A Sunset Vibe

Budgets shape everything. Sometimes you’ve got resources to play with and sometimes you don’t. That doesn’t mean the work has to feel small. For Bay Area artist Teycito’s new album Summr, we set out to create a music visualizer that captured the warmth and intimacy of the record. We didn’t have permits or big lights, but we did have a sunset, a hillside, and a crew ready to experiment.

This was my first time collaborating with Gil as a director. We usually work together on editing projects, but he’s been wanting to step into directing more. He came in with this “summer nights” vision, full of big and beautiful ideas, and my role as DP was to help bring that to life without breaking the bank.

When I first heard the idea, my mind went straight to those old-school 2000s music videos. Lowriders, city skylines, cozy summer vibes. It felt like a chance to make our own small version of that energy. For me, that meant taking Gil’s vision and figuring out how to make the light, the space, and the mood all work together.

Summr at Golden Hour

The idea was simple. Tey in a lowrider with his partner Karla, parked at Grizzly Peak in the Berkeley Hills as the sun dipped low. The car wasn’t just a prop, it was a stage for intimacy and rhythm. Tey was the focus, but Karla’s presence grounded the scene. The way they leaned into each other, framed by the city behind them, said it all. He’s her world, she’s his, and Summr is the soundtrack.

We kept the shoot lean, less than ten setups total. Each one gave us flexibility without overcomplicating things. That let us stay in the moment and let the light do the heavy lifting.

Framing the Subjects

During our scout we spent a lot of time figuring out how to frame both Tey and Karla. The artist is always the priority, but I wanted her to feel just as present. Not like background talent, but part of the scene.

After testing a few setups, we landed on having her lean back against the glove compartment, facing him. That one choice gave us a really tender summer-evening dynamic. Like they were each other’s whole world and everything else was just noise. I honestly think that single decision made the final video feel more intimate.

Lens Choices

Because we wanted this project to feel more stylized, Gil and I did extensive research on the type of wide angle lens we wanted to use for about 80% of the shots. We ended up renting a Venus Optics Laowa 12mm T2.9 (Shout out Lensrentals for the quick shipping!) Since I was shooting on a RED Komodo with a Super 35 sensor I wanted a cinema-grade wide-angle lens that would cover the sensor without heavy vignetting and maintained sharpness across the frame. Originally, I wanted the flexibilty of a wide angle zoom and was even pushing Gil for us to get the Venus Optics Venus 8-15mm T2.9 for its crazy cool dual fish eye effect but we decided this wasn’t the right project for it.

The Laowa 12mm was actually an incredibly beautiful lens that I really didn’t want to return after the production was over. I loved the minimal distortion it created around the edges of the frame. I also loved the soft flares it would create in certain shots. In my opinion it was perfect for the kind of shots we wanted to accomplish.

Aside from using this beautiful wide angle lens I also whipped out my recent lens purchase from Ironglass, the soviet rehoused MKII’s. There were only a few shots I really wanted them for, specifically for the long shot looking out to the Bay and a few other tight cut aways. I ended up using the TAIR-11A 135mm T2.9 that gave the shot beautiful depth and texture. As you can see in the photo to the bottom left, we were already losing sun on our subjects, and these shots were honestly the last ones we shot before calling it a wrap.

The Approach: Sun and Mirrors

What I loved about this project is how it pushed me to be resourceful. We didn’t lean on gear or budget the way I normally do. Instead, we leaned on the sun and some mirrors. It reminded me that constraints can actually sharpen creativity. And honestly, sometimes, less is more.

Since we didn’t have permits or a big lighting budget, we leaned on the biggest light source we had: the sun. To make it work, we scouted Grizzly Peak a week in advance, tracked the light, and picked our window: 4:30 to 7 PM.

Thanks to the Sun Seeker app, I was able to determine the sun’s trajectory and more importantly where the sun would land so that I could decide the best parking spot for the lowrider. This location was super interesting because if that tree didn’t block the light at 7 PM, we would have probably had at least another half hour before completely losing the sun. But that’s what we were dealt with and we tried to make the most of it.

On the day of production, we showed up at 2 PM, blocked a few parking spots, and started prepping gear.

