WEBVTT
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I feel like somebody has to drop an RB song about that.
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We missed that.
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Not trying to steal your girl, not trying to steal your.
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You trying to steal my client?
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Trying to steal my client?
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Like, what?
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You trying to do it like that?
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Mr.
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Steal Your Client.
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Yeah, Mr.
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Still Your Client.
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We don't want to those, we don't want none of those people on set.
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A lot of times I don't forget things because I built my entire camera.
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Even if I'm gonna pack it up for the airport, I built my entire camera, make sure card in it, turn on hit record.
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Now I know I got everything I need for this camera.
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Now I'm gonna take that camera.
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If I gotta break it down for a case, I'm gonna put it down, you know, break it down.
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If it's for a sheet, it's gonna probably be in the in the seat with a little seatbelt on it.
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Yeah.
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You know, like my little my little camera car seat.
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I just love my setups to be like as efficient and as minimal as possible.
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I like to bring the least amount of gear, but the most amount to have redundancy.
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Welcome back to the production prism.
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Today our guest is Christine.
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We're gonna talk about her journey into the industry, a little bit about gatekeeping, and a lot more.
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So lock in.
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Got introduced to it in high school, filming on a JVC mini DV camera, went to college, continued it there, made a couple documentaries, and got my um my bachelor's in TV and radio and master's in television production.
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And yeah, came back and just been working in the industry ever since.
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Started out as a production assistant on TrueCime with Aphrodite Jones at MBC and worked my way up over the years to be an associate producer, worked in rights and clearance, did some field producing, all while still kind of doing my own thing on the side.
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And when COVID hit, I was like, you know what?
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I'm gonna do this DP thing full time, I'm gonna just lean into it and make it happen.
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And so I kind of, you know, um focused on that during COVID and onward and just been filming ever since and still freelance in the space in different ways, sometimes doing some production management, but primarily work as a DP and I own a production company with my partner.
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Shout out to Artie Shaw Jr.
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Um, yeah, and we we do a little bit of everything from branded work, recaps, events, interviews, uh social media, you name it, we do, we do a little bit of everything.
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Yeah, yeah.
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During that time, you know, that COVID period, it's crazy because like we've only known each other for a short period of time, but we were having the same like mindset, same battle at the exact same time of like, hey, I've been doing this on the side, yeah, but now let me see what this looks like full time.
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But what was the were you scared at all?
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Were you nervous?
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Was there any any sort of fear associated around that?
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Um, I wouldn't say fear, but just maybe just a little bit of nervousness on like fully leaving, leaning into something and not depending on an outside company or an organization to, you know, to pay you.
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You gotta figure out how you're gonna get paid yourself.
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But it really was just kind of like an excitement and an opportunity to to do something full-time that I've kind of been dabbling with.
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It just kind of gave me the opportunity to go all in on it.
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And so that part was actually quite exciting, you know, going through the progressions of building out equipment, you know, figuring out what I want to do in this space, figuring out my own lane.
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Um, but yeah, it was a it was a good, it was a it was a trying time, but also a good time to like push myself to step out of my comfort zone and to lean into being a DP.
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Yeah, yeah.
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And I'm guessing part of your your process of becoming a DP was was constantly doing things, putting in getting those reps in.
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Yes, it's it's yeah, it's all about the reps.
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So whether I'm filming in my studio space, you know, tinkering with things, trying out different setups, or whether I'm just going out to shoot for myself or my church or for a client, you know, definitely getting in the reps has been a big part of why I'm comfortable doing what I'm doing.
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I feel like I can be thrown in any scenario and make something work and find a good shot.
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You know, I'm comfortable being a one-woman band because I've been doing it solo for so long.
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So I feel really comfortable with the equipment I have.
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I can do a little bit of lighting, I can do a little bit of sound and mix it up together and make something nice happen.
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Um, yeah, I back to yeah, the note about getting the reps, and I think it's just very important to just have a lot of different experiences under your belt because it's gonna expose you to different clients, different circumstances, and you know, each time is an opportunity for you to just make your setup a little bit more efficient so that you can be more prepared and have more options the next time that you go out.
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So I'm all about getting the rips in.
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Yeah, yeah.
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Same, yeah.
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I think it's it's one of those things like you have to keep simulating what you want to do on location because you can't get on location and I'm gonna try out my new piece of equipment today on a client gig.
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Yeah, don't do that.
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You you never want to try something out for the first time on set.
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You want to make sure that you play with it, it works, you know the ins and out, and that you're comfortable with it.
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So for me, I'm always gonna build out my gear before a shoot, make sure I envision myself in the space, uh, think through of everything that can maybe happen on set and just make sure I have an answer for it and make sure I have a backup option as well.
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I like to have backup cables, backup audio options, backup lighting options, different stands, backup lenses, backup cards, different layers of redundancy built in.
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That's always how I'm gonna move.
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I'm not gonna hold you.
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I thought I was one of the only crazy people that did that.
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I was just telling the crew I was on set with, I was like, this, oh, sometimes I forget this, sometimes I forget that.
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Well, a lot of times I don't forget things because I built my entire camera.
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Even if I'm gonna pack it up for the airport, I build my entire camera, make sure card in it, turn on HIPAA cord.
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Now I know I got everything I need for this camera.
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Now I'm gonna take that camera.
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If I gotta break it down for a case, I'm gonna put it down, you know, break it down.
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If it's for a shoot, it's gonna probably be in the in the seat with a little seatbelt on it.
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You know, like my little my little camera car seat.
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I think that for most people, they think that this is just a thing.
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Like it's just talent.
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It's like, no, this is this is uh earned this is reps in the gym.
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This is how we do this professionally.
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This is how when you show up to a three-camera shoot, you know exactly where you're putting things, what's working, how the light's gonna look, because it's that constant, you're constantly in it.
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Yeah, and even though like the setups might be exactly the same, like I'm sure you've done a bunch of two, three-camera shoots, but there's something about building it and then imagining yourself in the space that you might have an idea of how you could do something different.
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You know what I'm saying?
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So, like, you might have those same setup, you're building it, and then you know, maybe the the orange cable isn't quite working today.
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So, you know what?
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Let me bring a second one just in case.
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But you might not have thought about that if you just hadn't gone through the workflow of it.
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And then you're like, you know what, I might be able to try this and this together because that might work better for the space.
