why many directors default to it and how you can make your life just a little bit easier through it all.
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A question I received from Instagram recently that I felt could be an awesome episode as I know many of you have been in this situation before. The short version of the question asks, "How can I ask for $1000 to edit a 15min video when I only charged $500 for the last video?". Amazing question! Let's see how I would tackle it and in your mind ask yourself what you would do differently.
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Tired of posting the same things with the same captions everyday for little to no return? Is it even necessary as owner/operators and freelance Cinematographers to need to post daily, weekly or even monthly? In my experience as well from other colleagues I know, I haven't seen anything in the form of actual jobs or projects come my way from posting on social media. Now that being said there still is great value in building your audience as a personal brand because it's another subset of your network you can build out. Crew members who may know a friend of yours starts to follow you and that's another person you add to your network list, but posting IG reels or BTS photos etc won't get you more work directly. So don't feel bad if you're still at 100 followers and some of your friends have 20,000 or more - work is work and if your career is still progressing every year you're doing it right!
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You might be thinking to yourself, "I can make high key looking good pshhh" and you're probably right! However, the thing that I always lean towards is how do I actually make it look good consistently rather than mimicking what I see from others? What actually is it about great cinematographers and their approach to making high key lighting look good? The answer to that is ratios, the difference between a key side a shadow side. There's also the location, set design, hair and make up etc but if we're just focusing on the talent you can create beautiful images by knowing what ratio you like for high key and ensuring you create both a key and shadow side.
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Ever been in a situation where the location you have is less then ideal? You were hoping for a row of windows to bring light in from but instead are stuck in a 4x4 room with overhead florescent lights...yeah...not a fun time, or is it??? Today let's explore the realm of overhead lighting and how it can best serve you to create natural but polished looking light for your next project.
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One of the key responsibilities as a Cinematographer is managing expectations. Yes you are there to ensure the visual aesthetic is fulfilled but without the collaboration and support from your crew the production day can go any and all ways, sometimes not to your liking. How do you manage expectations from your crew to ensure they're delivering their best for you and the project? What does it take to please the agency folks while you're juggling a hundred different things on set? Lucky for you we're covering this topic today in the hopes that is serves you in the future and for the rest of your career.
The most challenging aspect of being a owner/operator is truly fighting for our rates. The technical parts and artistic ventures of our career is an on-going journey but we can't survive unless we can fight for the rates we deserve. Below is a link to current 2022 Union rates which I use to help gauge where the industry is and to structure my day rates accordingly.
https://www.mediaservices.com/showbiz-software/showbiz-labor-guide/#tab-which-union-rates-are-included
At the end of the day you have to make the decision for yourself to say Yes or No to certain projects and knowing what the fair market value day rates are is extremely helpful as it provides you with the data necessary when justifying your rates to a production.
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I used to feel guilty for not going the extra mile on every shoot, even if I was getting shafted with a super low rate and bringing in gear I knew the project wouldn't take advantage of. Fast forward a few years later, what i've come to learn is if you don't know your worth you'll continue to feel guilty in some way, shape or form for not "doing more". However, if the project and budget aren't also going the extra mile then that conversation goes both ways. You get what you give and the giving always comes from the budget first - remember that the next time you feel an inclination of guilt coming on.
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I remember watching cinematographers and gaffers use light meters and thought, "man I don't have time for that, it's too slow!". That was true in the beginning when all I was doing was run and gun but using that same mindset as the budgets and projects got bigger meant that my ability to light was still looking the same - relying on natural light which can only get you so far. By understanding your ratios (Key to Background etc) you start to understand what you want your end image to look like that. Having this knowledge allows you to start building a path of progression to build better images at a higher level, using false color and a light meter are great tools to support you on your path.
In this episode I break down a recent shoot where I used both false color and my light meter to help me light faster especially when you're traveling to places you have never been before.
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Have you ever been on location with complete white walls everywhere? If you cringe as your initial reaction you are not alone! What are we as cinematographer supposed to do with so much light bouncing everywhere in such locations? One of the best ways to combat the flatness of having to light white wall interiors is by lighting from the outside to set your room tone levels. By lighting from the outside (setting up your lamps outside to shoot into windows/door frames etc) you at least have a measurable way to set the room tone yourself as well as creating the contrast from hard light and soft light. When you can't light from the outside that means you need lights inside and the only way to fight the flatness of it is with a ton of grip, but if you don't have the resources or the budget you'll find that time and time again these types of projects really struggle to look as good as they could be.
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"Hmmm well if I don't get the 600D I can buy three 120Ds, that should better right?". Many times going with many smaller lights creates a bigger mess for a few different reasons:
1.) You need 3 stands rather than 1 if you went with the bigger light
2.) Diffusing 3 lights vs 1 requires more grip, more setup time to get them all in the right position
3.) For interiors you're already fighting a losing battle if you're trying to do all the lighting from inside
That being said there are times when you need smaller fixtures but for very specific uses. In today's episode I offer my case for why you should always (majority of the time) go with the bigger light.
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When it comes to project agreements, the level of detail you put in will make your life easier. How so? Well if you've ever had a client ask for more revisions, additional deliverables, longer lengths etc because your project agreement did not outline a clear and defined scope of work you know how that goes - not pretty. You either agree to do the work at a low fee or for free or cut ties with that client. Both are not optimal solutions so I hope that in this week's podcast episode you can avoid this trap and do the right thing both for you and your client.
