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Ahad Memon

@ahadmemeon

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Customer care agent @maximaazstudios
Marketing gyaan @themaazmemon
Creative Strategist
Professional Cinematographer, Editor & Colorist

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Weekend plans? It better be here!. 😮‍💨

Dim sums go in, inhibitions thrown out, and we’re not leaving this table. Food coma loading... 🥢

Save this for your next weekend outing and send it to the friend who always says “just one more basket.”

Find us at Pings Bia Hoi, Porvorim.

Pings Bia Hoi Porvorim, dim sum Goa, weekend food plans, dumpling baskets, Goa food reels, foodie friends, food coma

#PingsBiaHoi #PorvorimEats #GoaFoodReels #WeekendVibes #DumplingBaskets taken in Ping's Bia Hoi by @ahadmemeon

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3 days ago

Hi, I’m aforementioned Creative Director 🫠 taken in Goa, India by @ahadmemeon

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11 days ago

There’s always that one person who says yes before checking with the people who actually have to do it. 😭

“Yeah, yeah, we’ll get it done.”

Overcommitting is a team sport. Somehow, the editor always gets the ball. 💀

Tag that one person. 😂

(Agency Life, Marketing Agency, Creative Agency, Editor Life, Social Media Agency, Maximaaz Studios) by @ahadmemeon

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7 days ago

Comment TIER and I’ll send you the full list with links.

Seven pieces of gear, ranked by one question only: how many of your shoots does this actually improve?

S TIER — WIRELESS MIC. Viewers forgive soft footage. They don’t forgive bad audio. DJI, Hollyland and Digitek all make something usable now, so “I can’t afford a mic” stopped being true.

S TIER — ND FILTERS. The most underrated thing on this list. I’m on an A7S III with dual native ISO — 640 and 12,800 in S-Log3. On run-and-gun I park at a native ISO and use the ND to move exposure in stops. Nothing clips, nothing gets dragged out of the shadows, nothing goes green in the grade.

S TIER — TRIPOD. Boring, essential. A well-composed static frame is criminally underrated in 2026. It’s also the only way you get timelapses, sky replacements, clone effects, or clean plates for VFX. And every podcast and talking-head setup needs one.

A TIER — 5-IN-1 REFLECTOR. A reflector used well isn’t a substitute for a fill light, it replaces one. Black cutter, silver, gold, white and a diffuser for around a thousand rupees. Nothing else gives you that ratio. Easy to overdo, powerful when it isn’t.

B TIER — TELEPROMPTER. S tier for me, B tier overall. I shoot a lot of talking content and I can’t work without one — it saves hours per shoot and means I can write proper scripts instead of hoping someone remembers three points. But if you don’t shoot talking content it does nothing for you. Single-purpose tool.

C TIER — GIMBAL. Good hardware, narrow use case. Real estate walkthroughs and corporate events, genuinely essential. Food and product work, which is most of what I do, barely touches it. Bought third, should be bought seventh.

C TIER — PRO MIST. One look, no handles. Lovely bloom and halation, baked in at capture so you can’t dial it back. Gets repetitive fast, and halation is something you can add in the grade with far more control.

Buy in this order: mic, tripod, ND. Then a reflector. Everything else depends on what you actually shoot.

Comment TIER for the full list.

#VideoGear #FilmmakingTips #Cinematography #CameraGearIndia #AMVisuals taken in Goa, India by @ahadmemeon

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9 days ago

They kidnapped the chef. Now they’re feeding HIM. That’s how good our Big Boy Dimsums are.
Big Boy Dimsum Festival, no ransom, just dumplings.

📍 Ping's Bia Hoi, Porvorim

Big Boy Dimsum • Dimsum Goa • Asian food Goa • Ping's Bia Hoi • Goa restaurants
#BigBoyDimsumFestival #DimSum #FoodReels #POV #Foodie taken in Ping's Bia Hoi by @ahadmemeon

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10 days ago

Every agency has that one editor.

You give him the footage.
You give him the brief.
Then you let him do his thing.

Somehow, he comes back with THAT edit.

Let him cook. 👨‍🍳

Tag the editor you trust with your life.

(editor life, video editing, creative agency, ad agency, post production, content creation, video editor, agency life, creative team, filmmaking, editing, digital content, social media agency) by @ahadmemeon

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12 days ago

Day two. Your lighting’s fixed. Your background is still doing this.