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Or, you know what, there might be an echo.
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So actually, let me bring, let me bring that rug, let me bring that do.
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It's just something about building it and envisioning where you're gonna be that it helps just make you more prepared, as opposed to just taking everything and putting it into a pelican.
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And then you get there and you're like, oh man, I wish I would have thought about this.
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So I always like to take that time, even if I know everything is working.
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I'm like, let me just, let me just build and let me imagine and let me think through the progressions.
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Um, and then, you know, I'll also use that to maybe try out a different variation of the same setup.
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So like I'll bring the core, like I know this is gonna work, but you know what?
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This is a new piece of gear.
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I've been kind of playing with it.
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Let me see how it fits in, and then let me bring it to have it as like a backup or a different option to try at the same time.
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So I'm always trying to elevate my setups each time.
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Like they're like 90% the same, but there's always a little 10% that I change up.
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It's like a, you know, a recipe, put a little splah on it, a little different seasoning each time.
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Yeah.
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I'm not gonna use barbecue sauce all the time.
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You know what I'm saying?
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It's a little song, you know.
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Facts.
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Make the real look a little different.
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Exactly.
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Yeah, this, you know, I was explaining um to my wife about this.
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Clearly, I talked too much about our industry to my wife.
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She probably wants me to stop talking.
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No, I'm playing.
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She loves when I talk about it.
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But um, I was telling her, like, each gig is a different loadout.
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You ever play like a video game like Call of Duty, and then you select your loadout?
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It's like each gig is hey, yeah, I needed something that was more run and gun yesterday, but now I need something that's more commercial.
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So, you know, I'm my rig might be bigger for that.
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Exactly.
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You know, you know, run and gun stuff is nimble.
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Exactly.
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I'm I'm going, but to understand that and to be able to like put pieces in, take pieces out, learn what you need.
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Um, and I'm not even like a gearhead.
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And I don't I don't consider you a gear head.
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I mean, you you know everything about homo games.
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I'm consider myself a gearhead.
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I love I love gear and tech.
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Yeah, I'm like, give me something new because I just you know.
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So I won't go just throw it on you.
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No, no, no.
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I'm definitely a gearhead.
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I love it.
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Like, if it's new, I want to play with it, I want to see what it can do, and then it how does it differ from what I already have?
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What does it improve?
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Like, I just love my setups to be like as efficient and as minimal as possible.
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I like to bring the least amount of gear, but the most amount to have redundancy.
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So I'm gonna be it's gonna be small, it's gonna be compact, but I'm gonna have a backup option for everything.
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We're gonna be like the bestest of friends.
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Yeah, I ain't getting caught out there with no bad sound, nothing.
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I'm gonna have three different ways to mic you, I'm gonna have a social media mic too, because if every single thing fails, you know what?
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Put on this Holly Land mic, put on this this DJI mic, we're gonna tuck it in the boobs, we're gonna make it work.
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Yeah, because we're gonna get that sound.
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We're gonna get that sound.
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Yeah, I'm I'm the same, oh my goodness, I'm such the same way.
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As we talk a little bit about gear, what's what's some sort of gear that someone is starting out in this industry?
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What's what's that piece of gear that you would um I have advice to them?
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Yeah, I think I have two different options.
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Uh I think a low-cost entry option is just getting a really good microphone, whether it be one of the social media clip-on mics, like the DJI or the Holly Lands, I think those are absolutely fantastic.
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And having great audio is like what really makes a video good.
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So I think focus on having good audio.
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So I'd say the most important piece of gear you can get is either a good boom mic or a good live mic in your set.
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And get one that records as well.
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So you have that backup redundancy.
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Um, if you have a little bit more money to spend, I would say I would recommend everyone get an Atomus Ninja because being able to have a backup recording on set is just absolutely clutch.
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Like if something goes wrong with the card, if something goes wrong with the camera or it stops, the Adamus is gonna keep rolling and you know that you're gonna have a backup no matter what.
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And there's also an additional audio input and audio output.
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So you can put a mic in there if you need, you can monitor from there.
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You have lots of different options in terms of sending things to the cloud, uh, recording in Pro Rest, getting raw.
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So for me, that's just one of the best pieces of equipment that I have, and I use that on like 90% of my shoots.
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Yeah, I love that.
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I'm in the market for a new monitor, so you might have just sold me on that.
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Yep, yep.
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Tell them the chef gal sent you.
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So here's here's something that um I think is important to what we do on this podcast, and a lot of it is inspiring folks.
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Um, is there a piece of advice that you can give someone that's just now getting into the industry or um that has been here for a while, that needs a little bit of guidance?
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Anything that you would like to share with them?
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Yeah, I think my biggest piece of advice would be to build a community, like build a network of people.
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Um, I think you're gonna learn the most by seeing what other people do, by contributing on their set, seeing how they run and how they operate their sets, so that you can take that and implement that on your own sets.
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And also your community is gonna end up being the people that are gonna hire you ultimately down the line and are gonna get you into other spaces.
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So I think sometimes people have a tendency to like try to network way out of their league.
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Not just network with the people around you, build with those people, and you'll slowly see your network grow and multiply.
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And um, yeah, if you partner up with the right people, you can both benefit from each other and learn a lot and expand together.
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Yeah, yeah.
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And I think that like that really touches on what it really means to be successful in this industry.
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It's not having the best equipment, it's not being the most talented individual, it's really being a good person.
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A hundred percent.
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Like, I'm I'm only hiring people that I want to work with.
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If you're a jerk, I'm not gonna want to work with you.
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So I'd rather take someone who's nice and knows what they're doing over the the person who has the most cinematic shots.
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Like, it's really just about being competent at what you do, knowing your equipment, knowing your gear, knowing how to navigate set, but also knowing how to navigate people.
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Because this industry is 90% relationships.
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It's all about who you know.
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The person who's getting the job isn't necessarily the best person in the world for the job, it's just the person who was closest in proximity to the person hiring for that job.
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So it really is about who you know at the end of the day.
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And if you are talented and prepared, you know, you stay ready so you ain't gotta get ready.
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So when that call comes, you're ready to go.
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So keep your pelicans packed and ready to go.
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And you know, the opportunities, they're gonna come, they're gonna come.
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So as I as I watch your content, you know, I look at your Instagram, your YouTube, like you, you know, gear, but you also know the industry, like you're talented.
