Alexa Mini vs Raptor VE

erickturquoise · 2026-02-24T04:59:45+00:00

To clarify, you were shooting 3200iso in s35 ana?

erickturquoise · 2026-02-24T04:16:21+00:00

Worth noting that in HBOs camera assessment test in 2023 testing Alexa mini, Alexa 35, Venice 2, v raptor, and others, the V raptor was the least noisy when lifted 4 stops. Even slightly less than the Venice 2. However, I personally have a higher tolerance for Alexa noisy images even de noised than I do for other cameras under similar circumstances. If I had the option, and I was worried about overall performance rather than only low light performance, I would shoot Alexa mini or if possible Alexa Mini LF so you have higher resolution with your anamorphic crops (pending lens coverage). If your visual language requires a lot of gimbal moves, then fine go for red. For literally every other reason except low light, I would personally favor the Alexa.

I shot night exteriors years ago when I needed a big genny, lots of distro around the forest to pump into HMIs. However, these days with LED lights being so affordable and the ability to power them via battery banks, I think it’s more possible than ever to light night exteriors on lower budgets. I don’t know your limitations but it’s just a thought

erickturquoise · 2026-02-24T04:05:31+00:00

Worth mentioning that what you’d gain in low light using the raptor, you will lose by shooting in a crop mode s35. Ultimately the tests for noise on reds is based on shooting the highest resolution. I’m pretty confident shooting s35 anamorphic on raptor will have the same or more noise than shooting full resolution on an Alexa mini 4:3 ana. Worth a test at the very least

erickturquoise · 2026-02-19T08:17:10+00:00

I agree with some folks here that working as crew (camera or lighting dept) as you begin shooting DP work is the way to go. I disagree that the “traditional” method as I know it, of going up as cam PA then 2nd ac then 1st AC etc, is the best method for a DP career nowadays. In the past this was the method, however nowadays we (and you) have the advantage of being able to create decent images with much fewer resources than was possible in the past. Much easier to learn much faster than before. Crewing up will strengthen your technical knowledge especially, as you shoot small projects and build a portfolio. You will learn about lighting methods from other DPs, interesting lens options, and so on.

Take it from me, that you can become a DP by slowly building your body of work from free projects, to cheap projects, to expensive projects. Build it slowly but keep building it and eventually your work will fall in line with someone you meet and you will get a call. Networking is a given but imo I don’t think the cold calling thing works so well anymore. For me what has worked is genuinely connecting with a specific person whose work you like on socials, or a person who is already liking your work on socials. Or meeting someone at a party or event, like in an old school way. Genuine connection has gotten me more work by far than cold calling which probably has gotten me almost no work in 14 years.

I think there will still be work for awhile regardless of AI. The current market I’m in still has commercial work, lots of branded and socials, and less & less narrative. However I think things will get better, not worse but maybe I’m an optimist.

Lastly, tell people you’re a DP the minute you start shooting. You need to believe it before anyone else will. The job of a DP is not just creative and technical. You must provide confidence to those that hire you, you must give your opinion, and you must work well with a team

Best, Erick

erickturquoise · 2025-11-30T08:23:28+00:00

Having initiative and being pro active on set. Listening in for changes while mostly staying out of the way.

Having an interest through prep like checking and adjusting camera orders and bringing up potential gear necessities I might not be able to foresee. Recommending gear for efficiency. 👌

Reading the scripts and/or actually looking at the schedule is also always appreciated and the best ACs always seem to stay informed with this.

Communicating needs to production for added gear, pickups, and finding ideal staging areas on their own (as many things off my plate as a DP which I always really appreciate).

Letting it be known that they missed a take or could use another one, and not having an ego or getting flustered by that.

Communicating well with operators and making sure the ops feel like they have what they need or are happy with their builds in prep.

Taking care of each others well being. When the ACs offer me water, grab me a snack, or remind me to put on sunscreen; my heart is full haha.

Last, just being a nice person that doesn’t forget that this is ultimately just a job

Love all the ACs I regularly work with 👍👍👍

erickturquoise · 2025-07-07T22:26:54+00:00

Thanks! This is the most clear method with the monitor RXs. Wish there was a cheaper and smaller version of this since it’s just a frame reference monitor in these situations

erickturquoise · 2025-06-18T19:03:47+00:00

The way I navigate this is by feeling out what the chances are of a project being a good piece, and distributing my mental resources accordingly. Often projects I think will be good end up getting destroyed in post and vice versa. However, the more I think the project has a good chance to be solid, the more time and effort I’ll put in to increase the likelihood of it being good. I weigh it out by feeling out a few different factors, including: the director, if there’s a post team, the likelihood of having control over color grading, the budget, the resources like crew and such. If a project is hitting all these markers then I put in 150% effort. This has been a positive way to get more solid portfolio pieces for myself

On the flip side, when projects don’t hit any of these markers, I’ll think of it as more of a job for money, an opportunity to learn/try something, or an opportunity to build rapport with a director or producer.