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Not a great feeling right? You take the time for an hour or two hour long discovery call, take another 24-48 hours doing some number crunching and research just to have the lead come back to you with half the amount you quoted for. The thing is, many times you can avoid this all together by doing more work and asking more questions in the discovery engagement call by asking them this one question, "What's your budget"? When you do this you immediately take out any vague questioning or giving the lead an opportunity to beat around the bush - if they do at least you know and that gives you more information on how to respond.
In this week's podcast episode we're covering some tips on how to not dig yourself in a deep hole to have to negotiate your way out of and some best practices for speaking to clients when they question your quote.
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When clients see your work, they can trust for the most part that you can deliver on the services and deliverables they need. Whether that's through your social media presence, your reel or your network you can find that all of the above will help eventually get you to the point where you can start working with bigger budgets. Spec work is still by far going to separate you from others and show agencies and clients the level of work you can deliver and let's face it, the better the visuals the bigger the budgets...more or less. I hope you guys enjoy this episode and I know i'm like a broken record constantly talking about shooting spec and networking but it's what has helped me exponentially move away from one man band videographer shoots to working with crews and larger budgets.
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We've all been on set or in the post production process and at one time have asked ourselves, "Who the heck is in charge here?". Is it the Agency, is it the client or are they both calling the shots? It's not a black and white answer and because of that it can be frustrating as part of the crew when you're trying to do your best work. In today's podcast I breakdown a few tidbits of information and how to tackle some scenarios where it feels like your leadership over the project is getting away from you along with ways to ensure money isn't coming out of your pocket when asked for ridiculous things on the day or during post production.
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Ever wonder why your frame isn't looking the way you want? Most of the time it looks either too "sourcey" or something just looks off right? For me I always find that if i'm not able to bounce the light it always looks unnatural unless you have really large fixtures to help create that natural lighting vibe. That's where bounce light can save the day, IF you have the space to do it.
In today's episode we're talking about the difference in quality between using Bounce Light and Direct Light, the times where direct light is just easier to setup and how you can test the difference with budget equipment.
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Majority of the time we have some type of game plan going into a day of production. Our pre-production process has created a workflow for us where we can tweak lighting on the day to best suit what is happening around us. With that said do we still need lighting diagrams in run and gun situations or with limited crew and resources? I think we do because what a lighting diagram can do for you as a cinematographer is create a track record of what worked and what didn't work. That way the next time you find yourself in a similar situation you can go back to your notes, your history book, and help prevent the same problems you had the last time.
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Have you ever been hesitant with pricing your projects higher? Do you feel if you did price higher your clients will want to back up or immediately low ball you? I've been there before especially in the beginning where you "think" by dropping your prices lower you can get more work that way, but all that leads to is you becoming the go to discount production unit and having those same clients refer to others who want the discount. On the opposite of the spectrum is overcharging and especially in our current inflation economy there are many industries overcharging without actually delivering anything more in return. That being said I hope you guys can take away something of value by learning to price higher without overcharging.
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You're eating lunch scrolling through Instagram and say to yourself, "Man what am I doing in life...". Yup, I was there MANY times before I started my freelance filmmaking career, but little did I know what it actually takes to even scratch the surface of living my life and building a career as a Cinematographer and filmmaker. What does it even mean to BE A FILMMAKER??? I think one way we can start on that journey is with Short Films, so today we're talking about some general rules of thumb to consider when tackling your first short film such as:
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Micro Short Film vs Longer Form
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How to find cast and crew
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Collaborating with a Director
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Minimize cost and Tax Return Incentives
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Hereeeee we goooooo, end of the year review for 2021. We're talking about yearly goals, which ones we hit which ones we didn't, some of the numbers I achieved and what i'm looking forward to 2022.
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Is the RED Komodo just another hyped up camera from a large brand or is it actually a solid camera? Well as a Komodo Owner and someone who has shot on RED before, I wanted to give you my thoughts on why I made the business decision to add the Komodo to my camera kit alongside my FX9. Perhaps you too are in the market for a Komodo but are on the fence between that and say a Sony FX6 which is the same price but has it's own list of pros and cons. Let's check out the Komodo today and see if this episode helps you out.
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I know, I know - not the most exciting topic to talk about but one of the most important ones that is easily neglected. Our physical health is so important because it keeps our performance up as well as being available to work. As someone whose has more than his fair share of injuries through competitive martial arts and powerlifting, injuries can be a plague that prevents us from doing what we love. In today's episode I cover a few key components to maintaining our physical health from simple stretching, exercise and the main areas of our body to focus on.
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This week we have Cinematographer Nik Pilecki back on the show! It's a solid hour+ of two filmmakers talking everything from Cinematography, Cameras, Anamorphic, Reality of Commercial Work and more! I hope you guys enjoy this one and take away from Nik's experience and perspective when it comes to navigating client communication and finding the creativity in our own work.
Nik's Instagram: https://www.instagram.com/nikpilecki/
Senses Fail - I'm Sorry I'm Leaving MV: https://vimeo.com/643518510
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Quoting projects can be nerve wracking at first. There's a few key things that you should know when quoting a project and certainly some important DO's and DONT's which is what today's episode is all about! Now there are some things I don't cover but this episode is more so what to do when actually drafting a quote for a project after the initial discovery engagement call with the client.
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We all love seeing those sweet deals on camera gear or watching video after video deciding whether to get the cheaper option instead of the premium one right? Sometimes the cheaper option sets you back in the long run though; a few months go by and you start understanding why the cheaper option IS the cheaper option. In today's podcast episode I share a few of my own "buying cheaper" options i've made, why later on in your career it makes sense to go with the more expensive option and as always some food for thought.