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But the thing is, is like why why share this knowledge?
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Like, what is what is that teaching spirit?
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Where does that come from?
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I think it comes from like having learned from other people.
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So there's so many tidbits that I've got because I've watched other people's YouTube videos, because I've been on other people's sets, because people took the time to talk to me or explain something to me.
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So I know I benefit a lot from that.
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So just being able to give back to the creative community, it feels really good to be like, hey, here's how this gear works, or here's how you can use this to benefit your own setup or what what you got going on.
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And oftentimes, whenever I do share information, a lot of people chime in and uh share alternate setups in different ways.
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So I'm learning as well.
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So I might share a boom rig setup that's wireless, and then someone might come and be like, oh, did you know about this or did you know about that?
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And I'm like, oh snap, I didn't.
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So it's just like we're all teaching and learning and growing together.
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So for me, it's just a no-brainer.
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Um, I'm confident in who I am and what I bring to set.
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And I think that, you know, we alluded, we talked about this before, but you know, when you hire someone, you're not just hiring their equipment, you're hiring their years of experience.
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So I have no problem sharing anything because my connections are intact and you know, it's because of what I bring to the table besides just the gear.
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Um, but I think, you know, sharing online creates a space to have community, to have that discussion, to have that discourse, and to give information and also learn from others.
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So I think the more you give is actually the more that you get back.
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Yeah, no, I agree.
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I think for me, I know for me that I wouldn't be here if it wasn't for the folks that were open, honest, willing to tell me any and everything about the industry.
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Yes, the non-gatekeepers.
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Yeah, the non-gatekeepers, the folks that were just like, yeah, I'm gonna tell you this, and maybe one day you get good enough and you may be in my position.
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But they didn't fear that.
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And and to me, it's it is slightly strange when people kind of I don't know what the fear is behind the gatekeepers.
00:16:13.600 --> 00:16:14.559
Yeah, I I don't know.
00:16:14.639 --> 00:16:19.279
I think they're they're probably not confident in themselves to a certain degree.
00:16:19.440 --> 00:16:22.159
Because when you are, you know, you you share the knowledge.
00:16:22.320 --> 00:16:26.320
Because, you know, when you're sharing, you're telling people that your knowledge about something.
00:16:26.399 --> 00:16:28.480
So like they're probably gonna want to hire you anyway.
00:16:28.559 --> 00:16:34.480
So I'd rather share all the information and you know that I know that I know what I'm talking about and you know what I'm talking about.
00:16:34.559 --> 00:16:38.720
So when the opportunity comes up, it's like, let's pick her because she knows what she's talking about.
00:16:38.879 --> 00:16:41.919
So, you know, I think I think sharing is caring.
00:16:42.159 --> 00:16:45.200
And uh, yeah, like don't be a gatekeeper, don't be sad.
00:16:45.440 --> 00:16:59.039
Yeah, and that's because it's to that point, it's like if you're confident in yourself and you share something with me, there's it's rare that I'm gonna be able to come in and take your spot.
00:16:59.279 --> 00:17:06.000
Yeah, there's so much food for everybody to eat, and we all gonna eat this food together.
00:17:06.240 --> 00:17:07.200
And I ain't even built like that.
00:17:07.279 --> 00:17:12.079
I ain't even about to come for somebody's father, oh man, yeah, yeah, he just told me to seek your sauce now.
00:17:12.319 --> 00:17:20.720
Yeah, but that is a separate conversation though, that I don't know if we talk about on this podcast or another one, but um, just like in terms of like client relationships too.
00:17:20.799 --> 00:17:31.039
And I think that you have to really be, you have to really be strategic about who you bring onset because you're bringing people around other very high profile individuals sometimes.
00:17:31.119 --> 00:17:47.119
So I can't just have someone coming in that's sleeping around trying to collect everybody's email, like, you know, you're on set to serve and be a crew member and to make the production better, not to like, you know, to round up context for you to try to reach out to people on the low, you know.
00:17:47.200 --> 00:18:08.079
So I think that's another, that's a part of different different discussions that we've been uh that have, you know, been on online is, you know, finding that nice balance of just being respectful of the team that you're working with and knowing the environment, having discretion and you know, you know, you you gotta be a sort of type of person for someone to want to trust and bring you into certain environments.
00:18:08.160 --> 00:18:09.839
So you gotta know how to act right.
00:18:10.000 --> 00:18:15.119
So you can have all the information, but if you don't know how to carry yourself on set, no one's gonna bring you on set.
00:18:15.200 --> 00:18:16.400
Nobody's gonna bring you on set.
00:18:16.480 --> 00:18:26.079
And in that in that same vein, I have a I have a clause in my contract that tells contractors when they're on set with our company, you represent our company.
00:18:26.319 --> 00:18:26.480
Exactly.
00:18:26.720 --> 00:18:29.599
And it's a shame that I have to have that clause in that contract.
00:18:30.079 --> 00:18:34.960
And it says, like, you know, if you're caught, you know, getting cars or doing whatever, you you'll be dismissed without pay.
00:18:35.519 --> 00:18:46.559
And it's it's shameful that I have to put something like that in a contract because you would just think, if you bought me to a gig, you would just think that Torrance's not gonna try to get my client.
00:18:48.480 --> 00:18:51.279
So I feel like somebody has to drop an RB song about that.
00:18:51.359 --> 00:18:56.400
We we're missing that Usher song song about like, not trying to steal your girl, not trying to steal your you trying to steal my client.
00:18:58.319 --> 00:18:59.200
You trying to do it like that.
00:18:59.519 --> 00:18:59.680
Mr.
00:18:59.839 --> 00:19:00.480
Studio Client.
00:19:01.920 --> 00:19:04.400
We don't want to those, we don't want any of those people on set.
00:19:04.640 --> 00:19:10.720
So you gotta know how to navigate, you know, come correct, you know, represent the people that you're with well, represent yourself real.
00:19:10.960 --> 00:19:20.720
And I think if you if you come with like uh a hunger in a from a bad place of desperation, you know, that shows and that's not a good thing.
00:19:20.880 --> 00:19:29.359
You have to know that when it's your time, it's gonna be your time, but you have to keep showing up and be professional so that you can get called back out again.
00:19:29.440 --> 00:19:30.240
You know what I'm saying?
