Cinematography

Hi everyone, I’m Sid Shoeb, a cinematographer currently working in feature films and web series. My focus is on blending emotional depth with strong visual storytelling — I believe cinematography is about finding the soul of a story and expressing it through light, composition, and movement. I’d love to exchange ideas, learn from your experiences, and share insights about working across different genres and cultures. Looking forward to connecting with.

Spike Lee is one of the most unique filmmakers of our time, with an ecclectic body of work that includes all-timers like Malcom X and Do The Right Thing, a slew of documentaries and, now, modern interpretations of an Akira Kurosawa classic in Highest 2 Lowest. Spike joined My Best Shots to discuss windows that wouldn't break, consistent color pallettes, the time the FBI called wanting to screen 4 Little Girls and the signature shot that's matured alongside him and his collaborators over the years.

(https://www.youtube.com/watch?v=GhiW99IFWhE)

Lighting can make or break a scene. Here are 5 Ways to Use Lighting for Emotional Impact:

1.Soft Lighting for Intimacy: Create a warm, inviting atmosphere.

2.High Contrast for Drama: Play with shadows for suspense.

3.Color Psychology: Use hues to evoke specific emotions.

4.Dynamic Movement: Experiment with shifting light sources.

5.Natural Light Magic: Enhance realism by shooting at golden hour.

How Pzaz Helps: Plan your #lighting setups with detailed pre-production tools.

Share your thoughts, what’s your favorite lighting technique?

If we learned anything watching The Studio, Adolescence, and The Pitt clean up at last night’s Emmy Awards, it’s this: Steadicam long takes are here to stay.

If you’ve ever watched The Shining, Rocky, Goodfellas, or Children of Men, you’ve seen the magic of the Steadicam in action.

Before gimbals and drones, there was the original game-changer in camera movement, and it’s still used on major sets today.

This video from StudioBinder is a fantastic breakdown of what a Steadicam is, how it works, and why it remains a vital tool for DPs and operators alike: https://www.youtube.com/watch?v=_thX0rDNu0Y

When do you think a Steadicam is the right choice for a scene?

Are you looking to lean into the growing trend of immersive long takes and fluid motion?

If you're looking to drape your talent in a soft, wrap-around key, a technique I love is the book light. The Book Light technique in cinematography creates an extremely soft, diffused key light by first bouncing a powerful light source off a reflective surface (the bounce) and then passing it through a diffusion panel. I personally love to pair this with a crisp overhead light (usually a 2x2 panel) set slightly behind the subject, helping to provide separation from the background.

Check out Shane Hurlbut's breakdown of the book light technique by following the link below to No Film School, and let me know in the comments if you have a favorite lighting technique.

https://nofilmschool.com/2012/11/build-book-light-shane-hurlbut#

Wrap is done. Now, land the footage cleanly so the editorial team sees what you meant, and the colorist can finish what you started.

Lock the media

Make two copies to two separate drives. Copy the entire card structure, not just the movie files. Open a few clips on each drive and scrub start, middle, and end. Label the card, bag it, and hold formatting until you know both copies are good.

Keep the folders simple and consistent.

Use a clear path like: Show > ShootDay_YYMMDD > CameraA > Card01. Match reel IDs and file notes to your camera reports so nothing drifts.

Send a look card with your intent.

Share the monitoring LUT, white balance, ISO, T-stop, filtration, and any lighting notes. Request neutral dailies with the look applied for viewing, not baked in.

Give editorial clean notes.

List circle takes, watch-fors, and any time-of-day or weather shifts they should expect. If you made compromises under pressure, explain what to favor in the first cut.

Sync and proxy basics

Confirm frame lines, aspect ratio, timecode, and audio sync. Agree on proxy specs so the cut is fast and stable. Make sure spanned clips and proxies relink.

Loop in color early

Send a few reference frames for skin and key scenes. Flag tricky shots and share when color is likely to happen so they can plan.

Indie micro checklist

– Two copies made and spot-checked

– Card structure preserved on both drives

– Folder names and reel IDs match reports

– Look card and circle takes sent

– Editor has aspect, frame lines, proxy plan, and sync info

– Colorist has refs and heads-up on problem shots

Question for the lounge

What is your simplest, rock-solid ingest workflow or folder template that never lets you down on indie jobs?

Creating art is less about the gear and more about what you do with what you have — and of course, the STORY.

But wow, what a time to be a filmmaker.

The Canon C50 looks legit awesome, and now we’ve got the Nikon ZR — Nikon’s first cinema camera made in collaboration with RED. Nice!

Sure, it doesn’t have the full 16-bit of a RED, but it’s definitely powerful enough for most productions and at a price that’s accessible for a lot of filmmakers.

Makes you wonder… what’s next? Sony, what are you hiding up your sleeve?

Anyone else eyeballing some new gear?

The last ten minutes of the day will shape tomorrow. Wrap is where you protect the work, the people, and the momentum.

Lock the footage first

– Two verified backups minimum (camera and sound), with checksums if possible.

– Label media clearly and bag it. Do not format cards until post or DIT confirms.

– Flag problem clips, circle takes, and any sync or media hiccups.

Reset the camera and gear

– Clean and cap lenses, wipe filters, and dust the sensor area if needed.

– Batteries on chargers, spare sets staged for the morning.

– Return builds to a known base state, so you do not inherit bad settings.

– Tag damaged gear and note it for rental or production before it disappears.

Write notes for the post

– Send the day’s look card updates: LUT, white balance, ISO, T-stop, filtration.

– Note scene numbers, circle takes, and any “watch for” shots (focus buzz, flare, reflections).

– Log continuity: practicals, dim levels, key directions, and any compromises made under pressure.

Plan tomorrow before you split

– Quick 5-minute huddle with director, 1st AD, gaffer, key grip, and 1st AC.

– Confirm first setup, sun path or weather notes, power plan, and any prelight needs.

– Call out must-land beats so the crew sleeps on the same target.

Close the day like a leader

– Thank departments by name. Small acknowledgments buy trust and speed.

– Check in on talent if they carried heavy scenes and confirm any special needs for tomorrow.

– Leave the space better than you found it. Respect on exit sets the tone for the call.

Wrap micro checklist

– Two backups verified and separated.

– Media labeled, signed out, and stored safely.

– Camera settings reset to base, timecode plan set for morning.

– Lenses and filters cleaned and capped.

– Look card and circle takes sent to DIT, editor, and color notes thread.

– First setup, call times, and safety notes shared.

Why it matters

Wrap well, and you start fast. You protect the image, maintain continuity, and show the crew that their work is valued. The final moments matter as much as the first.

Question for the lounge

What is your wrap ritual or backup workflow that saves you the most pain the next morning?

Bold choice for such a large franchise, thoughts? https://ymcinema.com/2025/08/20/dune-part-three-shot-on-film/

And if location sound is in the job description, what are some of the best ways to get it?

Single handing a cinema-cam rig is already a plate-spinning trick, but what happens when the shoot demands sound and you're the only tech on location?