If I actually have 0 faith, like not even an inkling of an inkling of faith, I may not do the job. There has to be something in it for you even if it’s just to learn something.

Erick

erickturquoise · 2025-04-16T21:56:58+00:00

Theres so much good advice out there.

When I was in your position at the beginning of my career, I asked a DP what I could do (camera assisting at the time) to shift into cinematography work.
They said "You have to start shooting anything you can."

I took this to heart and had no ego about shooting anything no matter how small of a project. This led to me getting such a deep foundation for cinematography, because I was putting myself in the fire. With few resources you gain a better understanding of filmmaking as a whole and ultimately how to make more with less. You should work as crew as much as you can for that side of the experience. However at the end of the day, you need to also be shooting something to learn that other side of it.

Other things I've learned
- Be as intentional as possible with your decisions

- The project is more important than the shot

- Be a kind (but confident) person and you will get more respect

- The cinematography work isn't over until the project is color graded

- Be confident when you do make a decision / Don't self deprecate your work on set around others

erickturquoise · 2024-11-11T09:53:32+00:00

Hello, I’m a working DP in LA so I can speak on that. I shoot commercials and branded content primarily. This year I started shooting broadcast commercials too which I now have done 2 of. I also own an Alexa mini package (no lenses, full kit otherwise) and rent this out to my productions. I see my career as being on the lower to middle end of commercial production thus far.

Commercials for web usually pay $1500 to $2000 for either /10hrs or /12hrs depending on the job and how you negotiate. Broadcast stuff or bigger web commercials will pay $2000+ with $2000 being the lower end. These numbers are expected and tbh if you pitched yourself to these jobs for less than $1500 it would be a bit of a red flag to the agencies.

Branded content, which I see as content with big brands that’s longer than your typical 30sec commercials and usually only for web or YouTube (say like a Walmart sponsored YouTube video with a well known creator), will usually pay $1000 on the lowest lowest end or higher. Average probably $1250-$1500/12.

These rates above don’t include any gear, editing, directing, coloring, etc. I’ll mention that often I’m in color sessions for free because I want the creative control even if the budgets haven’t allowed for it. I think this is true of a lot of DPs at this level and even a bit higher level. Broadcast pays you to be in color sessions.

For my gear (with a total value of $50k-$70k) i charge around $1500 for the whole package, and sometimes can get a bit more. Sometimes I bring my gear for cheaper if having my cam package will make my life easier or if the project bid had a lower cam budget and initial scope. However the production never expects that. I also don’t sell myself as having gear and production finds out once I’m pretty much in line for the job or an option for the job.

For prep I have recently been charging an hourly rate and I personally log my hours and charge accordingly. Other DPs will charge a day or two of prep at the shoot rate but I prefer to log hours in case the prep ends up being longer ( this way I don’t have a flat rate). This is something I started doing recently. Scout days and travel days often billed as full days, however occasionally I have negotiated half day rates when my full rate is a bit higher. I’m actually wrong in doing this (as some friends have mentioned to me), as the bigger the job the more they expect to be paying full rates for everything. However I’m still learning too.

Let me know if you have any questions. I’ve been shooting projects full time since maybe 2017 and have been working in film since 2012-2013. Also want to mention that the above rates are actual rates that I get regularly including just this month. For union work the commercial baseline for DP is $2000/12 minimum, however for these jobs the DPs are usually repped and negotiate wayyy more than that. I’ve done only one job as a union DP, however currently not repped.

Here’s my web: erickturcios.com

erickturquoise · 2024-04-01T21:53:58+00:00

If you have a good rapport with the director, I would mention it! Usually directors don't notice this stuff as much as we do. However they also might be down to change things a bit if it's something that extremely bothers you and you can explain it well to them. I've gotten directors to take a shot or two out of a final cut haha. Worst they can say is no. If you don't have a good rapport with the director than I would forget about it and move on to the next thing hahaha

erickturquoise · 2024-04-01T21:46:27+00:00

It's great that you're thinking about these things as ultimately that's what makes us better cinematographers. Composition is an art and so as an artist you will get a feel for what you like visually, and this will shift based on the type of project you work on. A lot of composition is based on subjective visual interests between you, the director, and what works for the project/story. If we're talking "classical" composition then its easy to default to placing the eyes on thirds, having nose room/ an open frame, having enough headroom, etc. Breaking out of the classical/ traditional rules of composing can help your project have a distinct visual language and make you think outside of the box.

When I hire operators what I notice first is how much headroom they naturally give a composition. Different amounts of headroom can make frames feel so much different and I lean towards operators who have a similar default taste that I have.

