Director & Cinematographer. “menswear guy of cinematic lighting”
Los Angeles, CA
Joined March 2009
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Here’s some of what I’ve made recently! The letters on the bottom indicate if I was the Director (D), Cinematographer (C), or both (DC).
I specialize in colorful imagery that showcases diverse voices across fiction, documentary, reality, music video, and commercial.
Villaintina 🧟♀️ Vee retweeted
Sure, yeah. So a mid-shot lighting change like this is a type of "lighting gag" and CAN technically happen on ANY production, but doesn't. Because it calls attention to itself, therefore breaking the 4th wall. Here's how it's done, and why. 🧵
My battle with ring lights has now been immortalized by Teen Vogue: teenvogue.com/story/how-to-g…
Villaintina 🧟♀️ Vee retweeted
No, you’re not crazy! Night scenes DO LOOK darker now than they did in the decades prior.
But it’s not because cinematographers refuse to light their scenes (common misconception). It’s because the STYLE of lighting has changed. Let me explain. 🧵
Villaintina 🧟♀️ Vee retweeted
Oh I know!
First let’s talk about the lights. They’ve got an array of 5 circular trusses. These contain moving beam lights (yellow), moving wash lights (green), followspots on the 3rd/4th rings (purple), and some sort of multi-diode panels or tubes on the outer ring (red). 🧵
Every year, this gala has some of the best lighting of any event, but the background ...
While better than a generic step-and-repeat, a curtain doesn’t have the same grandeur as the Met Gala steps. I wonder why they don’t showcase the museum’s Death Star architecture instead.
Villaintina 🧟♀️ Vee retweeted
@AdobeVideo Premiere's timeline got more colorful
Villaintina 🧟♀️ Vee retweeted
Tech dudes do not understand the purpose of art or why people enjoy it
It’s that time again! I’m opening up my private referrals network for public submissions. If you’re looking for work in the film, tv, digital, or photo industries - fill this out to be contacted directly with job/gig opportunities. bit.ly/veeslist
What stands out here is the locked-off camera. In a typical documentary, you don't know where your subject will be so the camera inevitably has to move with them. Here, the shots seem pre-composed in a "okay now walk over to the window" or "scoot to your left a bit" type of way.