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Have you thought about buying a few vintage lenses in the hopes to cinemod them to epic scale?! I have but after thinking about it I decided not to. There's pros and cons to everything especially when it comes to purchasing a set of lenses. With regards to vintage lenses even if you cinemod them you can't quality control the optics of the lenses which is my biggest thing. Sure you might save yourself a few thousand dollars after going through Ebay, buying a set of 4 Canon FD lenses, sending them into Duclos or Simmod for their modding service only to sell them a year later because you realize how different each lens is and making little to no profit off their rental rates.
Listen to the whole podcast to get my thoughts to better understand which path is best for you.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
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If you were thinking of lowering your rates to get more work, THINK AGAIN! That's the opposite of what you should be doing, but I also know the value of creating long lasting relationships that lead to future projects and sometimes a being able to lower your rate say for a rental package or even your day rate by a small amount can go a long way. Today I want to talk about some of the scenarios you might be faced where lowering your rate might make sense and other times when you can't settle for less than your regular rates.
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I used to think value meant cheap/lower cost/less expensive but as time has taught me and others, the definition of value doesn't need to mean any of those. The reason being is if you position yourself as the "value" business under those standards than you become the go to person to do production for cheap. Sure you might make a few bucks here and there but is that sustainable over 10, 20 or 30 years? In today's episode I invite you to rethink what the word "value" means to your and your business in the hopes that we all start to price ourselves correctly and to never short change ourselves. Not only as cinematographers but owner/operators as well.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Bought too much gear in the past? Regretted that light you thought you'd use ALL THE TIME? Same here, I call it GCS (Gear Collection Syndrome). Is there anything that can be done about it? Where does it come from? Well as always, let's talk about it and hopefully we can better understand the means to overcome it as well as prioritizing business needs first when it comes to gear.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Today we have Cinematographer Josh Bernales on the show! We talk about his journey from landscape photography, documenting his trips, filming weddings and free content for local businesses to breaking through the branded doc scene and progressing through his cinematography journey. It's always inspiring to hear the journey of others especially when they're similar to our own as it feels like we're not alone in some way. I hope you guys enjoy this episode, please check out Josh's work and give him a follow!
https://www.instagram.com/joshbernales/
https://www.maraisstudio.co/
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
As the FX9 doesn't have a dedicated Anamorphic mode or even a Open Gate 6:5 mode like other cameras, how much do you need to crop in to remove vignetting? Is it better to use the S35 mode or 6K Full Frame mode when using 2X anamorphic lenses? Well lucky for you i've shot two projects using 2X anamorphic with the FX9 and the short answer is "It does work with limitations". The FX9's sensor is actually really large 35.7 x 18.8 mm compared to the Alexa Mini that has a Open Gate mode using it's full sensor of 28.25 x 18.17 mm. Using the FX9 in 6K FF mode you have a lot of room in post when using 2X anamorphic to maintain image fidelity, but not every anamorphic setup is going to work which I explain in this podcast episode.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
They say "shoot for the edit" or have the edit in mind when on set. There's a lot of truth to that especially for those of us working in the advertising or promo video space. Whether it's a 30 sec commercial, a 3 minute branded-doc or longer form narrative the ability to know how the edit is constructed and what can make or break the edit will make you a better creator, cinematographer, visual story teller. In this week's episode we dive into why knowing even basic editing can help you grow your craft, help you become a better communicator on set and ultimately challenge you to raise the bar for each project.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Has it happened to you before? A client paying half or none of the invoice? I've been bit hard before and I wanted to share my experience with you guys/gals so that hopefully you don't run into the same types of situations too.
Even with a full contract and receiving a deposit, I had a client that failed to pay the full amount towards the end of the project is the first story I share. The second is a client who didn't pay at all and it was at a bad time since lock down happened 3 weeks after production.
What stories do you have? I'd like to hear them too!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
The age old question, do clients CARE MORE about quantity or quality of a project? The short answer is BOTH but it also depends on the project budget as there is a give and take. If a client has an ultra low budget then something needs to be sacrificed whether that's quantity or quality to a degree. If you don't have a strong argument when speaking to clients who overstep boundaries then we are allowing ourselves to be taken advantage of, so hopefully with today's episode you'll have a better understanding of where the quality vs quantity debate starts and how to navigate your next client project if you find yourself in a sticky situation.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Have you thought about using www.staffmeup.com to find work as a Cinematographer or DP? Is it worth the $99 a year subscription to bid against others in our highly competitive space? For me, it is and i've been able to find a good amount of work as well as grow my network through Staffmeup. I still receive more jobs through my previous network than I do with Staffmeup but the contacts are still there, I still bid for worthwhile jobs and for $99 I think it's a great platform IF and I really mean IF you already have a strong reel and previous work that can compete for the jobs being offered. Have a listen to this weeks episode and let me know your thoughts on Staffmeup, have you used it before and what experiences have you had?