The Godox Mirror Kit became our secret weapon. Mirrors aren’t something I’d bring to a run-and-gun shoot simply because they take time, planning, and patience. But I would be lying if I said I hadn’t been itching to try them out. They allowed us to be stylized instead of just “dealing with” the sun.

Since we had space in the lot, we could move the mirrors around to bounce and soften light right where we wanted it. Most of the time, that meant shaping light onto faces to keep things looking natural but still elevated.

I wanted to share what that looked like from our perspective. The Director had a very clear vision of the framing he wanted after our location scout, which honestly made my job so much easier with my gaffer, Phil. We wanted the Bay Area to be the backdrop, so that meant the sun would be Tey’s key light and Karla’s backlight.

Our mirror placement for the first shot was pretty simple. We opted to have a mirror camera left in order to add some extra fill into Tey’s face and to brighten up the wheel and his seat. I just wanted a kiss of light to help it feel more natural. And if you look closely, you can even see a shadow on Tey’s face coming from the sun hitting the windshield of the car. Did I love it? No. But I also acknowledge that it helps give the natural texture I was looking for in the first place. One thing I loved was the subtle flare the sun gifted me. (I’m a big fan of flares when they feel natural and subtle!)

We then placed another mirror behind the car, specifically camera right to help create a hair light on Tey. This same mirror helped bounce a subtle amount of light onto Karla, and helped create that cozy, lovey, summer vibe.

Next on our shot list was showing off the beautiful Bay Area view. Unfortunately, that day ended up being a mixture of clouds and fog, so it was hard to see the city. In addition to that, because we didn’t have a ton of control of the space, I was stuck with that massive bush seen camera right. I’m a fan of symmetry and I would have loved to have that bush further to the right almost hugging the edge of the frame, so that the car, would be perfectly centered and balanced against the view. Nonetheless, we made it work with a high wide angle shot of the car filling up two thirds of the frame and the final upper third being just the view.

As far as mirror placement went, we only used the largest mirror we had in the kit and placed it at least five feet to the left of the back of the car. Catching the sun perfectly to give Tey a hair light and Karla some nice fill on her face.

I’ll be honest, the sun did a lot of the work on this project, but the mirrors helped the talent pop even more.

From the Director’s Chair

Collaboration was the heartbeat of this project, and I wanted to bring Gil’s voice into this post as well. He came in with the vision and led with that “summer nights” energy, so I asked him a few questions about how he sees the director–DP relationship and how our work together shaped this visualizer.

1. How did our collaboration influence and refine your original vision for the project?
   Gil: Collaboration helps you understand what’s really possible within the capacity of your efforts. It’s hard to hold every detail of your vision in your head while also trying to create something new. Having someone else there allows you to build on top of what you already imagined and push it further.

2. From your perspective, how did the cinematography shape the story you wanted the visualizer to tell?
   Gil: “Cinematography helps define what tools you need to tell the story you want. It’s not just about chasing cool shots, it’s about guiding the viewer’s eye so the feeling and tone come across. I value aesthetics and tone maybe more than I should, but that’s part of my style. For me, cinematography has to feel immersive, which makes it a crucial part of my process.”

3. What do you value most about working closely with a DP, and how did that play out on this project?
   Gil: “A DP helps me articulate what I’m thinking, like a companion focused purely on the visual side of the story. As a director, your mind is constantly spinning with ideas, so having someone there to keep you grounded is really important.”

4. Were there moments where our collaboration on set shifted the direction of the piece in an unexpected way?
   Gil: “Definitely. Some of the best ideas came unexpectedly while we were shooting. At one point, we started making little postcard-style stills of certain shots, and those inspired new directions. We ended up experimenting with focal lengths and subjects in ways we hadn’t planned, and it opened up a lot of fresh looks.”

5. What did this project teach you about the relationship between a director and a DP that you’ll carry into future work?
   Gil: “You taught me the importance of being prepared for deeper conversations. Planning and actually being on set are two very different experiences. For future projects, I want to have more detailed notes for myself so I can lead with clarity, even when things shift unexpectedly. There’s so much riding on you as a director, and having a DP by your side is invaluable. But it also means coming prepared and supporting your DP in their process too.”