00:19:30.400 --> 00:19:31.039
Yeah, yeah.
00:19:31.359 --> 00:19:36.799
I really just appreciate you taking the time to have this conversation uh with us on this platform.
00:19:37.119 --> 00:19:43.680
Um, you know, since I've met you, it's been positive energy, um, excitement about this.
00:19:43.839 --> 00:19:47.119
I know we first met, it's probably like, uh, well, what?
00:19:47.279 --> 00:19:48.160
Okay, cool.
00:19:48.480 --> 00:19:52.160
But you took the time to come out here and do this interview with me, and I really do appreciate it.
00:19:52.480 --> 00:19:54.400
Yeah, I appreciate you reaching out.
00:19:54.480 --> 00:19:58.559
And, you know, we're here because of community, someone we both know brought us together.
00:19:58.640 --> 00:20:03.599
So back to that point about it's it's who you know that's gonna get you in different places and different rooms.
00:20:03.759 --> 00:20:07.599
So big up to the community, and uh yeah, thank you for having me.
00:20:08.559 --> 00:20:11.920
If you made it this far in this video, I really appreciate y'all.
00:20:12.079 --> 00:20:13.440
You're the real MVP.
00:20:13.599 --> 00:20:16.559
If you have a moment, please like, comment, and subscribe.
00:20:16.720 --> 00:20:23.599
And if you felt like this conversation was beneficial to you, share with another filmmaker, another creator, or just somebody that'd be interested in the subject.
00:20:24.000 --> 00:20:24.400
Thank you.
00:20:24.640 --> 00:20:25.039
Peace.
00:00:00.239 --> 00:00:02.640
I feel like somebody has to drop an RB song about that.
00:00:02.720 --> 00:00:03.520
We missed that.
00:00:05.280 --> 00:00:06.879
Not trying to steal your girl, not trying to steal your.
00:00:07.040 --> 00:00:07.839
You trying to steal my client?
00:00:08.080 --> 00:00:08.880
Trying to steal my client?
00:00:09.199 --> 00:00:09.439
Like, what?
00:00:09.679 --> 00:00:10.560
You trying to do it like that?
00:00:10.880 --> 00:00:11.039
Mr.
00:00:11.199 --> 00:00:11.759
Steal Your Client.
00:00:11.919 --> 00:00:12.320
Yeah, Mr.
00:00:12.480 --> 00:00:13.199
Still Your Client.
00:00:13.279 --> 00:00:15.679
We don't want to those, we don't want none of those people on set.
00:00:15.919 --> 00:00:20.399
A lot of times I don't forget things because I built my entire camera.
00:00:20.480 --> 00:00:25.920
Even if I'm gonna pack it up for the airport, I built my entire camera, make sure card in it, turn on hit record.
00:00:26.559 --> 00:00:29.199
Now I know I got everything I need for this camera.
00:00:29.359 --> 00:00:30.480
Now I'm gonna take that camera.
00:00:30.559 --> 00:00:34.479
If I gotta break it down for a case, I'm gonna put it down, you know, break it down.
00:00:34.560 --> 00:00:38.640
If it's for a sheet, it's gonna probably be in the in the seat with a little seatbelt on it.
00:00:38.719 --> 00:00:38.799
Yeah.
00:00:39.039 --> 00:00:41.600
You know, like my little my little camera car seat.
00:00:41.759 --> 00:00:45.600
I just love my setups to be like as efficient and as minimal as possible.
00:00:45.759 --> 00:00:52.079
I like to bring the least amount of gear, but the most amount to have redundancy.
00:00:52.479 --> 00:00:54.399
Welcome back to the production prism.
00:00:54.479 --> 00:00:56.479
Today our guest is Christine.
00:00:56.640 --> 00:01:01.920
We're gonna talk about her journey into the industry, a little bit about gatekeeping, and a lot more.
00:01:02.079 --> 00:01:03.200
So lock in.
00:01:25.519 --> 00:01:41.120
Got introduced to it in high school, filming on a JVC mini DV camera, went to college, continued it there, made a couple documentaries, and got my um my bachelor's in TV and radio and master's in television production.
00:01:41.439 --> 00:01:45.519
And yeah, came back and just been working in the industry ever since.
00:01:45.680 --> 00:02:00.159
Started out as a production assistant on TrueCime with Aphrodite Jones at MBC and worked my way up over the years to be an associate producer, worked in rights and clearance, did some field producing, all while still kind of doing my own thing on the side.
00:02:00.400 --> 00:02:02.480
And when COVID hit, I was like, you know what?
00:02:02.560 --> 00:02:06.400
I'm gonna do this DP thing full time, I'm gonna just lean into it and make it happen.
00:02:06.560 --> 00:02:24.879
And so I kind of, you know, um focused on that during COVID and onward and just been filming ever since and still freelance in the space in different ways, sometimes doing some production management, but primarily work as a DP and I own a production company with my partner.
00:02:25.039 --> 00:02:26.960
Shout out to Artie Shaw Jr.
00:02:27.360 --> 00:02:38.240
Um, yeah, and we we do a little bit of everything from branded work, recaps, events, interviews, uh social media, you name it, we do, we do a little bit of everything.
00:02:38.479 --> 00:02:39.120
Yeah, yeah.
00:02:39.439 --> 00:03:01.039
During that time, you know, that COVID period, it's crazy because like we've only known each other for a short period of time, but we were having the same like mindset, same battle at the exact same time of like, hey, I've been doing this on the side, yeah, but now let me see what this looks like full time.
00:03:01.280 --> 00:03:04.400
But what was the were you scared at all?
00:03:04.560 --> 00:03:05.520
Were you nervous?
00:03:06.000 --> 00:03:09.280
Was there any any sort of fear associated around that?
00:03:09.520 --> 00:03:21.599
Um, I wouldn't say fear, but just maybe just a little bit of nervousness on like fully leaving, leaning into something and not depending on an outside company or an organization to, you know, to pay you.
00:03:21.680 --> 00:03:23.680
You gotta figure out how you're gonna get paid yourself.
00:03:23.759 --> 00:03:32.159
But it really was just kind of like an excitement and an opportunity to to do something full-time that I've kind of been dabbling with.
00:03:32.240 --> 00:03:35.039
It just kind of gave me the opportunity to go all in on it.