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Oh you know what i'm talking about, the never ending IG Ads for CINEMATIC LUT PACK VOLUME 10! It seems more and more companies/influencers are pushing out their LUT packs to new filmmakers and even seasoned cinematographers because, well why not? The question is, do you really need it and will a LUT take your image from kinda crappy to not so crappy? Most likely not if the essentials aren't already there (location, set design, wardrobe, lenses, lighting). Let's chat about LUTs, what mistakes I made in the beginning when using LUTs and which ones I still use today.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
I'm sure you've heard it from many people that networking is what gets you jobs consistently. My first three years being freelance I struggled so much with networking as I am a introverted person by nature, but when I started to see that networking and communication with directors and producers i've worked with over the years has had a direct impact on my work volume I knew that I needed to get out of my comfort zone. If you've found yourself in the same situation and struggling to get consistent work I hope this podcast can inspire you to get on your networking game!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
In this week's episode i'm breaking down a recent commercial for Kobalt Tools who client for his was Lowes. We were shooting all day exteriors with a lot of challenges with the schedule, not the biggest lighting instruments in the world and trying to squeeze in extra shots that the agency wanted. Did we succeed? Let's find out!
https://www.atdavidlee.com/breakdowns/
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Are you wondering what it takes to go from Videographer to Cinematographer? What are some of the best ways to stop taking the $500 projects that also require you to edit them and transition into being a working cinematographer/DP? Good news for you is that there is hope! It's a long journey, shorter for others, but today I wanted to give you the tips that helped me out as well as countless other cinematographers. The short of it is:
1. Spec Work, Spec Work, Spec Work
2. Update your reel each year with the highlights from your spec work
Eventually when you've built up a good reel and gradually been hired for projects that create that pool of networking resources you need, you'll start to get hired more and more as a cinematographer and that will provide you the financial stability to say "NO" to the one man band, no budget videographer projects you've been dreaming to move away from.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Today we have a cinematographer Rob Machado on the show! Rob is a Las Vegas based cinematographer who works a broad spectrum from corporate, commercial and documentary. Along with his professional work Rob creates content on his YouTube channel and is one of the very few channels I still follow to this day. We talk about his start in photography in high school to film school at UNLV and breaking into the industry as a working cinematography. At the end of it Rob and I both agree that if you're passionate about what you do, you'll find a way to make it work and I hope this episode brings not only a few laughs but perspective on how to mold your own career path as an owner/op.
Rob's website: https://www.machadovisuals.com/
YouTube Channel: https://www.youtube.com/user/RobChado
Instagram: https://www.instagram.com/robchado/
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Did I really? Did you really? In all honesty, NO. You're welcome, but let me elaborate on that for a moment. A new camera purchase is like a car, you've done the research and narrowed it down to the final pick. Your old car still works, but it's old and it's just time to upgrade. You go to the dealership, pay the car in cash or finance it and drive it off the lot into that beautiful golden sunset. As time goes by your brand new car starts to look outdated as you see someone on the road drive a newer car than yours and you think to yourself, "damn did I buy the wrong thing"?
In today's episode I wanted to provide my insight on why you didn't buy the wrong camera, why your camera is just an asset and should be treated as such along with the best time to buy or upgrade your camera for business needs.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
I'm sure you've heard this type of question before, "Hey Joe! Love your work, we have an amazing new product coming out and need some social media content to promote it! How much do you charge? Thanks!" If I had a dollar for every time I was asked that I would be an owner of a brand new Alexa Mini LF, wouldn't you? Today on the podcast i'm sharing with you my Top 3 Red Flags from Clients, the openers and questions that should trigger the alarm inside your thinking process of, "Wait something feels off here". This podcast episode should help alleviate future headaches and hopefully prepare you for the next time you come across this type of client. Again, nothing is personal in our industry it's all just business so just as some clients will low ball you - you also have the opportunity to let them know your worth and that your time is valuable. AKA, thanks but no thanks!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
I feel i'm going to get a lot of heat for this one but sometimes the truth hurts so here we go! What i've noticed over the past 4 years of being a content creator on YouTube is it's gotten to the point where the majority if recommended videos and channels in the filmmaking space on YouTube is full of non working professionals. Why does that matter? Well if you're starting out in maybe looking to get to that next level in business and cinematography how can you trust someone who isn't working in the industry? Why are brands and companies relying on social media influencers and YouTubers to review their products for working professionals when these content creators aren't even working? Now that's not to say everyone on YouTube is just a gear head with no experience to show for it but the vast majority are which is sad. Let's dive into this episode head first and see if we can make any sense of it all!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Ever find yourself comparing yourself to someone else? Don't you wish you were on that job with the technocrane or the pursuit car on a race track - maybe being able to use the sweet master anamorphics for a hyper stylized fashion commercial? I think we've all been there and sometimes find ourselves still comparing ourselves to others.
The thing with comparison is it robs us of our own happiness, we take away our own self-worth and waste precious time feeling sorry for ourselves. Today I wanted to provide some insight and perspective on how I think we can overcome comparison so that we give ourselves more time to set meaningful goals for our careers as owner/operators and freelancers. I hope this episode supports you friends!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Is it time to upgrade to a cinema camera? What questions should you be asking yourself before you pull the trigger? How much debt are you going to be in, should you get a loan, does your clientele use certain camera packages that you're renting all the time? These are some of the questions I go over in today's episode as I feel there are many owner/ops out there looking to get into the realm of cinema cameras but does it actually make sense? Let's find out!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Ever wonder how you can get a certain type of light from your existing fixtures? What's the difference between hard and soft light and the effect it has on a talent or scene? Well good news for you as today we are going over my favorite 3 modifiers to use for lighting. Each one has it's own use, are relatively inexpensive and will last you until the end of time. Unless you lose it or break it then...maybe not that long.
Hope you guys enjoy this one! Again if you have SPECIFIC questions you want answered that aren't covered in this episode please send me a DM on instagram and i'd love to help you out!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Do you have a branded doc shoot coming up? Perhaps it's your first one and you're looking for tips for success on the day and in pre production? Well you my friend have come to the right podcast as today we're covering everything for branded doc work! From the gear, location scout tips when you can't be there, the style of documentary the client wants and more!