Final Thoughts

Looking back, what I love about this shoot is how it reminded me that budget doesn’t define creativity. The limitations made me sharper and more intentional. With the right prep, the right crew, and a willingness to experiment, you can do a lot with very little.

For Summr, we didn’t need a big production. We just needed to capture that kind of intimacy you only feel on a hot summer evening with your partner. The Bay gave us the perfect backdrop, and the sun did the rest.

Most of my work lives in the documentary world, but projects like this keep me excited to pick up the camera. A simple story told with beautiful imagery: that’s the magic I want to keep chasing.

Production Company: The Common Bunch
Producer: Frank Facio
Director: Pratham Gil
Director of Photography: Jennifer Gonzalez
1 AC: Marcos Rocha
Gaffer: Phil Nguyen
Editor + Colorist: Pratham Gil
BTS Photo + Title Card: Arturo Zarco
BTS Video: @heymynameangel + Denzel Balingit

The Crew

When a fintech company came to New Revolution Media and Bash Creative, they expressed one goal: to create an epic opening sequence for their newest product launch. Inspired by the theme “The Lost City of Gold,” the concept fused futurism with ancient myth — and the result needed to feel like a discovery, not just a reveal.

Enter the San Francisco Mint. With its massive brick corridors, historic vaults and grand rooms, it already looked like something out of a movie. Our task? Make it grand. To make this happen, Director Pierce Larrick brought me on as Director of Photography and Enrique Camacho as our dedicated Steadicam Operator. Together, we had to find a way to turn this space into a living legend that would be remembered among the many people who would be watching.

The Challenge

There were a lot of moving parts. Literally.

We had:

• A CEO entrance that needed to feel effortless but cinematic,

• Fire dancers whose timing had to sync perfectly with camera motion,

• Lighting and haze designed to transform the room into something dreamlike,

• Creating enough light in the underground vaults to give us a usable image,

• And one steadicam operator gliding through it all in a single, unbroken shot.

With just one day of rehearsal and blocking, and only two official takes the day before the event with the CEO, it was all about trust, timing, and a tiny bit of magic.

Choreographing the Flow

We approached the entrance like a ritual that began from darkness and led us into the light. We wanted it to feel like a journey through a lost city where each movement felt intentional, almost sacred. The music was our heartbeat.

The fire dancers weren’t just background; they were the architecture of the shot — guiding the eye and building a visual rhythm for the camera to dance with. The CEO’s walk had to feel natural but still carry a weight of importance, like he was a character from a legend.

We spent hours walking and re-walking the path, tuning the tempo with every run. The final sequence was part choreography, part cinematography, part intuition.

Lighting, Haze, and the Obelisk at the Center of It All

As DP, I wanted the lighting to enhance the beautiful features and character that the the Mint already had. Warm amber light, dancing shadows, subtle glow — everything was dialed in to match the golden tone of the theme.

The first thing I had to consider before making any lighting choices was camera. Originally the client was promised a RED Dragon, but I thought a lot about that choice and knew we would be making a mistake if we went that route. See, the client wanted a dark and moody scene and considering the space we were in and the resources we had, we were limited in how we would light this. Two days before rehearsal, I felt haunted by the idea of using the Dragon, not because it’s not a great camera but RED’s just love light and I just didn’t feel like there would be enough output from the fire and the additional fixtures to really give us the image we were looking for. So Enrique and I made a few calls and finally landed on a Sony FX6 so that we could shoot at 12,800 ISO and really be able to get the most information in the vaults (which was already incredibly dark to begin with). We also paired the camera with the Angenieux EZ-2 22-60mm T3.0 FF (PL) that we rented from Lens Rentals. This lens gave us the flexibility to start tight and zoom throughout the sequence with intention.

