Cinematography

I have ridden every dolly on the market, used jibs from 5ft to 25 ft., used handheld gimblals, and poorly operated a stedicam on a feature (the regular op was out). All have their merits when it comes to motion, but one of my favorite tools to come to market over the last fifteen years or so is the DANA DOLLY! I love this piece of gear! My crew hates me for it because I tend to want it on anything that calls for subtle LtoR or RtoL movement. I cart that thing around like my dog, before he had enough of me.

Now, after years of the same Dana, I decided to get her a sister. Check it out!

How about you? Do you have a favorite piece of non-camera gear? Let everyone know in the comments below, and remember... ALL HAIL DANA!

Want to bring a cinematic edge to every project you shoot? These webinars and classes, taught by experienced DPs and industry pros, dive into everything from lighting and camera techniques to visual storytelling and post-production, giving you practical skills to make your work stand out.

We wanted to highlight some of our most highly viewed Cinematography webinars and classes so far this year. These programs have helped filmmakers around the world refine their craft, enhance their visual style, and tell more compelling stories through the lens.

TOP WEBINARS:

How To Use 11 Different Camera Angles To Evoke Mood and Emotion >

https://www.stage32.com/education/products/how-to-use-11-different-camer...

Learn how to evoke mood using the proper camera angle from an Emmy-winning producer and director! And get a detailed glossary of 11 shots you need to know and the equipment you need to capture them!

The Keys to a Successful Director & Cinematographer Relationship >

https://www.stage32.com/education/products/the-keys-to-a-successful-dire...

Learn from Emmy Award winning director and cinematographer who has worked with networks including FX, Netflix, PBS, ESPN, Disney, HGTV, TLC, Discovery Channel, Travel Channel, Food Network, and OWN. You’ll walk away with the tools to find the right partnership and cultivate it to create a powerful experience, leading to a fantastic feature film.

How to Get Work in the Camera/ Grip/ Electrical Department on a Film or TV Show >

https://www.stage32.com/education/products/how-to-get-work-in-the-camera...

Learn directly from top key grip from Amazon's THE BOYS and Netflix's LOCKE & KEY & THE UMBRELLA ACADEMY! He will walk you through all the possible jobs within the camera, grip, and electrical fields, what skills you need to be successful, and how COVID-19 has changed the film landscape. He will also discuss the path from the camera department to other roles like cinematographer and director.

TOP CLASSES:

2-Part Class: Advanced Shot Coverage - Implementing Shot Lists and Visual Diversity for Your Film >

https://www.stage32.com/education/products/2-part-shot-coverage-class-ad...

Learn from a top Script Supervisor who's worked on CAPTAIN AMERICA and FURIOUS 7! She will dive into the intricacies and strategies of shot coverage and give you a series of tools and strategies you can use to best shoot and cover your project, no matter how involved it may be.

A Cinematographer's Guide to Making your Indie Film Look Like a Million Dollars >

https://www.stage32.com/education/products/a-cinematographers-guide-to-m...Learn from a Netflix, HBO and Showtime Cinematographer! You'll learn how to elevate the production value of your film, making it stand out in a competitive market.

How to Choose the Best Camera & Equipment for Your Film >

https://www.stage32.com/education/products/how-to-choose-the-best-camera...

Learn from the Director of Photography from Emmy-nominated STRANGER THINGS and SOUND OF FREEDOM (which grossed over $250 Million)! You will learn everything you need to know including how to choose the right camera and lenses, as well as your supporting system, lighting and post-production workflow.

As we map out our 2026 education calendar, your input is essential.

What cinematography topics should we focus on next year? Leave your suggestions in the comments—your feedback shapes our programs.

This week’s blog from Ashley Smith digs into what Stage 32 is really about, beyond scripts, reels, or trying to land that one perfect connection. She shares a moment from the recent Community Open House where a new member asked if Stage 32 was “worth her time” because she only wanted to meet someone who could take her project straight to a major streamer.

Click to Read the full blog: https://www.stage32.com/blog/what-stage-32s-community-is-really-about-be...

Ashley’s answer is simple: this industry runs on relationships, not transactions.

You can grind alone for years, or you can spend a few intentional minutes each day connecting with people, joining conversations, and showing who you are. That’s what moves careers forward. Not talent alone, but trust, rapport, and how you show up between the big moments.

Ashley highlights that thousands of working pros — producers, execs, managers, filmmakers, department heads — quietly read posts, comments, and interactions every day. Many people on Stage 32 have collaborated, found reps, built teams, or landed opportunities simply because they consistently participated and engaged like real humans.