00:03:35.120 --> 00:03:44.800
And so that part was actually quite exciting, you know, going through the progressions of building out equipment, you know, figuring out what I want to do in this space, figuring out my own lane.
00:03:44.879 --> 00:03:54.560
Um, but yeah, it was a it was a good, it was a it was a trying time, but also a good time to like push myself to step out of my comfort zone and to lean into being a DP.
00:03:54.800 --> 00:03:55.439
Yeah, yeah.
00:03:55.520 --> 00:04:03.599
And I'm guessing part of your your process of becoming a DP was was constantly doing things, putting in getting those reps in.
00:04:03.840 --> 00:04:06.719
Yes, it's it's yeah, it's all about the reps.
00:04:06.879 --> 00:04:20.480
So whether I'm filming in my studio space, you know, tinkering with things, trying out different setups, or whether I'm just going out to shoot for myself or my church or for a client, you know, definitely getting in the reps has been a big part of why I'm comfortable doing what I'm doing.
00:04:20.639 --> 00:04:25.680
I feel like I can be thrown in any scenario and make something work and find a good shot.
00:04:25.839 --> 00:04:30.000
You know, I'm comfortable being a one-woman band because I've been doing it solo for so long.
00:04:30.160 --> 00:04:32.720
So I feel really comfortable with the equipment I have.
00:04:32.800 --> 00:04:39.120
I can do a little bit of lighting, I can do a little bit of sound and mix it up together and make something nice happen.
00:04:39.360 --> 00:05:02.560
Um, yeah, I back to yeah, the note about getting the reps, and I think it's just very important to just have a lot of different experiences under your belt because it's gonna expose you to different clients, different circumstances, and you know, each time is an opportunity for you to just make your setup a little bit more efficient so that you can be more prepared and have more options the next time that you go out.
00:05:02.720 --> 00:05:04.639
So I'm all about getting the rips in.
00:05:04.800 --> 00:05:05.279
Yeah, yeah.
00:05:05.439 --> 00:05:06.079
Same, yeah.
00:05:06.160 --> 00:05:18.480
I think it's it's one of those things like you have to keep simulating what you want to do on location because you can't get on location and I'm gonna try out my new piece of equipment today on a client gig.
00:05:18.720 --> 00:05:20.000
Yeah, don't do that.
00:05:20.160 --> 00:05:23.279
You you never want to try something out for the first time on set.
00:05:23.360 --> 00:05:28.560
You want to make sure that you play with it, it works, you know the ins and out, and that you're comfortable with it.
00:05:28.720 --> 00:05:41.279
So for me, I'm always gonna build out my gear before a shoot, make sure I envision myself in the space, uh, think through of everything that can maybe happen on set and just make sure I have an answer for it and make sure I have a backup option as well.
00:05:41.360 --> 00:05:51.519
I like to have backup cables, backup audio options, backup lighting options, different stands, backup lenses, backup cards, different layers of redundancy built in.
00:05:51.680 --> 00:05:53.199
That's always how I'm gonna move.
00:05:53.360 --> 00:05:54.639
I'm not gonna hold you.
00:05:54.800 --> 00:05:58.399
I thought I was one of the only crazy people that did that.
00:05:58.560 --> 00:06:03.199
I was just telling the crew I was on set with, I was like, this, oh, sometimes I forget this, sometimes I forget that.
00:06:03.600 --> 00:06:08.319
Well, a lot of times I don't forget things because I built my entire camera.
00:06:08.480 --> 00:06:14.000
Even if I'm gonna pack it up for the airport, I build my entire camera, make sure card in it, turn on HIPAA cord.
00:06:14.560 --> 00:06:17.120
Now I know I got everything I need for this camera.
00:06:17.439 --> 00:06:18.480
Now I'm gonna take that camera.
00:06:18.560 --> 00:06:22.399
If I gotta break it down for a case, I'm gonna put it down, you know, break it down.
00:06:22.480 --> 00:06:26.560
If it's for a shoot, it's gonna probably be in the in the seat with a little seatbelt on it.
00:06:26.959 --> 00:06:29.519
You know, like my little my little camera car seat.
00:06:29.839 --> 00:06:33.839
I think that for most people, they think that this is just a thing.
00:06:33.920 --> 00:06:35.040
Like it's just talent.
00:06:35.439 --> 00:06:43.360
It's like, no, this is this is uh earned this is reps in the gym.
00:06:43.759 --> 00:06:45.600
This is how we do this professionally.
00:06:45.759 --> 00:06:56.879
This is how when you show up to a three-camera shoot, you know exactly where you're putting things, what's working, how the light's gonna look, because it's that constant, you're constantly in it.
00:06:57.120 --> 00:07:10.160
Yeah, and even though like the setups might be exactly the same, like I'm sure you've done a bunch of two, three-camera shoots, but there's something about building it and then imagining yourself in the space that you might have an idea of how you could do something different.
00:07:10.240 --> 00:07:10.879
You know what I'm saying?
00:07:10.959 --> 00:07:16.639
So, like, you might have those same setup, you're building it, and then you know, maybe the the orange cable isn't quite working today.
00:07:16.720 --> 00:07:17.199
So, you know what?
00:07:17.279 --> 00:07:18.800
Let me bring a second one just in case.
00:07:18.959 --> 00:07:22.879
But you might not have thought about that if you just hadn't gone through the workflow of it.
00:07:22.959 --> 00:07:28.720
And then you're like, you know what, I might be able to try this and this together because that might work better for the space.
00:07:28.800 --> 00:07:30.240
Or, you know what, there might be an echo.
00:07:30.319 --> 00:07:33.120
So actually, let me bring, let me bring that rug, let me bring that do.
00:07:33.439 --> 00:07:40.399
It's just something about building it and envisioning where you're gonna be that it helps just make you more prepared, as opposed to just taking everything and putting it into a pelican.
00:07:40.480 --> 00:07:43.360
And then you get there and you're like, oh man, I wish I would have thought about this.
00:07:43.519 --> 00:07:47.360
So I always like to take that time, even if I know everything is working.
00:07:47.439 --> 00:07:52.720
I'm like, let me just, let me just build and let me imagine and let me think through the progressions.
00:07:52.800 --> 00:07:59.120
Um, and then, you know, I'll also use that to maybe try out a different variation of the same setup.