In the vaults, I set up three Aputure light fixtures which we set the 300X at 3200K, and added 1/2 CTO gels to match the color temp. to both our 300D & 600D. We used those lights to scrape the floor and create a dynamic balance of light and contrast. That way we wouldn’t just be relying on the fire from the dancers to give us enough exposure. The stairway section was where I had to mostly rely on the light coming from a window source. So our amazing 1AC, Kelsey Rivera, had to manage an aputure shift from the vaults to the stairs, to give us an exposure that wasn’t clipping on the window. To emphasize the rays and the beautiful shape the natural light was giving, I had one my PA’s haze the stairs moments before we began rolling. Together we rushed to waft the haze and make it feel dreamy, allowing the light beams from the window to stretch like they were painted in midair.

As we moved to the upstairs hallway, the challenge was finding a way to make the white walls not feel so stale. Luckily, the events team set up small lights along both sides of the hallway that created a nice shape with an amber-like hue. From there I added a 1200D from the first door we see as we come up from the stairs and scraped it along the floor to emulate the sun setting. As we run from the vaults to the stairs, our PA rushed to haze the upstairs hallway and hid in time for us to reach the top of the stairs and begin our walk with our fire dancer. Somehow unintentionally, as we walk down the hallway, another dancer holding a lit torch, gave us a little back light at the entrance of the stairs that just added another dynamic layer to the image. Like Bob Ross, I too call moments like this “happy accidents.”

The haze gave us that dreamy, ancient quality, letting beams of light stretch like they were painted in midair.

And then there was the obelisk.

Lit from within, it stood like a discovery — the “X” at the end of the map. It wasn’t just a logo moment. It was the emotional and visual anchor of the entire entrance, the thing the shot was building toward from the very first frame. Thankfully, the events team felt the same way and aimed a beautiful spolight at the obelisk to really make it pop from the rest of the room.

From the Director’s Chair

This sequence was as much about musicality as it was about visuals. With every moment choreographed to sound, we knew timing was everything. Pierce orchestrated the rhythm behind the lens — syncing together all the elements to create one cohesive flow.

To get a better perspective, I sent Pierce a few questions to help us gain better insight on how he managed to create this choreography in one day:

1. This sequence was tightly choreographed to music. What was your process for mapping movement — especially the dancers’ and CEO’s cues — to specific beats?

   The first priority was ensuring that both the dancers and the steadicam operator were able to seamlessly move from point A to point B within the tight 1:55 second window. Once we had that timing locked in, the next challenge was to fill the frame dynamically, particularly with the use of flames. We were fortunate to have such seasoned performers, whose expertise and feedback were invaluable in enhancing the visual composition and ensuring everything flowed smoothly.

2. With only one day of rehearsal, how did you manage the timing between performance, camera movement, and music? Were there any surprising breakthroughs or adjustments on-site?

   The success of this project was largely due to the incredible understanding and flexibility of our performers and crew. They were able to adapt to our constraints and take ownership of their movements, which was crucial in achieving the desired outcome. Without the amazing team we had, this shoot simply wouldn’t have been possible. I’m truly grateful for each person involved and their dedication to bringing the vision to life.

3. This was your first time directing a one-take, what advice would you offer other Directors with this kind of challenge?

   My advice to other directors would be to always approach the process with kindness and collaboration. At the end of the day, everyone on set is working towards the same goal of creating something beautiful. When you foster a positive, collaborative environment, your team is more motivated, inspired, and ready to deliver their best work. The energy you bring as a director can truly influence the quality of the final product.

The Steadicam Dance

This oner took a lot of brain power to create, so I felt it was incredibly important to hear from our steadicam operator, who is arguable the heartbeat of this entire sequence. I asked Enrique to share what it took to hit every mark, move with intention, and stay locked in with the rhythm of the moment.

1. Can you walk us through your movement path? What made it technically challenging?

   The movement consisted on tracking the dancers backwards, letting them lead me up the stairs, and switching focus between multiple “main subjects or characters”. The challenge really came from having to have everyone hit the marks including myself, the 1AC and the dancers. This take was also incredibly fast, with only about a 1:30 to get from the vaults to the upstairs hallway and into the obelisk room. Each take was another testament to my endurance.

2. What gear were you using (rig)? And how did that affect your decisions?

   We used a Sony FX6 on my steadicam Aero 30 with A30 arm. All together, the rig weighed about 40 lbs, which in the grand scheme of things, is a much lighter rig, but when you’re running with that much weight, your body will feel it regardless.