The bigger message: creativity isn’t just the finished film or script. It’s your curiosity, generosity, communication style, and how you interact with others. Those “small” moments are the ones that actually open doors.

The blog also points to a real-time example: a working literary manager hosting a free AMA in the Screenwriting Lounge — something most writers couldn’t access through cold queries alone.

Ashley’s takeaway is clear: if you want to grow faster, don’t do it alone. Community isn’t a distraction. It’s the work.

Day one of The Shape of Kindness is officially in the books, and it was the kind of start every indie DP hopes for: steady pace, clear communication, solid teamwork… with one small test from the filmmaking gods.

Mid-take, the camera glitched. Froze. Lagged. Did the exact thing you pray won’t happen on a tightly scheduled first day. And for a moment, I felt that old solo-filmmaker panic spike. The one where you assume every problem is yours to shoulder alone.

But here’s the difference now:

I wasn’t alone.

Our team stayed calm.

We troubleshot together.

We fixed it and kept moving.

A few years ago, that moment would’ve derailed me. I was used to being the one-woman department, doing everything myself and absorbing every hit. Letting go of that mindset has been one of the hardest parts of this transition. But yesterday proved something I needed to feel in real time:

Shared vision means shared pressure, not just shared creativity.

The day ran smoothly because everyone understood their lane, trusted each other, and stayed flexible. I didn’t have to micromanage. I didn’t have to hold all the weight. I just had to show up, communicate, and let the team do what the team was built to do.

And honestly? That’s growth I’m proud of.

If Part 4 was about surviving the night before, Part 5 is about experiencing the difference a true team makes once the camera finally rolls.

Question for the lounge:

What’s one thing you learned about yourself after your first day on a new production?

Tomorrow marks the start of production on The Shape of Kindness.

The camera is built, every battery is charged, the cases are labeled, color-coded, and ready. And for the first time in my filmmaking life… I’m stepping onto a set where my only responsibility is DP. That still feels strange to say.

For years, I was the team: writer, producer, director, DP, editor, sound, color, you name it. If something needed doing, I did it because there was no one else to do it. That instinct doesn’t go away easily, and stepping into a true collaborative environment has stretched me in ways I wasn’t prepared for.

These past couple of weeks have been “all hands on deck, all hours of the day.” Endless prep, meetings, camera builds, revisions, pickups, and making sure nothing slips through the cracks. Because of that, I’ve been a little quieter on Stage 32 than usual — and I appreciate everyone’s patience. Sometimes the best way to show up here is to get the work done out there.

This project has been a crash course in letting go of control and trusting the team that our producer assembled. Letting a director truly direct. Letting departments own their domains. And letting myself focus on one thing: the image and the emotional truth behind it.

It hasn’t been smooth internally. I’ve had moments of fear, doubt, frustration, and a few breakdowns.

Because when you’ve always held every piece alone, handing them off feels like giving away your safety net.

But the deeper lesson finally broke through this week:

Letting your team carry their part isn’t losing control. It’s creating space for the film to become bigger than you.

Tomorrow, other people carry the weight with me.

Tomorrow, I get to focus my full energy on light, blocking, lenses, movement — the reason I fell in love with filmmaking in the first place.

Tomorrow, the story becomes real because many hands bring it to life, not just mine.

So tonight, the nerves are there.

The excitement is there.

The desire to make something beautiful is definitely there.

But underneath all of it is something new for me:

Trust.

Trust in the prep.

Trust in the team.

Trust that shared vision makes stronger films.

Question for the lounge:

If you’ve transitioned from doing everything yourself to working with a full team, what was the hardest part of letting go? And what surprised you most once you did?

I've said it here before... I love a good practical light! Simple, utilitarian. Oftentimes, quite beautiful. Many years ago, I shot a small indie film where our primary location was a musty, old recording studio (where magic happens of course). The space was huge and extremely dark. I needed to find a way to light the entire space on a limited budget and make it all look natural to the story.

While walking through the space one day, regretting ever becoming a DP... I had an epiphany! For about $300, I purchased a bunch of China balls, sockets, matching globes, and dowel rods. I spaced the balls out along the rafters, ran each rafter to its own circuit, and dimmer. BAM! I had an adjustable bank of room lights that were hidden in plain sight. They played as part of the aesthetic and even made it into the film.

While it's not my most expensive or admittedly best-looking piece of work, I've always been extremely proud of that set-up, mainly because of the boot-straps problem-solving involved with bringing it to life.

Share some of your most quirky or inventive lighting setups in the comments below.