00:07:59.199 --> 00:08:02.399
So like I'll bring the core, like I know this is gonna work, but you know what?
00:08:02.560 --> 00:08:03.680
This is a new piece of gear.
00:08:03.759 --> 00:08:04.800
I've been kind of playing with it.
00:08:04.879 --> 00:08:10.720
Let me see how it fits in, and then let me bring it to have it as like a backup or a different option to try at the same time.
00:08:10.879 --> 00:08:14.639
So I'm always trying to elevate my setups each time.
00:08:14.800 --> 00:08:20.000
Like they're like 90% the same, but there's always a little 10% that I change up.
00:08:20.079 --> 00:08:24.319
It's like a, you know, a recipe, put a little splah on it, a little different seasoning each time.
00:08:24.560 --> 00:08:24.879
Yeah.
00:08:25.040 --> 00:08:27.279
I'm not gonna use barbecue sauce all the time.
00:08:27.519 --> 00:08:28.000
You know what I'm saying?
00:08:28.319 --> 00:08:29.600
It's a little song, you know.
00:08:31.120 --> 00:08:31.439
Facts.
00:08:31.680 --> 00:08:32.799
Make the real look a little different.
00:08:32.960 --> 00:08:33.279
Exactly.
00:08:33.440 --> 00:08:37.120
Yeah, this, you know, I was explaining um to my wife about this.
00:08:37.679 --> 00:08:40.399
Clearly, I talked too much about our industry to my wife.
00:08:40.559 --> 00:08:41.840
She probably wants me to stop talking.
00:08:41.919 --> 00:08:42.480
No, I'm playing.
00:08:42.639 --> 00:08:43.919
She loves when I talk about it.
00:08:44.080 --> 00:08:48.960
But um, I was telling her, like, each gig is a different loadout.
00:08:49.360 --> 00:08:53.440
You ever play like a video game like Call of Duty, and then you select your loadout?
00:08:53.759 --> 00:09:01.919
It's like each gig is hey, yeah, I needed something that was more run and gun yesterday, but now I need something that's more commercial.
00:09:02.399 --> 00:09:04.480
So, you know, I'm my rig might be bigger for that.
00:09:04.639 --> 00:09:04.960
Exactly.
00:09:05.200 --> 00:09:08.720
You know, you know, run and gun stuff is nimble.
00:09:08.879 --> 00:09:09.120
Exactly.
00:09:09.519 --> 00:09:17.039
I'm I'm going, but to understand that and to be able to like put pieces in, take pieces out, learn what you need.
00:09:17.440 --> 00:09:19.919
Um, and I'm not even like a gearhead.
00:09:20.000 --> 00:09:21.759
And I don't I don't consider you a gear head.
00:09:21.919 --> 00:09:23.519
I mean, you you know everything about homo games.
00:09:23.679 --> 00:09:24.879
I'm consider myself a gearhead.
00:09:24.960 --> 00:09:26.480
I love I love gear and tech.
00:09:26.799 --> 00:09:29.200
Yeah, I'm like, give me something new because I just you know.
00:09:29.519 --> 00:09:30.720
So I won't go just throw it on you.
00:09:30.960 --> 00:09:31.360
No, no, no.
00:09:31.440 --> 00:09:32.559
I'm definitely a gearhead.
00:09:32.639 --> 00:09:33.039
I love it.
00:09:33.120 --> 00:09:38.320
Like, if it's new, I want to play with it, I want to see what it can do, and then it how does it differ from what I already have?
00:09:38.480 --> 00:09:39.440
What does it improve?
00:09:39.519 --> 00:09:43.759
Like, I just love my setups to be like as efficient and as minimal as possible.
00:09:43.919 --> 00:09:49.840
I like to bring the least amount of gear, but the most amount to have redundancy.
00:09:49.919 --> 00:09:55.519
So I'm gonna be it's gonna be small, it's gonna be compact, but I'm gonna have a backup option for everything.
00:09:55.840 --> 00:09:58.159
We're gonna be like the bestest of friends.
00:09:58.320 --> 00:10:01.360
Yeah, I ain't getting caught out there with no bad sound, nothing.
00:10:01.440 --> 00:10:07.440
I'm gonna have three different ways to mic you, I'm gonna have a social media mic too, because if every single thing fails, you know what?
00:10:07.600 --> 00:10:13.279
Put on this Holly Land mic, put on this this DJI mic, we're gonna tuck it in the boobs, we're gonna make it work.
00:10:13.440 --> 00:10:14.480
Yeah, because we're gonna get that sound.
00:10:14.559 --> 00:10:15.279
We're gonna get that sound.
00:10:15.440 --> 00:10:18.399
Yeah, I'm I'm the same, oh my goodness, I'm such the same way.
00:10:18.639 --> 00:10:26.399
As we talk a little bit about gear, what's what's some sort of gear that someone is starting out in this industry?
00:10:26.480 --> 00:10:30.399
What's what's that piece of gear that you would um I have advice to them?
00:10:30.720 --> 00:10:32.720
Yeah, I think I have two different options.
00:10:32.799 --> 00:10:42.879
Uh I think a low-cost entry option is just getting a really good microphone, whether it be one of the social media clip-on mics, like the DJI or the Holly Lands, I think those are absolutely fantastic.
00:10:43.039 --> 00:10:46.960
And having great audio is like what really makes a video good.
00:10:47.120 --> 00:10:48.799
So I think focus on having good audio.
00:10:48.879 --> 00:10:54.480
So I'd say the most important piece of gear you can get is either a good boom mic or a good live mic in your set.
00:10:54.559 --> 00:10:56.000
And get one that records as well.
00:10:56.080 --> 00:10:57.840
So you have that backup redundancy.
00:10:57.919 --> 00:11:07.919
Um, if you have a little bit more money to spend, I would say I would recommend everyone get an Atomus Ninja because being able to have a backup recording on set is just absolutely clutch.
00:11:08.080 --> 00:11:17.279
Like if something goes wrong with the card, if something goes wrong with the camera or it stops, the Adamus is gonna keep rolling and you know that you're gonna have a backup no matter what.
00:11:17.440 --> 00:11:20.799
And there's also an additional audio input and audio output.
00:11:20.879 --> 00:11:24.399
So you can put a mic in there if you need, you can monitor from there.
00:11:24.559 --> 00:11:31.039
You have lots of different options in terms of sending things to the cloud, uh, recording in Pro Rest, getting raw.