3. What were the biggest timing challenges or points of failure you had to watch out for?

   One of the biggest timing challenges was the tilt up on the stairs. The pacing of this video was so fast that I felt like there wasn’t a lot of time to focus on a character for too long. I had to turn the corner, tilt up high enough to see the two women on the stairs and then tilt back down to the woman in the window fast enough to match the beat of the music. Everything had to follow timestamps to a tee. 

4. What’s something people wouldn’t expect about what goes into a steadicam shot like this?

   Most people outside the business don’t realize how much thought and time it takes to coordinate a one take. It’s a lot of moving parts and everyone has to be in sync in order to make it work. Communication is key for any production, but especially with ones that require so much coordination.

5. Any moment you’re especially proud of during the take?

   I think my best moment is after I reach the top of the stairs and slowly pan to the dancer with the flaming crown. I had to time everything from the dancer leading me up the stairs, land on the new dancer or character, adjust my tilt and horizon and slowly pan and stop for a beat. Everything happened smoothly and as intended which felt really good! 

6. What advice would you give to other operators taking on fast-turnaround, choreographed live shoots like this?

   Prioritize your prep time and make sure you communicate with your director and DP every step of the way. It’s important to mention that you shouldn’t be afraid to make suggestions to make the shot work. You’re the expert after all. I had a couple moments where I changed things to make the camera flow more and not feel too chaotic compared to the original concept. This helped my movement and ended up being preferred by the both the director and the client. 

Two Takes

When I heard on the day of that the CEO would only have enough time to give us two takes, my heart stopped. Not only did we just spend a whole day rehearsing without him, but we still had a lot of kinks to work out timing wise. But you know what they say, pressure makes diamonds.

Take one was close. A couple of our dancers didn’t quite nail the timing and some missed their cues. So we quickly reassembled, heard some feedback from the client and rushed to get back to our first mark. The overall feedback? The rhythm was good, but the energy needed to swell just a little more.

By take two, everything locked in. The pacing was right. Most of the dancers hit their marks with ease. The haze was sitting just right in the air. And Enrique — well, he glided through it like he'd been rehearsing for weeks.

Suddenly, Pierce yelled “WE GOT IT” and I swear I heard the crew all breathing a sigh of relief.

Now you might be wondering, would I have loved another take and to be honest, I would have LOVED two or three more. But the reality is that most CEO’s don’t have the bandwidth to allot a huge chunk of their time to projects like these. The fact that their creative team even wanted to pitch this idea and bring it to life is a huge undertaking, and I’m glad we made it work with the time we had. But in a perfect world, I would have done at least two more takes to really get as much as we could and find moments of improvement.

Final Thoughts

The “Lost City of Gold” wasn’t just a theme. It was a tone, a tempo, a challenge. This was the kind of shoot that reminds you why we love making images move. It was fast, complex, collaborative and full of the pressure to get it right since it was being broadcast to millions of subscribers. After it aired, someone on the team noticed a couple of tweets that made us feel a little giddy inside after all the effort we went through.

Producer: Felicia Mogavero
Director: Pierce Larrick
Director of Photography: Jennifer Gonzalez
Steadicam Operator: Enrique Camacho
1 AC: Kelsey Rivera
Gaffer: Max Martin
DIT: Jeff Coombs
Editor: Michael Janak
Production Assistant: Aracely Martinez

The Crew

That was maybe the most badass product demo/announcement intro I have ever seen. 😳

Say what you wanna say about @Robinhood $HOOD

But they are doing ALOT right. ⚜️ pic.twitter.com/H4aj6STDcf

— ₿IGRYANPARK 🧲 (@BigRyanPark) March 27, 2025

The music and the performance for Gold members on the app was @netflix level. pic.twitter.com/3oeJgnY34z

— Futurism Products (@FuturismProduct) March 27, 2025

Last weekend, I had the opportunity to work on assignment for ESPN during NBA All-Star Weekend in the San Francisco Bay Area. One of our production days was nothing short of a gauntlet, with a rapid-fire lineup of NBA icons coming through our interview setup. Everything about the shoot—from the space to the execution—was intense. Here’s how we made it work.

