Film
School

Nobody gave me a syllabus. There was no application. There was just the gap between what I was capturing and what I could see in my head. Here's how I started closing it.

Understanding the roles between you and the DP — and how to climb them as a one-person crew. What a gaffer actually does, what a grip actually does, and why knowing both makes you a better solo operator.

Focal length is not just a technical decision. It's an editorial one. 35mm says something different than 85mm even when shooting the same subject in the same light. What I learned, lens by lens, on the FX3.

The single most confusing decision in a Sony S-Log3 workflow. Color Space Transform vs. a technical LUT vs. a creative LUT — what each one actually does to your image and when to use which.

By the time you sit down in Resolve, you've already decided what this film is — whether you intended to or not. Shooting with the edit in mind is a skill you learn by having to fix bad footage in post.

Everything from pulling cards to final export — the exact pipeline I use on the FX3. Ingest, proxy, rough cut, color, grade, audio, output. No theory, just the sequence.