I know doc based work isn't for everyone but there is plenty of branded doc work in the industry. You never know when you might find yourself on one so I hope this episode serves you well and if you have specific questions shoot me a DM on Instagram!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
What is going on podcast fam! Today we're talking about why I purchased the Sony FX9 but more importantly why a camera shouldn't be the deciding factor between you and success. I answer a few questions from Instagram followers and give you my main reasons for upgrading to the FX9 for my work as a cinematographer. Hopefully by the end of the episode you'll have a new perspective on the FX9, the pros and cons in my opinion and if you're debating whether to get the FX6 or the FX9 I hope this episode clears up some of those questions.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Are you still shooting as a one man band operation? Tired of having to run your own audio, setup and re-adjust lighting yourself, do all the post production work yourself at the end? Yep, I was once there too and it's grueling to say the least. Today's episode is dedicated to all my one man band operations and ways to move away from these types of shoots so that eventually you're only doing less than a handful a year so that your time is dedicated to more worthwhile projects.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Who is your ideal client? What defines your ideal client? In today's episode we cover 3 general guidelines for your ideal client to help you create your own checklist. It's important to identify your ideal client after some time to get away from mediocre jobs or the clients that want you to do more work without the proper compensation for it. I hope you all enjoy this one!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
What's good podcast friends! Today we're talking about what retainer clients are, why they might be beneficial for you and how to speak to a prospective client who could benefit from a retainer client model. The most important things to consider are:
1. Does it make sense for you to have a retainer client?
2. Continue to build your portfolio with reel worthy work
At the end of the day we all have to balance paying the bills with passion but eventually you'll get to the point where the majority of your income comes from the type of work you want (DP, Cinematographer, Cam Op etc).
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
What's this? You got QUESTIONS?!?! Well lucky for you I have some answers. Whether they're good or not is yet to be decided BUT hopefully they help you guys out! Here are the questions that were submitted:
1.) How to combat the fear to fail before shooting? Does it ever go away with experience?
2.) If the lens is faster at F2.8 why do people shoot at F8 or higher?
3.) How do you handle data management for your footage? Do you ever delete footage?
4.) How do you stay disciplined in the hustle?
If you guys like this format from time to time let me know! Shoot me a DM on Instagram @atdavidlee and i'll do my best to put your question in the next Q&A episode.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Well hello podcast fam! I'm sure there's been a point in time where you've asked yourself, "will I get more work if I had more gear?" - I have been there before too and have made the mistake of purchasing a gear thinking I would get more work because I saw so and so online who had a particular camera, lens, light etc. The fact of the matter is the client budget and your skillset always dictate the profit you make and as you're starting out the gear doesn't matter because most likely you're working low budget projects.
As time progresses along with your career and skillset, you'll start to see the budgets grow and with that the requirement for gear start to increase. That's when you can start to analyze what pieces of gear makes sense for you to own or rent and in today's podcast episode I talk all about it!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Oh the dreaded question, "Can you show me previous work you've done?" UH OH! How on Earth do you answer that when you don't have the work to show? That's where written and visual treatments come in along with some crafty use of language to help pitch the client your vision and how it can support their brand, product or service.
In today's episode I go over some examples of how to pitch your vision to a prospective client, why Spec work is still relevant and hopefully by the end of the episode you'll have some more information to take into your next client conversation.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Oh this is a good one folks, take a moment to listen to today's episode as i'm covering the topic of understanding how different clients have different budgets and how that impacts your business decisions. Not every client has $100,000 in marketing for single project, some may only have $10,000 for a single project but if you're still working with $500 clients I think today will bring to light a new perspective on how client budgets work in general.
If this episode helped you out let me know! Shoot me a DM on Instagram @atdavidlee and if you're looking for inspiring gear reviews or tutorials check on my YouTube Channel www.youtube.com/atdavidlee
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Oh here we gooo, today we're talking about the lighting gear i'm buying this year and why i'm making the case for purchasing bigger lights. Now bigger lights don't necessarily mean you need to be hunting for a good deal on a 6K HMI on E-Bay but with really solid options such as the Aputure 600D Pro and Nanlite Forza 500 it's providing indie filmmakers and owner operators the ability to take their lighting to the next level.
I'm also a huge advocate for diffusion and again, the bigger diffusion you can use the more natural it will look and feel on camera which is the look I am going for and perhaps it's also the look you're after too. Diffusion with your lighting fixtures is the tag team championship formula where you need team work to help make the win for the scene you're trying to light, but again you have to go big with the diffusion or use a combination of small and big to get the quality of light you seek.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
What is going on friends! In this week's episode we are covering the topic of reels.
1. Do you need one?
2. Should you reel have everything or be more focused?
3. What to do if you don't have the content for your reel?
I still have an updated reel every year because it allows me to showcase the exact type of work I do and the visual aesthetic I bring to clients. Not everyone needs a reel but in this podcast episode I talk about who does so don't feel left out if you don't have a reel yet friend, there's always time to make one!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Oh here we go, let the flood gates open because I know many of you out there are ready to defend full frame over super 35, or maybe there still are the loyal filmmakers devoted to not giving into trends and are still rocking an old Alexa ST or RED Epic Dragon with your beloved S35 lenses! Do we still need to have this discussion of which sensor is "better"? I think we do and in today's episode we are focusing in on this topic for owner/operators and small crew type shoots.