STEP ONE — TAKE THINGS OUT. Not styling. Removing. Anything behind you the eye can land on is competing with your face for attention. The fastest improvement to any background is subtraction.

STEP TWO — MOVE. Not the camera. You. Step forward and push the background back. The further that wall sits behind you, the softer it renders. That isn’t the lens doing it, that’s subject-to-background distance. On a phone, where you can’t open up an aperture, distance is the only real control you have over depth of field. Two feet from the wall, everything’s sharp. Eight feet, it falls away.

STEP THREE — KEEP IT DARKER THAN YOU. Your key light is on your face. Leave the background underexposed relative to your subject. Bright subject against a dark background is separation, and the eye goes where the light is. You’re not lighting a person’s room. You’re lighting a person.

Clear it, move away from it, keep it darker than you. That’s day two.

F&B cinematographer, DOP and product photographer based in Goa, shooting for brands across India.

#filmmakingtips #cinematography #shotoniphone #contentcreator #filmmaker by @ahadmemeon

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16 days ago

If you hate shooting vertical as much as I do, here’s how to post horizontal on Instagram with no black bars. Under thirty seconds.

THE SETUP: Premiere Pro. New sequence, custom settings, 1440 x 1080, square pixels. Build the edit inside it. Export match source. The ratio gets set at the sequence, not at export — that’s the part people get wrong.

THE ACTUAL TRICK: post it as a post. Not a Reel.

The feed accepts anything from 1.91:1 down to 3:4, so a 4:3 frame plays full width with nothing added. Reels render into a fixed 9:16 canvas, and anything narrower than that gets padded. Same file, two completely different players.

WORTH KNOWING: 4:3 works out to 1.33, which sits inside the publishing API’s accepted range. So this goes through schedulers too, unlike 3:4 portrait, which publishes by hand but gets rejected by every scheduling tool.

This isn’t a Reels feature and it isn’t a hack. It’s just knowing which player you’re feeding.

F&B cinematographer, DOP and product photographer based in Goa, shooting for brands across India.

#PremierePro #VideoEditing #contentcreator #instagramtipsforbusiness #filmmaking by @ahadmemeon

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18 days ago

This silhouette projector effect. Two tools. Thirty seconds.

THE PHYSICS: light beams are invisible in clean air. There’s nothing for the light to bounce off, so you see the source and you see what it lands on, but never the beam itself. Put particles in the air between the projector and the subject and the light scatters off them. That’s the Tyndall effect, and it’s what makes volumetric lighting work.

You need both halves. Me standing in front of the beam gives you the silhouette. Fog between the projector and the lens gives you the streaks. One without the other is just a dark frame or a hazy room.

THE TOOLS: a projector, borrowed from the bar. And fog — Ulanzi FM02 FiLMOG X, Dense Fog mode, about three minutes of runtime.

WHY THAT FOG MACHINE: it runs off a power bank. One socket was already gone to the projector, and there’s no cable management happening at a bar mid-service. 268g, roughly the size of a phone, supports external power while it’s running. Any fog machine does this job. This one fit in my pocket.

Looks like a lighting budget. It’s a client’s projector and a device smaller than my camera battery.

#FilmmakingHacks #LowBudgetFilmmaking #cinematography #contencreator #filmmakingtips

F&B cinematographer, DOP and product photographer based in Goa, shooting for brands across India. by @ahadmemeon

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a month ago

Finally a 360 camera that isn’t a toy. I’ve been using the DJI Osmo 360 on paid work.
Shoutout to @idealdigitalcolourlabgoa for letting me try this out!

SINGLE-LENS MODE: shoots ultra-wide, wide and normal with zero fisheye distortion. It just looks like a regular camera. Dual 1/1.1-inch square HDR sensors, up to 5K/60p and 4K/120p in single-lens, 13.5 stops of dynamic range, f/1.9.

THE MIC: I already had a DJI Mic 2, and it pairs straight to this over OsmoAudio. No adapters, no receiver, no extra spend. That’s what makes it actually viable for BTS and vlogging on a paid job — not replacing a mirrorless, but being the camera that’s always running when the main kit can’t be.