The Challenges

Our space at Oakland Arena was far from ideal. Originally, we were told we would have a locker room to set up in, but upon arrival, we quickly realized that was not the case. Instead, we were given what felt more like a storage room—small, oddly shaped, and featuring stark white walls that lacked any visual depth. Every potential setup seemed uninspiring, and the acoustics? Disastrous. The arena’s ambient noise seeped into the room, making it feel like we were recording in the middle of the court itself.

Beyond the space itself, we were under tight time constraints and limited gear, meaning we had to be resourceful and creative with our setup. With little to no time to reimagine our approach, we had to quickly pivot and problem-solve on the fly.

The Lighting Setup

I knew from the start that a standard key, fill, and hair light setup wouldn’t be enough. The background needed life, and with the limitations of the space, we essentially had to become set designers to transform this sterile, cramped room into something visually compelling.

For the main interview subject, I positioned near the wall with the most depth. The downside? Randomly placed poles in the middle of the room. But at that point, beggars can’t be choosers. For the reporter’s angle, I had to battle a plain whiteboard against the already stark white walls. To counter the sense of confinement, I specifically requested tall chairs to create the illusion of a larger space—especially when dealing with towering NBA players.

We began with a simple cross key setup:

• Main subject: Arri SkyPanel S60 as key light, with an additional tube light as fill

• Reporter: Aputure 600D as key light, with an Aputure 60X and softbox for additional fill

Knowing we needed to introduce dynamic background elements, I was lucky to have anticipated the need for tube lights and had rented a Titan Tube Kit. With only limited grip gear at our disposal, my gaffer, Ryan Yen, and grip, Max Martin, worked meticulously to outline the room’s structure using six tubes at 3,600K to give the space a tungsten warmth.

For the reporter’s background, I spent a couple of hours stringing Aputure B7C bulbs onto transparent fishing wire, hanging them from a C-stand to create a floating effect. This subtle touch helped warm up the space and made the interview setup feel more inviting.

The Camera Gear

To keep us nimble, we opted not to shoot these interviews on prime lenses but rather the DZO Pictor Zooms 20-55mm and 50-125mm T2.8 on the RED Komodo. By doing this, we gave ourselves the flexibility to adjust the setup on the fly per what fit the producers' needs. Given the fast-paced nature of the shoot, the ability to quickly reframe without swapping lenses was invaluable. This choice ensured we could meet the demands of capturing multiple high-profile interviews efficiently without compromising on quality.

The Audio Challenge

If the visual setup was a challenge, the audio setup was a true test of endurance. Not only were the acoustics awful in the space, but they were back-to-back interviews and little to no transition time, our audio engineer had to move at lightning speed—going from removing one subject’s lav to quickly miking up the next. The rapid pace made it feel like a never-ending relay, but our audio engineer was a trooper. By the end of the day, we all deserved a well-earned beer.

Key Lessons Learned

1. Pre-planning makes all the difference. Anticipating potential obstacles—like the need for tube lights—helped us be prepared and ultimately saved us from a worse lighting situation. I honestly don’t know what I would have done without them.

2. Every element contributes to the illusion. Let’s be honest, we were in a dungeon, but the choice of tall chairs, tungsten lighting, and floating bulbs helped mask the room’s limitations and elevate the overall aesthetic.

3. Adaptability is everything. No two sets are the same, and sometimes, you’re dealt a difficult hand. Being able to pivot and make the best of a challenging space is an invaluable skill.

Final Thoughts

While looking back, I see countless things I would tweak, I’m incredibly proud of what our team pulled off in the time we had. The challenge forced us to be nimble and innovative, proving that even in the least ideal conditions, creativity and problem-solving can make a difference. This experience reaffirmed the importance of teamwork and embracing limitations as an opportunity for inventive solutions.

At the end of the day, our job as cinematographers is to make the impossible look effortless—and that’s exactly what we did.

