Tyler Fukuda

Not sure this is new advice but I'd really try shooting some stuff and building up a small portfolio of work you can show to directors. Some practical advice is to take what you like and copy it... "steal like an artist" as they say. If you're into short films, look at some short films, study what they're doing, what's working and not working and implement into your own stuff. If you like commercials, well do that. Essentially have a database of stuff you can reference for later projects. It also helps to build up a network of friends who are wanting to direct and collaborating with them, that way you aren't necessarily reaching up, but you are both working on the same level and growing together. Next best option is to start telling people that you want to camera op. that puts you directly in line with becoming a DP. If you're turning down AC gigs because it's not what you want to do but have little experience DP'ing it's going to be difficult for anyone to trust in your abilities. Just time, patience and perseverance. Disclaimer, it's going to take a while so be kind to yourself in the journey. There's a lot of DPs who didn't get their "break" till they were deep into their careers so hopefully you don't feel behind in your career. I'm certainly no where near where I want to be but trying to keep my head down and continue walking the path. You got this dude! Good luck

Hey Folks! I’m wondering if any of you have had experience disassembling the L-608 combo meter? I’m dealing with a foggy inner prism/optical flat (I'm guessing here) and wondering if it can be cleaned. I’ve already reached out to Sekonic directly and they told me this meter isn’t serviced by them anymore… I know WTF. If there are any 3rd party service options in the Los Angeles area i’d love any recces. Thank you!

Ah, after re-reading I didn't catch the lack-of an electrician for a 'hollywood'. I'll have to give this scene a watch to see how this played out further. Thanks as always David!

David, Litemats are soft and don't typically come across as 'sourcey', but a litemat 1 is a much smaller source than a 2 or 4. So my question would be that judging by the stills posted here, was your electrician somewhat close to the talent to prevent a noticeable source throughout the scene?

Hey Folks, For anyone that has experimented and owned entry level (PL-Mount) lenses to get them through the low budge--or pro-bono jobs, which lenses did you decide to go with? There are tons of options out there: Rokinon, Meike, DZO, Dulens, etc etc. has anyone actually used them on jobs whether it be corp/commercial/feature? I'm someone who would love to own a set of Zeiss Standard Speeds or Supers but just can't afford to own a set. They have a wonderful look and am looking for something with a similar feel. Thank you in advance!

Now that we are in 2023, what affordable (or used) would ya'll recce for an alexa mini? Has to support at minimum 30lbs

Howdy to all in the forum! I'm curious as how everyone has been this season? I've been currently mixing up my freelance work with working at a rental house and am ready to take the plunge. Only thing being is a writers strike is around the corner and it may be an interesting time for one to try and work 100% freelance. Wondering how everyone has been doing and what avenues are you taking to keep your bills paid and thriving. As someone striving to be a full-time DP, what are some great ways to just get more work.. even if it means you're not working as a DP (editing work, ac, lighting, etc..)

Rental houses are a great option to hold your gear. They typically maintain your gear through the prep techs; they will insure your gear (incase of a natural disaster) and they will make sure it goes out with proper COI, rental agreement and any other necessary information with their clientele. They will also market your gear in hopes it brings them more jobs. Typical percentages are 60/40 (you being 60%) You don't need to pay the rental house anything as you own the gear. Just pull it when necessary. 1000% better than renting it through Sharegrid. The only thing Sharegrid has going for it is it typically requires the renter to have insurance as well as a solid background check. Once again, if you want to rent to your friend, you own the camera. You can do whatever you want. Every rental house will come with it's own agreement though so have a chat with the Rental Manager or Operations Manger and see how their contract goes.

Bright Tangerine Misfit Atom, all day long 2 stage (though no trays) and can go from clip-on to rods. Super lightweight and pretty well made!

I hate to come in with this nit-picking of a question, but is there anyway to source the img's re-linked as to have better reference to the great information here?

Attempting to pull off a vehicle interior rig for a personal project. Would prefer to be in the back seat, OTS. I've seen mentioned here about simply using sticks and a few sandbags. Though i've not tried that yet, it seems unlikely as we'd be shooting w/in a Prius. Another option would be to set-up some speed rail and maybe cheese plate the camera (BMPCC 4K) to it. Does anyone have clever solutions that confine to minimal budgets? Photos would be great as to get an idea– Would like to avoid going handheld AMAP here. (side note: I also read this article on Noam Krolls website: https://noamkroll.com/how-to-shoot-a-moving-car-scene-with-no-process-trailer-rigging-or-budget/) Seems clever but i'd like to pull off the real thing as we'd be seeing the front windshield in the background. Thanks

Feels naive to ask this because a part of me already knows the answer. Maybe i'm just looking for validity and it's a Friday night with "curfew" so what the hell... There is no one set path, I get it. As someone who decided NOT to attend film school, (No support, no capital, mostly afraid to take debt) aspiring to become a DP seems rather daunting. Having appreciated the few opportunities through friends/connections, working mainly as a 1st/2nd AC, my ego is constantly telling me "...poop man, this DP could be me". I know, it's a shitty selfish way to think because all set experience is still experience—but I can't help it to see how it's not building my reel at the current moment. Call it stubborn. So my question is for someone who is rather green but has the technical understanding of the lighting/shooting, should one just go out and shoot as much as possible of just random poop, Effectively getting your reps in? Or should it be more structured to have an idea first (ie. narrative doc, spec-type) and executing on that? Further, are we just wearing the many different hats of being a director, producer, gaffer in the early stages in our career? Or is it imperative to delegate to those who have a better understanding of such roles? Thanks