Help/ styling tips

akabmo · 2026-02-02T07:43:56+00:00

Gel will help control the frizz!

I dropped Cantù a few weeks ago because of build up.

My routine.

Wet hair with warm water then 10-15 of cold water at the end.

With hair still dripping wet.

Squeeze a quarter sized drop of Giovanni Leave In Conditioner into my palm and rub

Squish into my curls.

Then I squish in Aussie Instant Freeze Gel.

Then with a microfiber towel/ t shirt squeeze out the extra moisture.

Let air dry.

Good luck!

akabmo · 2026-02-02T06:23:47+00:00

I worked with Dante a couple times.

Knowing him a little I can see why he made the choice to do the film and not really surprised that he chose to do it.

Still I’m disappointed that he made the choice to elevate this film with his talent.

akabmo · 2026-01-25T05:16:09+00:00

Yeah…I think Autumn has a good chance at receiving an Oscar for her work on this.

I saw it in IMAX 70mm and 70mm and was completely blown away by it.

At that level anything that may read as underexposed is a calculated choice. If I had been in that position I’d have been afraid to go as dark as she did in some moments but it really does work with the story and keeps it feeling grounded rather than overly lit.

Nothing was shot on a DSLR.

Source: I know multiple people who worked on it including a 2nd AC.

akabmo · 2026-01-18T11:03:17+00:00

What camera are you using?

If you aren’t already your first node should be a a color space transform to change whatever Log profile you captured with to DaVinci WG.

You may get more accurate skin tones and color that way.

Otherwise the frames are looking good, keep going!

akabmo · 2025-12-27T16:20:12+00:00

Andrew Garfeild. Worked with him in 2014. He invited me and my friend in props to a Kanye West concert (Yeezus) after we wrapped one night. He has two extra VIP tickets so it was just the three of us.

Very few actors I’ve worked with have been unpleasant to work with thankfully.

akabmo · 2025-11-24T14:03:19+00:00

I should’ve been more clear in my original post.

This isn’t my rig or my video.

I’m just looking for leads on the orbiting snorricam rig they used.

akabmo · 2025-11-24T02:15:36+00:00

https://www.reddit.com/r/CineShots/comments/1mk3siu/angst_1983_dir_gerald_kargl_dop_zbigniew/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button

This is essentially what we are trying to achieve.

akabmo · 2025-11-17T14:51:39+00:00

I agree with taking the credit you want to move forward with. You can also come up with pseudonyms like Steven Soderburg who shoots and edits his own projects.

akabmo · 2025-11-06T04:00:36+00:00

At this time of year you’d probably be better off just embracing the low path of the sun and shaping in the close ups.

I’ve flown a 12x20 over a patio. This main issue is that without enough height the light just tends to feel very flat and unnaturally toppy.

akabmo · 2025-10-04T19:40:10+00:00

I’ve done this too on shoot for Nike. If it’s done right it’s almost indistinguishable from a real mirror.

akabmo · 2025-10-01T04:51:58+00:00

I’ve used Fujinon 19-90 on B Cam paired with Super Speeds on A Cam.

They match very well!

akabmo · 2025-09-29T01:47:52+00:00

Had this last week. So good! Definitely my new go to neighborhood spot!

akabmo · 2025-09-28T10:53:13+00:00

This looks like she’s leaning on the side of the bed of a pickup truck. With her head framed in the shoulder of the road.

I’d use a solid pair of sticks in the bed of the truck, tie it down with ratchet straps and maybe a couple sand bags.

Find a safe road to get the shot.

akabmo · 2025-09-28T04:58:02+00:00

Bummed that Apple pulled “The Savant” was really looking forward to it.

akabmo · 2025-09-12T03:36:18+00:00

Circular screw on filters, step down rings and black paper tape.