00:11:31.120 --> 00:11:36.960
So for me, that's just one of the best pieces of equipment that I have, and I use that on like 90% of my shoots.
00:11:37.200 --> 00:11:37.840
Yeah, I love that.
00:11:38.080 --> 00:11:41.360
I'm in the market for a new monitor, so you might have just sold me on that.
00:11:41.519 --> 00:11:42.000
Yep, yep.
00:11:42.080 --> 00:11:43.679
Tell them the chef gal sent you.
00:11:45.679 --> 00:11:54.480
So here's here's something that um I think is important to what we do on this podcast, and a lot of it is inspiring folks.
00:11:54.720 --> 00:12:07.600
Um, is there a piece of advice that you can give someone that's just now getting into the industry or um that has been here for a while, that needs a little bit of guidance?
00:12:07.759 --> 00:12:09.440
Anything that you would like to share with them?
00:12:09.679 --> 00:12:15.600
Yeah, I think my biggest piece of advice would be to build a community, like build a network of people.
00:12:15.679 --> 00:12:26.159
Um, I think you're gonna learn the most by seeing what other people do, by contributing on their set, seeing how they run and how they operate their sets, so that you can take that and implement that on your own sets.
00:12:26.240 --> 00:12:33.120
And also your community is gonna end up being the people that are gonna hire you ultimately down the line and are gonna get you into other spaces.
00:12:33.200 --> 00:12:37.759
So I think sometimes people have a tendency to like try to network way out of their league.
00:12:37.919 --> 00:12:45.039
Not just network with the people around you, build with those people, and you'll slowly see your network grow and multiply.
00:12:45.120 --> 00:12:51.840
And um, yeah, if you partner up with the right people, you can both benefit from each other and learn a lot and expand together.
00:12:52.080 --> 00:12:52.559
Yeah, yeah.
00:12:52.639 --> 00:12:58.879
And I think that like that really touches on what it really means to be successful in this industry.
00:12:59.120 --> 00:13:06.080
It's not having the best equipment, it's not being the most talented individual, it's really being a good person.
00:13:06.399 --> 00:13:07.440
A hundred percent.
00:13:07.679 --> 00:13:10.960
Like, I'm I'm only hiring people that I want to work with.
00:13:11.120 --> 00:13:13.360
If you're a jerk, I'm not gonna want to work with you.
00:13:13.519 --> 00:13:20.799
So I'd rather take someone who's nice and knows what they're doing over the the person who has the most cinematic shots.
00:13:20.879 --> 00:13:29.360
Like, it's really just about being competent at what you do, knowing your equipment, knowing your gear, knowing how to navigate set, but also knowing how to navigate people.
00:13:29.519 --> 00:13:32.240
Because this industry is 90% relationships.
00:13:32.320 --> 00:13:33.600
It's all about who you know.
00:13:33.759 --> 00:13:41.360
The person who's getting the job isn't necessarily the best person in the world for the job, it's just the person who was closest in proximity to the person hiring for that job.
00:13:41.600 --> 00:13:44.960
So it really is about who you know at the end of the day.
00:13:45.039 --> 00:13:49.120
And if you are talented and prepared, you know, you stay ready so you ain't gotta get ready.
00:13:49.200 --> 00:13:50.799
So when that call comes, you're ready to go.
00:13:50.879 --> 00:13:53.279
So keep your pelicans packed and ready to go.
00:13:53.519 --> 00:13:56.720
And you know, the opportunities, they're gonna come, they're gonna come.
00:13:57.840 --> 00:14:10.480
So as I as I watch your content, you know, I look at your Instagram, your YouTube, like you, you know, gear, but you also know the industry, like you're talented.
00:14:10.879 --> 00:14:15.840
But the thing is, is like why why share this knowledge?
00:14:16.000 --> 00:14:18.320
Like, what is what is that teaching spirit?
00:14:18.480 --> 00:14:19.600
Where does that come from?
00:14:19.919 --> 00:14:23.120
I think it comes from like having learned from other people.
00:14:23.279 --> 00:14:33.120
So there's so many tidbits that I've got because I've watched other people's YouTube videos, because I've been on other people's sets, because people took the time to talk to me or explain something to me.
00:14:33.200 --> 00:14:35.120
So I know I benefit a lot from that.
00:14:35.200 --> 00:14:45.120
So just being able to give back to the creative community, it feels really good to be like, hey, here's how this gear works, or here's how you can use this to benefit your own setup or what what you got going on.
00:14:45.279 --> 00:14:52.320
And oftentimes, whenever I do share information, a lot of people chime in and uh share alternate setups in different ways.
00:14:52.399 --> 00:14:53.519
So I'm learning as well.
00:14:53.600 --> 00:14:59.120
So I might share a boom rig setup that's wireless, and then someone might come and be like, oh, did you know about this or did you know about that?
00:14:59.200 --> 00:15:00.639
And I'm like, oh snap, I didn't.
00:15:00.720 --> 00:15:03.600
So it's just like we're all teaching and learning and growing together.
00:15:03.759 --> 00:15:05.279
So for me, it's just a no-brainer.
00:15:05.519 --> 00:15:08.399
Um, I'm confident in who I am and what I bring to set.
00:15:08.559 --> 00:15:17.039
And I think that, you know, we alluded, we talked about this before, but you know, when you hire someone, you're not just hiring their equipment, you're hiring their years of experience.
00:15:17.200 --> 00:15:25.200
So I have no problem sharing anything because my connections are intact and you know, it's because of what I bring to the table besides just the gear.
00:15:25.279 --> 00:15:35.279
Um, but I think, you know, sharing online creates a space to have community, to have that discussion, to have that discourse, and to give information and also learn from others.
00:15:35.360 --> 00:15:38.000
So I think the more you give is actually the more that you get back.
00:15:38.240 --> 00:15:39.360
Yeah, no, I agree.
00:15:39.440 --> 00:15:53.200
I think for me, I know for me that I wouldn't be here if it wasn't for the folks that were open, honest, willing to tell me any and everything about the industry.
00:15:53.440 --> 00:15:54.639
Yes, the non-gatekeepers.
00:15:54.960 --> 00:16:03.120
Yeah, the non-gatekeepers, the folks that were just like, yeah, I'm gonna tell you this, and maybe one day you get good enough and you may be in my position.