THE 360 MODE: both sides of the bar in one frame. Bartender, guests, the entire room. That globe effect, that fisheye look — here it isn’t a flaw, it’s the shot. Your mirrorless will never give you that angle.

IT SHOOTS D-LOG M: which means this footage grades alongside the rest of my kit instead of sitting outside it. That’s the difference between a novelty camera and one that survives a real workflow.

Construction sites, bar takeovers, garden, gym. It’s been everywhere with me. If you shoot events and wrote 360 off as a gimmick, this deserves a second look.

I’ve also posted a follow-up on what I don’t like about it — the workflow costs are real and you should know them before you buy. Watch both.

F&B cinematographer, DOP and product photographer based in Goa, shooting for brands across India.

#DJIOsmo360 #Osmo360 #DJI #360Camera by @ahadmemeon

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a month ago

Jio’s making AI glasses for under ₹10,000. I shoot cameras for a living. I’m not putting this one on my face yet.

Here’s what happened with the ₹45,000 version first.

In late February, Swedish newspapers Svenska Dagbladet and Göteborgs-Posten published an investigation into Meta’s AI training pipeline. Footage from Ray-Ban Meta glasses was being routed to contractors at Sama in Nairobi, where human annotators watched and labelled it to train Meta’s AI. Workers described seeing people undressing, bathroom footage, sexual activity, and banking details — with faces visible despite Meta’s stated anonymisation.

Meta says footage is filtered before human review. The people doing the reviewing said otherwise.

What followed: a federal class action, amended on 31 August to include bystanders who never bought the glasses. Kenya’s data protection office opened an investigation. Meta ended its contract with Sama. Sama cut around 1,100 workers.

That’s a product retailing between ₹39,900 and ₹45,700 in India, from a company with a dedicated privacy team, in a market with active regulators.

JioFrames is expected around December 2026 at under a quarter of that price, from a company that already holds your phone number, your broadband, your groceries, your streaming and your bank. Reports suggest it runs on Google Gemini, which means the pipeline may not end at Jio either.

The product isn’t out yet, so nobody’s answered the only questions that matter. Where does the footage go? Who watches it? Can you opt out and keep the device useful?

Now is the right time to ask. Not after launch.

Maybe the answers are good. I’d like them to be. But when a camera costs this little, ask what else you’re paying with.

If you’ve seen Jio’s data policy for these, drop it in the comments. I’ll read it on camera.

#JioFrames #Jio #SmartGlasses #AIGlasses #RayBanMeta

RayBanMetaGen2 MetaAI DataPrivacy AIPrivacy TechIndia GadgetsIndia Reliance PrivacyMatters WearableTech AMVisuals by @ahadmemeon

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a month ago

APS-C crop mode is not the same as cropping in post. Most people don’t know the difference. You’re about to.

WHAT CROPPING IN POST DOES: you shoot full frame, then throw pixels away in Lightroom or Premiere. The file you recorded is still a full frame file. You’re subtracting from something you already captured.

WHAT CROP MODE DOES: the camera reads only the APS-C portion of the sensor and oversamples a clean 4K from that area. Nothing is discarded. You captured differently.

WHY I USE IT: two bodies, a 24-70 on each, no tele and no macro. At F&B events you make it work. Crop mode gives me an effective 105mm from my 70mm — 1.5x crop factor. Same glass, same setup, reach without touching a lens. For video it also drops rolling shutter noticeably on the A7 IV. Separate reel on that.

NOW THE PART NOBODY TELLS YOU: if you shoot stills on Lossless Compressed, the moment you enter APS-C crop your L size disappears. The camera forces you to M. Sony’s own documentation confirms it — L can only be selected in full frame. That’s a real trade-off and you want to know it before you’re on set wondering why your RAW files look different in post.

On Uncompressed RAW there’s no penalty. You’re fine.

Crop mode isn’t a shortcut and it isn’t cheating. It’s a workflow decision. Know what it gives you, know what it costs you, and it becomes a tool instead of a setting you’re scared of.

F&B cinematographer, DOP and product photographer based in Goa, shooting for brands across India.

#SonyA7IV #apsc35mm #contentcreator #sonyalphain #fyp

RAWPhotography LosslessCompressed EventPhotography FoodPhotography FBCinematography PhotographyTips CameraSettings CinematographyIndia PhotographerIndia AMVisuals by @ahadmemeon

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