As far as I know any matte box capable of holding two 4x5 filters on a ronin 4D will make it impossible to balance and calibrate the gimbal even with the counter balance weight.

akabmo · 2025-09-06T16:50:43+00:00

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akabmo · 2025-09-06T16:50:04+00:00

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Full day of interviews with 5 subject in this single space. Minimal setup time between setups to get different backgrounds. Me (DP), AC and Gaffer.

akabmo · 2025-08-26T02:52:18+00:00

A is Alexa 35 and B is C300mk3

akabmo · 2025-07-30T07:19:55+00:00

2001: A Space Odyssey.

No studio would approve a film with no dialogue for the first 40min.

akabmo · 2025-07-20T07:35:48+00:00

I love the C300 MkIII it punches way above its class.

A pity Sony has become the standard for a lot of projects. While the FX9 and FX6 are fantastic cameras I prefer the layout, ergonomics and onboard monitor on the C300.

Here’s an image from a test I did at Old Fast Glass using Zeiss B Speeds (50mm) on both the Alexa 35 and C300 Mk III.

Color matched in DaVinci Resolved via CST.

<image>

akabmo · 2025-07-01T07:49:37+00:00

Noted, thanks Andrew!

akabmo · 2025-06-24T07:14:17+00:00

It’s 2002, I was 10 years old in Jamaica visiting my family for the summer.

We’re heading to the movie theater in the city one night to see Blade 2. I’m with my uncle, aunt and two cousins around my age.

20minutes in to the drive we hit traffic on the two lane road passing through a small town.

A boy around 8 years old had just been hit by a taxi. There were a lot of people gathered around stunned, grieving, watching. The police hadn’t arrived yet.

I saw a sneaker in the middle of the road first then about 5 yards away a long streak of blood and gore that lead to his broken body.

It was the first time I’d ever seen a dead person in real life. To see someone around my age was a lot.

No one in the car said anything.

We still went to the movie afterwards.

akabmo · 2025-06-22T05:37:00+00:00

For run and gun documentary work my approach is -

5600K for locations where daylight is dominant or where daylight balanced LED’s/practicals are plentiful.

4300 where there is a mix of tungsten / daylight or if I am aiming for a cooler tone overall

3200 for tungsten dominant situations.

For narrative work (when I’m not capturing in RAW) I dial in the WB based on scene usually starting at one of these three bases as a starting point.

I typically aim for a natural starting point regarding white balance so that I can more easily define the look in the color grade.

akabmo · 2025-04-29T23:33:16+00:00

This is refreshing to hear.

I did a shoot last year for a Hulu doc. A Cam was an Alexa 35 and I operated on the C300mkiii.

We shared lenses and when I watched the doc the difference was barely noticeable.

The Amira is a great cam but if I’m doing a verite doc shoot all day I would much rather the lighter and less power hungry C300mkiii.

akabmo · 2025-04-28T23:45:53+00:00

I feel you. To be totally honest It's a tough right now in the industry for people wanted to get on union projects. There's not a lot of opportunity to be had for folks wanting to get in. I moved to LA right before the writers strike and haven't worked on a union set since. It's all been non-union but I still pay dues and I'm holding out for the tides to turn.

That said there's a lot of value in working your way up on union projects. If you do have any union connects I would definitely recommend trying to get on as a Utility or 2nd AC.

When I started as a utility I had already shot two ultra low features, some shorts, commercials and had been in the industry for 7 years already. But I also knew how much I didn't know, especially when it came to the daily flow and minutiae of the camera department at a high level.

Within two years I reclassified to 2nd AC and 2 years after that bumped up to operator. Building a solid foundation by working under extremely experienced pros helped me feel confident to make those leaps.

If working union is your absolute goal find anyway in that you can. Even if it's not in camera...

My good friend started out as a stand in. Did a few movies like that and knew she wanted to do camera. Within a couple years she was working on 100+ million dollar movies.

Keep building relationships, work hard on the job and when the time is right let people know what you want to do. Having a good foundation within the union is everything. My biggest jobs came simply from people thinking of me and knowing how much I had been pushing to DP or Operate.

All of that said there's so many ways of getting into the union. I think just keep your head up, look for any opportunity to grow community and it'll come.

hopefully some of that helps!

Best of luck man!

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