I’ve been working with the company Go To Team for just little over 6 months now. They mainly produce content for television networks. The network calls Go To Team and books a crew; we then go and create the content. It's a fast pace and erratic working environment. I believe, the film making world can learn a lot from my lessons learned while working in television.

Keep your package light.

We pack up everything we have into a single SUV, which means we need to pack light. We don’t compromise though; we have everything we would need with us at all times. I find this is a great mode of operation: keep it light. By packing light and staying nimble, you can pack up or unload and set up a shot very quickly. So many people try to pack as much up as they possibly can. They think they will need ‘x’ and ‘y’ piece of gear, but in reality, there are only a few types of lights and most can accomplish multiple types of looks. If you envision a certain setup there is almost always a cheaper, and lighter, way to get the same effect. Less clutter on set the better.However, you can only achieve the lighting with less gear if you know each lighting instrument inside and out.

Don’t just get a piece of gear because you can. An 18k or a techno-crane is useless unless you know how to use them properly. Also, by keeping your package light you are almost always saving money. When you can save the producers money they will like you, and when the producers like you, you work. On an indie level packing light is inevitable. Don’t let that discourage you. Like they say, limitations breed creativity. Embrace the limitations and challenges by really knowing how to light. Only when you can show producers and directors you can work with less, will they let you have more.

Be prepared for anything.

In the fast-paced schedules of television anything can, and probably will, change at the drop of a hat, so it is critical to be prepared for anything. The film making process is filled with numerous unexpected issues that pop up, and there will always be something to figure out. Keep your mind open to these challenges in pre-production and plan accordingly. It is our job as cinematographers to solve the unexpected problems that are thrown at us on set. Can you handle issues with what you have? Be ready for the unexpected, then plan for the unimaginable. When you've done the scouting, talked with your crew, created a look book, and made lighting plots, you show everyone you are serious about the project and the people working with you. That will keep getting you hired.

Keep up with a fast pace.

Like I have said before, in television, the schedules are fast. Most of the time, the material you are capturing is time-sensitive. You may only get one shot of that person pulling up or the helicopter landing overhead. Missing shots in the past has humbled me. When you don’t get that shot the producer and/or director wants, it’s on you. It’s a tough way to work, but it’s necessary in that environment. Carrying over this mentality from television to the filmmaking world is critical to your success as a cinematographer. In the end, content will always be more important than a beautiful shot, whatever beautiful means to you. You are hired to capture the content for the director and producer, not build up your reel. You must be humble and a servant to the content and not the image.

The industry works at an incredibly fast pace, it’s your job to keep up with it or you will be left in the dust. As a cinematographer your service is to the director, producer, and story, not your own images. Not that you should disregard your image, but you need to have your priorities straight and check your pride at the door. When you start to think like this, you provide the clients, directors, and producers what they want. When you do that, they will want to work with you again. By keeping the gear light and being prepared you are sure to not be left behind.

First impressions matter.

First impressions are key. People really do judge you within moments. You need to make sure you are giving off the right vibe. It’s up to you to bring confidence and professionalism to the set. People notice these things. When you are working with so many different clients, they don’t have the time to really get to know you. You need to show them who you are from the start.

Fitness has just recently become a big deal to me. I am realizing the need to look and feel my best. What better way of doing that then being physically active and getting your mind right? I have been trying to run at least three times a week, eat right, go on walks, use a standing desk, meditate, stay spiritual, and keep in contact with healthy relationships. Staying healthy is not only about your physical health, but your mental health as well. Healthy habits can make a world of difference. Also, don’t neglect your wardrobe. People can, and will, judge you by what you wear to set. So be sure to dress neatly and professionally. 

Keeping a cool composure and positive attitude.

When you are working at fast paces with minimal crew there is bound to be plenty of stress. Producers, directors, clients, and talent all expect you to be cool as a cucumber, even when everything is falling down around you (I hope not literally). Keeping my composure and a positive attitude is one of the biggest things I have had to learn from working in television. I still struggle with this from time to time, but there are things that have helped me along the way.

First, breathe more. I’m serious; concentrate on breathing. Stop for a second and take a deep breath. Taking a few moments to breath can help alleviate stress. Sometimes it’s best in a hectic situation just to stop and think about the big picture.

Second, develop processes for working. Start by with knowing yourself. What can get you in the mood to light / work? What are some setups that you know are effective? What can you do almost automatically? Create game plans for many situations and keep those in the back of your head. When you make these game plans, less and less will be new. Thus, you become more comfortable and less stressed.

Third, focus on improving what you have. Getting frustrated and worrying about things that are out of your control. Instead of saying “woe is me” and thinking "if only", take that energy and apply it to improving the aspects that are in your control. Often, on a set things don’t go exactly as plan so you need to be flexible. When you get stuck in your ways, you will become dissatisfied and stressed. If you can lean to adapt to whatever is thrown at you, this will help you to maintain a positive outlook.

Know your gear inside and out.

When you're working with minimal crew, where you wear multiple hats. It is imperative that you know your gear inside and out. When you don’t know your gear properly, problems arise. When you do know your gear and its limitations, you know how to best utilize them. Knowing your gear will help you with problem solving. You will need to problem solve on the fly, so it is critical to be good at that. This isn’t just for small crews though. This thought-process should be applied to all levels of productions and cinematographers. Having gear that no one knows how to use makes it almost worthless. Make sure you or your crew knows the equipment and how to use it. A fantastic key grip or gaffer is worth more than 15 inexperienced PAs. Also, when you know your gear well, you can get by with less, which is always a good thing!

I hope some of these tips will help you on your way to creating wonderful content. I am just starting out with this blogging, please, if there are any suggestions I'd love for you to leave a comment or send  me an email!