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Midday sun is brutal on talent. Here’s the full setup we used to fix it 👇

☀️ 20x20 silk overhead to diffuse the sun
⬛ Neg to cut the bounce and add shape back
💡 Aputure 1200x + Light Dome as key
🎥 FX3 on a slider
🎥 FX6 on the teleprompter
🎥 FX3 for tight shots

Final shot at the end. Is it worth hauling in a 20x20?

Client: Keke Palmer/ Practice by Palmer 
Agency: CYOPP
Director/Cam op: @rmtshoots 
DOP: @cinedriven 
B Cam/ Grip: @seanmurphy.dp 
Gaffer: @iamtamlam 
Key Grip: @coreyviews 
Lead Photographer: @laagmotorsport 

#videoproduction #gaffer #onset
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@rmtshoots and I have been building these relationships for years, through all the highs, lows, and countless “how the hell did we get here?” moments.

We’ve had plenty of calls wondering if we could keep doing this, lost big opportunities, and dealt with things completely out of our control. But we kept pushing.

From working with Gary Vee to shooting TV shows, network commercials, almost every recognizable brand in the fitness & auto space and everything in between, we’ve come a long way together.

Proud of what we’ve built, grateful for the people we’ve met, and stoked to check another bucket list production off with an incredible crew. 

Client: Keke Palmer / Practice by Palmer
Agency: CYOPP 
Director/Cam op @rmtshoots 
DOP @cinedriven @im_jasonanthony 
B Cam/Grip @seanmurphy.dp 
Legendary Gaffer @iamtamlam 
Key Grip @coreyviews 
Lead Photographer @laagmotorsport
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After years of talking about it and countless times filming episodes, finally we’re starting to roll out some amazing episodes with my partner in crime @rmtshoots with our “Take 2 Podcast.” 

Our goals are to educate creators on how we’ve been able to be successful in an industry where there’s endless speed bumps to get over all these years. 

In this episode we talk about Raw footage requests and although they sound simple - until you realize people usually mean project files, color, audio, and future edits for free, isn’t always how it works. 

Save this if you’ve ever had a client ask for “just the raw.”

Comment with the wildest version of this request you’ve gotten.

The client sees “more content.”

We see:
hours of sorting, syncing, and color work
plugins, assets, and project structure they can’t always open
future opportunities to turn one shoot into 3–5 more deliverables

That’s why the real answer is never just yes or no.
It’s: what are they actually trying to make, and what is that worth?

Sometimes the move is raw.
Sometimes it’s a stringout.
Sometimes it’s a brand-new edit that makes way more sense for both sides.

Knowing the difference protects your work and usually gets the client a better result too.
What would you charge for raw?
Be honest.
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me 🤝🏽 the @lucidmotors gravity frunk.
head to the link in my bio to schedule your demo drive!
#lucidpartner
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The “calm” before the capture at Monterey Car Week! Excited to showcase what we can do for our client at the show. Stoked to have an amazing event & hopefully bumping into some friends/familiar faces. 

#montereycarweek
#mcw
#mcw2026
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I can’t even put into words how grateful I am that I bet on myself.

At first, it feels selfish to say that. But the truth is, this journey has never been about competing with anyone else. It’s always been YOU vs. YOU.

There have been more times than I can count where I questioned everything. I thought about walking away from the camera, getting a “normal” job, and taking the safe route. But every time, something kept pulling me back.

A huge part of that is Rob. Over the years we’ve had countless conversations, late nights brainstorming, figuring out how to generate leads, pushing each other when things weren’t clicking, and reminding one another why we started in the first place.

None of this happened overnight. It came from showing up, staying consistent, and refusing to quit when it would’ve been easier to.

If you’re chasing something that matters to you, keep going. The breakthrough usually comes right after the moment you feel like giving up.
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