The Crew:

Producer: Luis Aldea, Steven Buckheit, Christian Gardner
Production Coordinator: Frank Facio
Director of Photography: Jennifer Gonzalez
Camera Operator: Marcos Rocha
Gaffer: Ryan Yen
Sound Mixer: Garret McDonald
Key Grip: Max Martin

Last year, I had the chance to work on a music visualizer for San Jose artist Joy (an insanely talented musician, btw!). The concept? Recreate Spike Lee’s iconic double dolly shot, where a character appears to float effortlessly through their environment. When director Frank Facio first approached me with the idea for a music visualizer, I was immediately intrigued. The concept was simple yet bold: capture Joy as she floated effortlessly through their environment—an homage to one of cinema’s most distinctive visual techniques.

This technique, first seen in Mo’ Better Blues (1990), involves placing both the actor and the camera on separate dollies, moving them in sync to create the illusion that the character is floating. Lee uses it sparingly but powerfully in films like Malcolm X (1992), where the shot conveys the inevitability of Malcolm’s final moments, and BlacKkKlansman (2018), where it underscores the weight of pivotal realizations.

The double dolly shot has resonated with audiences because of its ability to evoke a heightened emotional state. By visually isolating the character and removing them from their physical surroundings, the shot mirrors their psychological or spiritual journey, drawing viewers deeper into the story. It’s this unique ability to move narratives forward while amplifying emotion that has made the double dolly shot a Spike Lee trademark.

With this history in mind, we set out to recreate the double dolly shot, and I must say, the project wasn’t without its challenges, but it was an incredible learning experience and an opportunity to honor one of cinema’s greats.

Dolly & Rigging: Building the Float

The rigging was where the technical magic happened. We started by attaching a camera riser to the doorway dolly, which provided the foundation for the setup. Next, we mounted a 24” camera offset to achieve the proper positioning for the shot. On top of the offset, we secured a Sachtler tripod head to a 75mm bowl adapter to complete the rigging assembly. Finally, we mounted the camera to this setup, ensuring it was perfectly aligned for the floating effect.

For Joy’s positioning, we rigged an apple box onto the dolly to ensure her eye level aligned seamlessly with the camera. This attention to detail was essential for selling the illusion of effortless motion. And don’t worry we drilled that apple box into the doorway dolly—safety first!

Putting that together made us feel confident in our ability to have smooth forward and back movements.

Lighting: Battling the Gloom

Weather was one of the day’s biggest challenges. Overcast skies meant we had to get creative with our lighting. Thankfully, my gaffer, Phil Nguyen, brought his A-game. His expertise in both lighting and rigging was invaluable.

For our key, we wanted to use a light that wouldn’t be too heavy so we opted to use the Astra 6X Daylight LED Light Panel with a Chimera Softbox and an Astera Helios Tube as a hair light to give Joy separation from the background. However, as Phil was getting that set up, I noticed she wasn’t getting enough contrast like I had envisioned. So, Phil suggested adding a 4x4 floppy to the dolly to introduce contrast on the fill side. This quick adjustment added depth and just a little bit of drama to the visuals, proving once again that small tweaks can make a big difference.

Camera & Lenses: The Tools for the Look

To achieve the signature floating effect, we used the RED Komodo and paired it with a DZOFilm Vespid Prime 25mm T2.1 lens. While we were setting up I went back and forth on what lenses I really wanted to use. The setup was already chalIenging, considering how close to the camera she was sitting. At first I thought the 16mm would be the way to go but I realized it was starting to distort her face in a way that didn’t feel immersive anymore but rather gimmicky.

I chose to stick to the 25mm because it created such an intimate close-up perspective of Joy. I felt like the camera was a dear friend she was singing to. I felt immersed. When I put that lens on, I felt an immediate emotional connection, and I too felt like I was floating with Joy (literally and figuratively).

Direction: Timing Is Everything

If there’s one thing the double dolly shot demands, it’s precision. Everything—from Joy’s performance to the dolly’s glide to the background extras—had to be perfectly synchronized. On a visualizer clocking in at 60 seconds, every frame mattered. When you really think about it, it’s only two shots using the same technique, so you better hope that we’re doing our best to nail it.

It took a few takes (okay a bunch of takes), but we eventually found the rhythm where everything clicked. Those moments of alignment are the reason we do this work—they’re fleeting, but when they happen, it’s magical.