Which sensor suits your needs and is more practical for your business/production needs? Look at some of your favorite movies in the past 10 years and i'm pretty sure you'll see Super 35 cameras at the top of your list. Well enough blabber from me and if you've read this far, well then...kudos to you my friend.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
As someone who left a very cushy tech job years ago to pursue filmmaking, production and following my passion I know plenty about taking risks and the FEAR that comes along with it. You see FEAR is the driving factor behind a lot of our action or inaction. In this episode I wanted to step away from the business and camera talk for a moment and speak to one of the more important aspects of being an owner/operator and that is the ability we all have to take risks that will help us in the direction of our dreams.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
When you're just starting out, how much is your time worth? Have you been low balled time and time again? In this episode I wanted to cover The 3 Things to help determine what to charge clients, whether it's your first year or if you've been freelancing for some time, we always need to identify:
1.) What is the client's budget?
2.) What are their expectations
3.) What is your profit number?
By discovering these three things you'll run into less headaches during your discovery engagement calls, you'll be able to determine all expectations for the project to reduce unseen headaches and create accountability for both you and the client, lastly you will start to track how much your rates have increased or stayed the same over time which gives you more information on where you can start to scale your business and profits.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
We are back with Film Director Mark Bone to wrap up our conversation around documentary filmmaking and practical tips you can take into your life. Part 1 we covered a lot of the technical, logistical and creative choices for doc films and in Part 2 we come full circle in terms of what our passions are and how that translates into this journey we call filmmaking. Mark gives his advice on how to start your journey as a documentary filmmaker, why he started the Art of Documentary and we also touch upon a bit of his experience in the commercial industry and where his current passions are.
For more information on the Art of Documentary please check out the link here: https://theartofdocumentary.com/
Mark's YouTube Channel: https://www.youtube.com/channel/UC4exYtWOlHd4mL-owyyA12w
Mark's Vimeo Channel: https://vimeo.com/markbone
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
When I first started my freelance career I was told to niche, but then reality sank in because I had no idea how to niche documentary style work. I took advice from others who at the time had already been in the business for 10+ years but they didn't necessarily tell me about how they got there, they just offered their advice based upon when they "finally arrived". In today's episode I want to break down this highly debated topic, "Should you Niche or Generalize?".
In the beginning it's okay to generalize in your freelance career because you need to build a portfolio, you need to develop and hone in on your craft and visual tastes along with all the other requirements for being a cinematographer and small business owner. As time moves on and you progress not only in your skill set as a DP/Cinematographer but you'll start to focus in on what you really want to do and based upon that, start charging more for your services and speciality.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
If you've been searching for the best documentary course and community, look no further as we have Mark Bone on the podcast! Mark is an award winning documentary film director, commercial director and curating some of the best content for documentary filmmakers on his YouTube channel with close to 100K subscribers as of this recording. I was excited to be able to get Mark on the show to gather his insight and perspective when it comes to documentary films, how to get off the ground running, what fears we have as a creatives and so much more that I had to split the podcast up into two parts!
In Part 1 we talk about his journey from going on humanitarian projects to not knowing what to do after graduating high school. We touch upon his time during film school and how documentary created the spark that allowed him to express the need to tell incredible stories. I also wanted to get a little bit into his YouTube channel and what inspired him to start it and let me tell you, we tell it allll in this one!
Check out Mark's new academy and community he's building with The Art of Documentary (https://vimeo.com/443198808)
His YouTube channel for free documentary tips, behind the scenes and gear reviews (https://www.youtube.com/user/markandrewbone/featured)
His Instagram for some great inspiration (https://www.instagram.com/markandrewbone/)
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram www.instagram.com/atdavidlee | YouTube www.youtube.com/atdavidlee
A hot topic for a lot of owner/operators out in the world is "Are you always working?". That question I believe varies depending on what you're normally hired for but as far as a working cinematographer goes I don't think you are and that's okay. The reason being is your day rate as a cinematographer is usually pretty good as you are responsible for the visuals and that alone pays fairly well. Now on the flip side if you're still in year 2 or year 3 trying to figure things out you might be working a lot more compared to your peers or those you look up to.
I'm reminded of a very good quote that applies to all of us, "Comparison is the thief of happiness". When you find yourself comparing where you are to where others are, just remember they've had their own journey of ups and downs. That being said I do offer some tips on navigating the space you're in when you aren't working and hopefully it helps!
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
In today's podcast episode we are talking about client contracts, what they are, why you need them, and when do you need them? Contracts help set the scope of work for a project, it promotes and establishes commitment to the project and gets you paid! For most, contracts can seem overwhelming and they can be but I wanted to share this episode with you in hopes that you find some information to use for your business when it comes to creating contracts and how to navigate some of the items to put into contracts.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
I've done it, i've moved over to the dark side...no we're talking about Star Wars but we are talking about moving all of my post production work to Davinci Resolve. Now i'm not completely new to Resolve i've been using it for client and personal work for the past two years but there were still some things that weren't 100% there and I couldn't drop my Premiere/AE workflow for it, until now!
In today's episode i'll talk about what struggles I had when moving to Resolve, the plug-in community and how it differs compared to FCPX, a great place to find templates for AE/Premiere that i've used for the past 4 years and some similarities between all three to help you transition to Davinci Resolve.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
What in the world is "Cinematic"? I think a few years ago everyone on Earth could easily say what is cinematic but with the advent of social media marketing, influencer content creators and others it's quite hard to pinpoint what CINEMATIC is. In today's episode I give my definition of what Cinematic/Cinematography is and how that translates into the world we live in today. At the end of the day I believe something can LOOK CINEMATIC but not FEEL CINEMATIC and the opposite is true as well.
