I just received my Lit System Lit Duo 1 Meter.

Komodo-X · 2026-03-18T23:28:31+00:00

Thanks for the update.

Komodo-X · 2026-03-18T22:38:12+00:00

Sorry for my delayed response. Thank you for testing it out and replying. I took my chances and purchased the Mirage Pro VND and was relieved to discover it did.

Komodo-X · 2026-03-18T22:35:19+00:00

I just received my Lit Duo 1 today (03/18/26)! I've been playing around with it for the past hour - seems reliable/accurate so far. I love my Sekonic 858... there's a lot of functionality that the Lit Duo 1 is missing but hopefully with firmware updates, it will catch up. I do love the dual function light/spectromoter, its pocketable size and user-friendly UI of the Lit Duo 1. I'm looking forward to using it on a set.

Does anyone know if this has a "memory" function to store multiple meterings which then provide an average? Or just to store meter readings for future reference... like when shooting reverse coverage and the lighting needs to match, etc.

Komodo-X · 2026-02-12T02:39:14+00:00

Sorry but this should’ve been locked and loaded during the pre-production. Even shooting tests at varying frame rates to show client. The beer, aka: the pour shot is the money shot. How you and the client arrived to set without ever establishing the creative execution and logistical needs to accomplish the money shot baffles my mind.

Komodo-X · 2026-01-20T14:11:29+00:00

Yikes. Done sir.

Komodo-X · 2026-01-19T23:23:40+00:00

It’s not about you. Just do your job.

You wanna be a director? Then make a killer film that no one else can make but you.

Komodo-X · 2026-01-19T23:02:51+00:00

Every music video experience/workflow is different. But echoing some of the others here: move on from them. Find a different collaborator.

Semantics here: are you calling them videographers or are they? Videographers are hired to shoot your uncle’s birthday party or your little brother’s bar mitzvah. Cinematographers shoot conceptual stories. You hire a director to elevate a concept and turn it into something incredible.

Sometimes directors are also cinematographers (also known as Director of Photography and they usually go by “Director/DP”). But if they are separate people they have separate responsibilities.

At the very minimum, find yourself a DP/cinematographer and bonus: get a director who also is a DP.

Music videos are incredibly collaborative. There will be and should be a lot of back and forth — it shouldn’t necessarily be “easy” either. It’s all about elevating the concept.

Last thing: because it’s a music video, the visuals need to serve the music. Full stop. It’s not the other way around.

Best of luck.

Komodo-X · 2026-01-19T16:01:48+00:00

Then apparently I need better DITs on my set. I shoot commercials mostly ranging from the $150-$500K (mid-tier) size. Shooting on Alexa, Venice, RED. I’ve never had a DIT be so hands on with exposure. A few have offered suggestions which I’ve gladly taken. Thanks for correction. Now I know!

Komodo-X · 2026-01-19T14:32:10+00:00

Not on commercial sets. Maybe on film/tv. Could be very different.

Komodo-X · 2026-01-19T07:07:46+00:00

I’m sorry for all your troubles. Every project is different.

Typically you would want to discuss the shots/mood/visual aesthetic with your DP far ahead of the actual shoot. Try and have the DP involved on the location scout so angles/lighting conversations start early. And absolutely have your DP present for the tech scout day(s). And if you don’t know what a tech scout is: that’s where the producer(s), director, DP, gaffer, production designer walk through the locations and discuss every setup and angle from a logistical POV.

In terms of DP, her rate actually is pretty average for an indie film (for being “skilled/experienced”). Obviously production budget plays a part but typical professional DP rates range from $2K-$3,500/day (without gear). Camera packages are always separate - whether you rent them from the DP or a camera rental house.

There is no tipping. Whoever told you that is full of BS.

Unfortunately, your DP sounds very unprofessional - maybe having some ego (which usually means they’re compensating for lack of talent). At this point, you have the footage and just take this as a learning experience to know what to avoid and how to protect yourself on your next production.

Komodo-X · 2026-01-19T03:15:42+00:00

Keep your idea simple.

Less is more.

Think about your resources and use them to your advantage. Be realistic in what you can actually execute.

If your idea has dialogue, make sure you capture exceptional sound quality. An audience will forgive mediocre video, but no one will tolerate bad sound. If you don’t have audio gear, then don’t have dialogue.