00:16:03.519 --> 00:16:04.879
But they didn't fear that.
00:16:05.360 --> 00:16:13.039
And and to me, it's it is slightly strange when people kind of I don't know what the fear is behind the gatekeepers.
00:16:13.600 --> 00:16:14.559
Yeah, I I don't know.
00:16:14.639 --> 00:16:19.279
I think they're they're probably not confident in themselves to a certain degree.
00:16:19.440 --> 00:16:22.159
Because when you are, you know, you you share the knowledge.
00:16:22.320 --> 00:16:26.320
Because, you know, when you're sharing, you're telling people that your knowledge about something.
00:16:26.399 --> 00:16:28.480
So like they're probably gonna want to hire you anyway.
00:16:28.559 --> 00:16:34.480
So I'd rather share all the information and you know that I know that I know what I'm talking about and you know what I'm talking about.
00:16:34.559 --> 00:16:38.720
So when the opportunity comes up, it's like, let's pick her because she knows what she's talking about.
00:16:38.879 --> 00:16:41.919
So, you know, I think I think sharing is caring.
00:16:42.159 --> 00:16:45.200
And uh, yeah, like don't be a gatekeeper, don't be sad.
00:16:45.440 --> 00:16:59.039
Yeah, and that's because it's to that point, it's like if you're confident in yourself and you share something with me, there's it's rare that I'm gonna be able to come in and take your spot.
00:16:59.279 --> 00:17:06.000
Yeah, there's so much food for everybody to eat, and we all gonna eat this food together.
00:17:06.240 --> 00:17:07.200
And I ain't even built like that.
00:17:07.279 --> 00:17:12.079
I ain't even about to come for somebody's father, oh man, yeah, yeah, he just told me to seek your sauce now.
00:17:12.319 --> 00:17:20.720
Yeah, but that is a separate conversation though, that I don't know if we talk about on this podcast or another one, but um, just like in terms of like client relationships too.
00:17:20.799 --> 00:17:31.039
And I think that you have to really be, you have to really be strategic about who you bring onset because you're bringing people around other very high profile individuals sometimes.
00:17:31.119 --> 00:17:47.119
So I can't just have someone coming in that's sleeping around trying to collect everybody's email, like, you know, you're on set to serve and be a crew member and to make the production better, not to like, you know, to round up context for you to try to reach out to people on the low, you know.
00:17:47.200 --> 00:18:08.079
So I think that's another, that's a part of different different discussions that we've been uh that have, you know, been on online is, you know, finding that nice balance of just being respectful of the team that you're working with and knowing the environment, having discretion and you know, you know, you you gotta be a sort of type of person for someone to want to trust and bring you into certain environments.
00:18:08.160 --> 00:18:09.839
So you gotta know how to act right.
00:18:10.000 --> 00:18:15.119
So you can have all the information, but if you don't know how to carry yourself on set, no one's gonna bring you on set.
00:18:15.200 --> 00:18:16.400
Nobody's gonna bring you on set.
00:18:16.480 --> 00:18:26.079
And in that in that same vein, I have a I have a clause in my contract that tells contractors when they're on set with our company, you represent our company.
00:18:26.319 --> 00:18:26.480
Exactly.
00:18:26.720 --> 00:18:29.599
And it's a shame that I have to have that clause in that contract.
00:18:30.079 --> 00:18:34.960
And it says, like, you know, if you're caught, you know, getting cars or doing whatever, you you'll be dismissed without pay.
00:18:35.519 --> 00:18:46.559
And it's it's shameful that I have to put something like that in a contract because you would just think, if you bought me to a gig, you would just think that Torrance's not gonna try to get my client.
00:18:48.480 --> 00:18:51.279
So I feel like somebody has to drop an RB song about that.
00:18:51.359 --> 00:18:56.400
We we're missing that Usher song song about like, not trying to steal your girl, not trying to steal your you trying to steal my client.
00:18:58.319 --> 00:18:59.200
You trying to do it like that.
00:18:59.519 --> 00:18:59.680
Mr.
00:18:59.839 --> 00:19:00.480
Studio Client.
00:19:01.920 --> 00:19:04.400
We don't want to those, we don't want any of those people on set.
00:19:04.640 --> 00:19:10.720
So you gotta know how to navigate, you know, come correct, you know, represent the people that you're with well, represent yourself real.
00:19:10.960 --> 00:19:20.720
And I think if you if you come with like uh a hunger in a from a bad place of desperation, you know, that shows and that's not a good thing.
00:19:20.880 --> 00:19:29.359
You have to know that when it's your time, it's gonna be your time, but you have to keep showing up and be professional so that you can get called back out again.
00:19:29.440 --> 00:19:30.240
You know what I'm saying?
00:19:30.400 --> 00:19:31.039
Yeah, yeah.
00:19:31.359 --> 00:19:36.799
I really just appreciate you taking the time to have this conversation uh with us on this platform.
00:19:37.119 --> 00:19:43.680
Um, you know, since I've met you, it's been positive energy, um, excitement about this.
00:19:43.839 --> 00:19:47.119
I know we first met, it's probably like, uh, well, what?
00:19:47.279 --> 00:19:48.160
Okay, cool.
00:19:48.480 --> 00:19:52.160
But you took the time to come out here and do this interview with me, and I really do appreciate it.
00:19:52.480 --> 00:19:54.400
Yeah, I appreciate you reaching out.
00:19:54.480 --> 00:19:58.559
And, you know, we're here because of community, someone we both know brought us together.
00:19:58.640 --> 00:20:03.599
So back to that point about it's it's who you know that's gonna get you in different places and different rooms.
00:20:03.759 --> 00:20:07.599
So big up to the community, and uh yeah, thank you for having me.
00:20:08.559 --> 00:20:11.920
If you made it this far in this video, I really appreciate y'all.
00:20:12.079 --> 00:20:13.440
You're the real MVP.
00:20:13.599 --> 00:20:16.559
If you have a moment, please like, comment, and subscribe.
00:20:16.720 --> 00:20:23.599
And if you felt like this conversation was beneficial to you, share with another filmmaker, another creator, or just somebody that'd be interested in the subject.
00:20:24.000 --> 00:20:24.400
Thank you.
00:20:24.640 --> 00:20:25.039
Peace.