If you enjoyed this episode please rate it and let me know how i'm doing! Subscribe to the podcast if you're loving the content and share it with your friends!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Thinking about that next big purchase that you want to rent out while you're not using it? Is it a camera, a set of lenses, maybe some new lights or filters? I've been there and done that and made mistakes along the way so in today's episode we're talking about what types of gear I would invest in if you were looking to rent out 100%, why you need to buy a full camera package rather than a camera alone if you're looking to rent out, why lights are THE BEST GEAR to invest in for rentals and my thoughts on avoiding buying lenses.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
On today's show we have Cinematographer David Woo! David works in the documentary and commercial space which is a very familiar space for myself as well. We get into how he started with his love of photo journalism and documentary photography to progressing into the realm of commercial cinematography, what camera and lenses he loves to use to craft the images he's looking for and so much more!
Check on all of David's work on Instagram https://www.instagram.com/davidwooofficial/ as well as his website https://www.davidwoo.com/
If you enjoy this episode please rate the podcast and let me know who else I should have on next!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
The dreaded BUDGET TALK! I know, i'm not a fan of doing numbers either but when your business is on the line and the future of your success can be supported by savings and taking certain things into account, then your overall happiness increases. In this episode I talk about ways you can create a budget for yourself during slow seasons, how much to save from client work and if buying gear helps you land jobs.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Ever received this from someone before, "that's looking really dark can you brighten it?". Oh yes, i'm sure you have! In this episode I want to talk about what exactly makes an image too dark and how objectively we can look at our work and understand what best serves the commercial, short film, music video or anything you are filming and how to work with clients who might say something is looking "TOO DARK".
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
The end of 2020 has finally come and we take a look back at some of the goals I hit and didn't, some loss profit, an increase in content creation for my own brand and the networking opportunities that helped me during this year.
The key take aways from this episode are:
1.) Stay productive (start a YouTube channel, post more on Instagram, shoot spec work)
2.) Grow your network
3.) Don't give up
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Oh the dreaded word "MARKETING". Yes, well all have to discover a way or multiple ways to market ourselves because that's how we find consistent work. In this episode I want to show the tips I used when I first started as well as some I still use to help market my work, my professionalism, my skillset and ultimately live the life that I want.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Today we are diving into an interview with Cinematographer Kenzen Takahashi. His lighting breakdowns were the first i've seen in quite some time that reflected the high level of cinematography so many of us are trying to achieve. With a naturalistic type of lighting that's soft and layered with so much depth you can spend hours trying to understand his thought process, but let's save you the trouble and ask the man himself!
It's a jam packed episode talking about how he approaches lighting, the tools he uses, his thoughts on Full Frame and owning the Sony FX9 to having creative freedom with the projects he's involved in. Hope you all enjoy this interview with Kenzen as much as I did!
Kenzen Takahashi | https://www.instagram.com/kenzentakahashi/ | https://www.kenzentakahashi.com/ | https://www.facebook.com/kenzen.takahashi.9
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
What is going on friends, today we have an incredible episode with my very good friend Joshua Martin. We talk about his big career move from working at the University of Notre Dame and their marketing division to now being a member of the Moment Lenses family, more time for free lance work and passion projects, the Z-Cam S6 and his experiences working with the camera on set and in post production and so much more!
It's a long one but a great one so strap in and LEZ GO!!!
Follow Joshua on Instagram https://www.instagram.com/joshuamartinstudios/
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Oh the glorious days of film where only the very few had access to film cameras. Well, today that has changed with the advent of post production tools like Film Convert and Davinci Resolve, we now have the capability to emulate film grain.
Yet, is this just a fad? Is film grain a look we see here and there and then it's gone? I believe that it's far from a fad because even though we don't see everything with film grain added to it, the tools themselves to add grain had never before been available to clients, agencies, post production houses and filmmakers across the globe.
Let's dive in to today's episode and question for yourself, "Should I add grain to my next project?"
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Are vintage lenses just hype? A quick YouTube search will provide you with a large list of vintage lens videos and that's because there's a certain charm to these old classics. Many of the vintage lenses you can find may not be the cleanest compared to modern lenses we're use to seeing but when you need something different, a look to stand out amongst the crowd and some cost savings for your wallet you may want to check out some vintage lenses for your next project.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
We got another breakdown for you all today and we're taking a look back at 2018 filming a live acoustic session for The Brevet! The location was an old house with a ton of character (very 1970s) but the tricky thing was I was doing the project myself with extremely limited lighting fixtures and grip along with having to film the entire thing handheld (yay for easyrig!). That choice was to create the feeling that you are there with the band as they are playing uninterrupted so I set them all up in a "U" shape to easily pan and push in on each band member.
Check out all the great music from The Brevet here - https://www.thebrevet.com
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Ever wonder what the process of a Cinematographer is like? What if you could get a glimpse into the world of commercial projects from working with agencies to small direct to client shoots where all you have are the tools available to you? Well you all are in for a treat as today we have Cinematographer/DP Nik Pilecki on the show!