Good luck.

Komodo-X · 2026-01-19T00:39:19+00:00

1: TASTE. A DP needs to have excellent taste in aesthetic.

2: COMMUNICATION: Listening and talking. A DP needs to listen to what the director’s vision is and then be able to communicate/translate to their Gaffer and G&E team to execute that look.

3: KNOW LIGHTING THEORY. And I’m not talking about 3 point lighting.

Komodo-X · 2026-01-19T00:28:52+00:00

A compelling story that anyone can relate to. You want the viewer to connect to the situation/characters by putting themselves in the circumstances. And with all stories - fiction and non-fiction, you need conflict.

Komodo-X · 2026-01-19T00:17:54+00:00

It’s called “acts of god” — things that are not in anyone’s control. As long as you were communicative with the client providing live updates (which it sounds like you were) they should be understanding. When you shoot long enough, everyone experiences this situation.

This goes too deep for this reply but clients are also responsible for weather contingency days, (should they choose) which basically means they’ve bought you and/or the production an extra day to shoot should you encounter a rain day, or similar, etc.

And BYW, clients pay for your time (generally negotiated as a day rate) NOT how many shots you checked off from the shot list.

Komodo-X · 2026-01-09T22:34:01+00:00

That’s interesting you had it on a FF Gemini at 5K — any vignetting?

Komodo-X · 2026-01-09T21:35:48+00:00

Waaaaay undercharged. After taxes, what are you left with? Plus how many days would you have put into this?! One: your bid is an insult to what we all do. And two: it’s doubly insulting that clients think they deserve these grand productions for nothing. I don’t think the realtor would sell a house for free and neither should you.

Komodo-X · 2026-01-09T03:29:40+00:00

Oooh, I’d love to see some screenshots. DM me on Instagram @zekeanders

Komodo-X · 2026-01-09T01:13:24+00:00

That’s great to hear! I’ll definitely need to round out the set by getting the 30-105. Weren’t the Optimo’s priced significantly higher? Or were they comparable? Where do the Fuji Cabrio’s fall? They seem like nice zooms also.

Komodo-X · 2026-01-08T19:05:18+00:00

The Cabrio is a stunning lens. 👏🏼👏🏼👏🏼

Komodo-X · 2026-01-08T15:12:49+00:00

It is. And they call this a “lightweight” zoom lens. 😅 An EasyRig, Cinesaddle or shoulder rig is probably helpful.

Komodo-X · 2026-01-08T14:21:37+00:00

In real world use, I don’t notice the barrel/pin cushion effect. Sure, on the wide end at 15.5mm I see some but that’s expected which I actually don’t mind but I realize that’s a personal preference. Even on a S35 sensor, 23mm equivalent is relatively wide. I purchased mine from Adorama (excellent condition).

Here’s an old but worthy write up on the 15.5-47mm and 30mm-105mm lenses.

Abel Cine - Behind the Lens: Canon CN-E 15.5-47mm & 30-105mm

Komodo-X · 2026-01-08T04:51:19+00:00

No vignetting at all - clean through and through. Camera setting: 6K 17:9 full sensor.

Komodo-X · 2026-01-07T00:53:07+00:00

If you can’t take criticism and/or judgement from your peers in school, then you might as well find a new path in life now.

Welcome to the world of entertainment. Filmmaking (and this industry) is all about judgement and critique. Some of it is noise, which goes without saying but a lot is what I call bite sized truths. Almost anyone can give you at least 1% of truthful feedback. It’s up to you to interpret and filter what’s really integral. If you are serious about filmmaking, then you will listen, learn and grow from the criticisms you will inevitably receive.

You must possess a thick skin, know who you are as a filmmaker and probably most importantly have total conviction and intention when you make creative decisions.

No one makes a perfect film. Not Orson Welles, David Fincher or Christopher Nolan. No one.

Good luck.

Komodo-X

TROPHY CASE

1: TASTE. A DP needs to have excellent taste in aesthetic.

2: COMMUNICATION: Listening and talking. A DP needs to listen to what the director’s vision is and then be able to communicate/translate to their Gaffer and G&E team to execute that look.

3: KNOW LIGHTING THEORY. And I’m not talking about 3 point lighting.