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Ahad Memon

@ahadmemeon

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

POSTS STORIES REELS TAGGED

What’s the fun in a machine making art 🫠
#fuckaiart #contentcreator #foodphotography #fypシ゚viralシfypシ゚ #art

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How did we do on this effect? Yay or Nay?👀

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Crazy crazy freelance life🫠🫠

#contentcreator #freelancelifestyle #filmmaking #fypシ

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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

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We bolted a spoon to the camera. That’s the whole trick.

THE TOOL: a magic arm. Also called a friction arm or an articulating arm. It’s the least glamorous thing in the bag and it does more than almost anything else in there.

HOW IT WORKS: ball joints at both ends, one central locking knob in the middle. Loosen the knob and the whole arm goes limp — it moves freely in every direction at once. Tighten it and friction locks every joint simultaneously. That’s the magic in magic arm. One lever, infinite positions, and it holds.

Standard threads are 1/4”-20 and 3/8”-16, with cold shoe and clamp ends depending on the arm. Load ratings run from about 1kg on compact arms to 5kg+ on the professional ones. Rule of thumb: buy one rated for double what you’re hanging off it.

WHAT MOST PEOPLE USE IT FOR: mounting a monitor at eye level while the camera sits low on the floor. Hanging a small LED exactly where a light stand won’t fit. Clamping a mic into a tight corner. Overhead and offset camera positions on a table.

WHAT WE USED IT FOR: attaching the spoon to the camera itself.

Here’s why that works. When you rigidly attach an object to the camera body, that object stops moving relative to the lens. It’s locked in frame. So the spoon sits perfectly still and the entire restaurant moves behind it. You’re not moving the camera past the subject, you’re moving the world past something nailed to your sensor.

It’s the same principle as a body-mounted rig where the actor stays locked in frame while the street whips past. Scale it down to a spoon and a plate and you get a move you cannot replicate handheld, on a gimbal, or in post.

Cost of the effect: one arm, one clamp, and someone willing to look stupid holding it.

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

#MagicArm #FoodCinematography #FilmmakingTips #Cinematography #CameraRig

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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

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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

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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)

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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)

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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

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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

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Crying over deadlines, begging the creative team for deliverables, questioning every life choice…

Then getting on a client call and suddenly becoming the most calm, optimistic professional in the building.

A masterclass in professionalism.

Tag your office’s drama queen.

(social media manager, SMM life, agency life, marketing team, creative agency, advertising agency, social media marketing, digital marketing, content creation, client servicing, agency humour, office humour)

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