Nik shares his journey from being an Optometrist shooting music videos on the weekends to now creating some of the best looking commercial spots that's out there. Hope you all enjoy this one!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
We all know that at times (more often than not) post production plug-ins come in clutch to help spice up a commercial spot, short films or your YouTube review video but which ones should you invest in? In this episode i'm covering the plug-ins I use most and offer a little comparison with built in plug-ins you can find in Davinci Resolve.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
They say that filmmaking requires a team effort and that's 100% true! Today I wanted to talk a little bit about why collaboration is so important to your success and how it also makes you more efficient with your time on set.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Is it just me or did every camera manufacture think between October and November everyone would have extra money to be buying modular cameras? I don't know exactly but that's what we're talking about today and specifically the need for modular type cameras including the RED Komodo, Z-CAM, Lumix BGH1 and the Canon C70.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
A question i'm sure many are wondering, "When should I go freelance?". Let me tell you it's not an easy question to answer at all but from personal experience and what i've seen others do successfully I share in this episode for you today.
The most important take away from this episode is to trust yourself, believe in why you're doing it and let your inner voice always be louder than the criticisms of others.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Today's episode is all about pre-production and the tools I use for the most success on the day of the shoot!
1. Location Scouts/Tech Scouts
- Artemis Pro and Sun Seeker
2. Lighting Diagrams
- Shot Designer, Concepts
3. Shot List
- Storyboarder
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Have you ever been hired for a job that perhaps "isn't your style"? I think we all have at some point but perhaps we are asking the wrong questions to ourselves. Perhaps we don't need a style but rather the project we're presented with will dictate the style we need. Let's dive in a little deeper and better understand if we need a style to set ourselves apart or if the whole "style" thing is unnecessary.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
All right podcast party people today we're talking about some tips on how to work with price buying clients, how to solidify your day rate and why communication along with empathy can be the difference maker between working with clients that want your talent and expertise and working with clients that just want the cheapest price.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Ever have to film on location in a normal office environment? Ever wonder to yourself, "How am I suppose to make this look good?". Today we're asking those same questions and hopefully provide some answers and tips for you in this breakdown episode.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Do you need 8K in a COVID19 world? Are your clients or projects requiring 8K delivery? If so, then yes you probably need 8K but for the rest of us on planet Earth we're still delivering in 1080P in 2020, go figure. Today we're talking about who 8K is for and looking at the future of camera systems if you're on the fence of upgrading your old HD camera.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Oh more cameras, more gear, more choices! With the Sony A7S III on the horizon of being in the hands to the masses, should you pick one up? Will the A7S III help you with your craft and your business needs? Let's chat about it!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Ever have a client say they'll promise to pay you in the future? How about the ones who refuse to pay you your day rate? I've been there before and today we are talking about the clients you should be avoiding 100%!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Today we have a terrific interview episode with LA based cinematographer Sean Boyd. We talk about how he went from producing videos for a local Porsche dealership in New Jersey, moving to LA with no network and filming for some incredible clients such as Fujifilm.
It would mean the world to me if you would rate the podcast so I know if this is meh or yay and please subscribe for future episodes!
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Let's go friends! Today is our first of many cinematography breakdowns i'll be doing for you, sharing you the thought process of how I am approaching lighting for different formats (commercial, doc, narrative) and how you can learn from my mistakes or successes.
I have a separate page on my website where you can view the BTS photos along with location photos to see what i'm working with.
https://atdavidlee.com/breakdowns/
Hope you enjoy this episode, and please rate my podcast whether that's a 5 or 1 to know how i'm doing and subscribe to the podcast if it's bringing you value.
www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
I'm sure you've heard cinematographers speak highly of Promist, GlimmerGlass, Blackmagic Filters and everything under the sun to give your images that film like texture and quality to it. In today's podcast we're talking all about diffusion filters and if they're just hype. www.atdavidlee.com | www.legendarymediahouse.com | Instagram @atdavidlee
With so many cameras out on the market that have all the specs and features you could ask for, does your camera matter any more? In a sense, it does but as the camera manufactures all have created an even playing field your skill and talent as a cinematographer is what is going to separate you from the rest.
www.atdavidlee.com | www.legendarymediahouse.com | YouTube www.youtube.com/atdavidlee
My good friend Joshua Martin joins us today as we talk about how to manage a corporate filmmaking career with indie/freelance projects that fuel his passion.
Check out Joshua on his instagram @joshuamartinstudios | www.legendarymediahouse.com | www.atdavidlee.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
We've seen the spec sheets, some footage from both cameras, now the question is are you upgrading to the R5 or R6? Personally I am looking at POSSIBLY purchasing the R6, listen to today's episode for my thoughts on WHY!
www.legendarymediahouse.com | www.atdavidlee.com | Instagram @atdavidlee | YouTube www.youtube.com/atdavidlee
Has a client ever asked you for a discount? Do you discount off the bat for new clients? Let's see if we can change that narrative and offer some reasons why you should or shouldn't discount for clients.
www.legendarymediahouse.com | www.atdavidlee.com | Instagram: @atdavidlee | Youtube: www.youtube.com/atdavidlee
Today on the podcast is centered around the question of starting a YouTube channel and if so, what to know before spending hours upon hours curating your content.
It would be amazing if you could RATE THE PODCAST and SUBSCRIBE if you feel it will bring you value. Much gratitude and appreciation for you listening!
Episode 1 - an introduction to my own story from making videos on a Canon camcorder, leaving my corporate job and starting a business from scratch. I hope this short intro brings some awareness and value into your lives and i'm excited to grow to this podcast into a platform where filmmakers from all over the globe can be inspired.
Leave a RATING and SUBSCRIBE to the INSPIRE DESIGN CREATE PODCAST, much gratitude and appreciation!