Lessons Learned: Reps and more Reps

This project was far from perfect, but that’s what made it so valuable. Every shoot is another rep—another chance to refine your craft. For this visualizer, we learned to stay flexible, embrace experimentation, and lean on the expertise of our team to overcome challenges.

One key improvisation was our use of a single dolly instead of two. Spike Lee’s original double dolly technique uses two separate dollies—one for the camera and one for the actor—to achieve the floating effect. While I would have LOVED to have two dollies and create more space and depth, with our limited budget, we had to adapt, rigging everything onto a single dolly to replicate the look. While it wasn’t an exact reproduction of Lee’s method, it served as a creative workaround that still captured the essence of his iconic shot. And to be honest, I’m really proud of this piece, as simple as it might look, behind the scenes it was far from that.

The Crew

Executive Producer: Jake Ohlhausen
Director: Frank Facio
Director of Photography: Jennifer Gonzalez
1AC: Enrique Camacho
Gaffer: Phil Nguyen
Grip: Christian Drake
Wardrobe: Sydney Freemyer
PA: Divli Bhat
Rentals: Rebel Sun Lighting
Special thanks to SJSU.

When you’re handed a small club room as your stage for ESPN’s coverage of the Warriors Media Day, it’s easy to feel the constraints. Limited space, strict schedules, and the pressure to deliver broadcast-quality interviews could have been a logistical nightmare. Instead, it became an opportunity to flex creative muscles and showcase how a well-thought-out lighting setup can transform any room into a professional set up.

The Challenge

I’m just going to be real, the room we were assigned to shoot in wasn’t built for this kind of production. It was a modest club room at the Chase Center, with low ceilings, limited depth, and zero natural light. It’s a great space for fans to enjoy the game but it’s definitely not my first pick for a production space. But despite all these setbacks, my crew and I had to deliver an intimate, polished and professional image that ESPN would love.

The goal: create a look that felt spacious, dynamic, and clean.

The Set Up

In such a tight space, every single piece of gear had to serve a purpose. Since this was an ESPN specific project that is filmed with literally every single team in the NBA, the producer wanted to keep all the set ups consistent when it came to lighting and backdrops. Our producer sourced a backdrop for media day and shipped it out to every DP that works on this project. This year, we had a really nice blue/magenta backdrop. When I spoke to our producer, he was very clear about what he wanted: CONTRAST, DEPTH, CONTRAST.

Say no more. I love a contrasty image.

Adapting to the Space

The club room’s low ceilings and limited depth required careful positioning. For this set up, I used a RED Komodo and paired it with a 50mm lens from my DZO Vespid Prime Lens Kit. The camera and tripod were placed at the very edge of the room, just where the door could still close, maximizing the available depth. This setup allowed us to frame the players perfectly while maintaining a professional, polished look that made the cramped space feel somewhat expansive. I was clinging on to the camera during every interview but it was worth it. There was really nothing in the space that wasn’t serving a purpose, including our crew. This time around I brought my iPad so that my gaffer could view what I was seeing in camera and not have to go through a maze to see how the image looked. I think that alone helped streamline our communication and understanding of the small changes that needed to be made moments before an interview started.

Key Lessons Learned

1. Lighting Transforms Small Spaces: Thoughtful placement of lights, even in cramped conditions, can create depth and polish.

2. Gear Matters: Using a compact camera with minimal gear can help in a tight space.

3. Maximize Every Inch: Creative positioning of the camera and equipment can make even the smallest space feel expansive.

Final Thoughts

Working in a small space like this club room was very much a challenge, but it’s a challenge I like to welcome. Limited spaces can sometimes be a good thing for creatives. It forces us to think carefully about what gear is really needed, where is every light being placed and how. I like to think that these constraints ignite creativity in all of us and push us all to be more efficient and at times innovative with our prep.

There’s something satisfying about taking an small, empty, boring setting and turning it into a polished space worthy of looking at. Sometimes, having fewer options pushes you to focus on what really matters, and that’s where the magic happens.

The Crew

Producer: Luis Aldea
Line Producer: Jessica Shobar
Director of Photography: Jennifer Gonzalez
Gaffer: Ryan Yen
Sound Mixer: Jeff Dragomanovich