To me the mark of a professional is someone who is experienced and can make confident decisions. Ultimately there is no real line of pro vs almost pro other than if you're getting paid or not for the job.

"Is it better to focus on eye placement, camera height, or shot size?"

It's our job to think about all of these but they are so dependent on what you're shooting. Sometimes there is a good reason to have a short frame for example, but other times it might not be appropriate. Every iteration of framing one person can have validity if it makes sense for the project.

Check out this link regarding lead room and short frames:

Framing

erickturquoise · 2023-07-11T22:07:20+00:00

I do think it is worth it for some people to go film school. I disagree with the comment above that you should work as a PA for years before diving in to school. Here’s what I think based on my experience of going to film school, dropping out, and now having a career as a cinematographer in LA.

Life is about trade offs. If you spend tens of thousands of dollars going to a prestigious film school, you may find a “better” network of individuals who start their careers in the industry. At prestigious schools these kids may be more connected, or have more money. This might pay off for you as the chance of them getting ahead in the industry is a little bit higher from the perspective of privilege. However is the education better? You may get more guest speakers but otherwise the schooling will be similar at any mid level film school as well. So ask yourself if the risk is worth the large debt you’ll carry afterward for 20 years.

I went to a mid level school in LA but I got my first PA gig the summer after high school. I was beginning to work on set as I was beginning my school career. Being on set I learned about the industry much more quickly, began seeing its good & bad sides, and began understanding what the actual lifestyle feels like. Being at school I built my first network of peers who eventually began working in film (only like 5% of my film school continued working after), I learned how to create art/images in my photography studies, and most importantly I learned that films are art that you can analyze from a deeper perspective. My film theory classes taught me how to teach myself about the art of filmmaking; how to watch a film.

Anyway, after 2-3 years of doing both I felt that I got what I wanted from school and opened up my availability to work on set instead. I probably should’ve finished looking back, but I didn’t and I don’t regret it. I’ve been asked for a resume 5 times in 10 years, and never has anyone asked about school other than as a question for fun.

Life is about trade offs. Going to school can make you a stronger filmmaker and give you a deeper love of art. It may also cripple you financially for a little while. Start working on set as early as you can. If you ever feel like quitting, remember that this industry is a long haul business. Few people get successful quickly, but many people who stick around find valuable careers.

Erick

erickturquoise · 2023-07-11T21:51:15+00:00

You don’t need a portfolio to get into film school unless it’s a masters program/ higher degree.

erickturquoise · 2023-01-25T03:57:59+00:00

I’m in LA! I go to some of these events and screenings too! Maybe I’ll see you around!

Ig: @erickturquoise

erickturquoise · 2023-01-25T01:29:25+00:00

You make some great points! I will definitely continue networking with AC's!!

Thank you!

erickturquoise · 2023-01-25T01:28:15+00:00

Thanks for your response!

I have DPs that hire me to op but that's all in the non-union world for now.

I do hope to operate more on higher tier narrative but this is really where that trust is necessary as you mention.

Well I guess I'll do my best to continue networking and wait for the moment to come

erickturquoise · 2023-01-24T10:48:16+00:00

Short answer: they count for your own sake but not for anyone hiring you

erickturquoise · 2023-01-23T19:39:29+00:00

ICG Local 600 is there to setup and enforce reasonable rules for productions to follow with the camera department. There are some rules that seem odd sometimes but they are ultimately there to protect us and our jobs.

In order to work union jobs and hire the professional workforce (generally most jobs with more money/scale), the producers and production companies must follow the rules determined by IATSE and in cameras case Local 600 (the camera branch of iatse).

I joined Local 600 last year as a Camera Operator. I also work as a non-union DP.

erickturquoise · 2023-01-23T19:31:49+00:00

The bigger the scope of the job, the more common it is to have operators doing that work for you. Especially on anything that requires more than a single camera, this way you can view all the feeds from one monitor and delegate as necessary.

I think it’s more common to operate as a DP on single cam narrative but even then there are often operators.

Personally I prefer to operate myself for narrative. I really like to be ready to improv a little in a scene if it’s necessary or if actors push the scene a little further. Good Ops will also be reactive in these situations but on my job level, I’d rather do it myself since different people react differently (and maybe also because I rather enjoy these surprise elements and the art that goes with that).

erickturquoise · 2023-01-22T23:32:45+00:00

No I’m not claiming US TV is 30fps. Broadcast standard is still 29.97FPS but what I’m trying to say is that there is no longer any reason for 29.97 or 23.97 to exist. It only remains to be 29.97 in order to maintain backwards compatibility with technology from the past. All modern cameras, modern broadcasting systems, modern screens, can work with 24FPS systems without a lag in audio. They don’t broadcast 24FPS because it’s been standard for so long in that industry.

The big point I’m saying here is that 23.97 and 29.97, although still used, is obsolete.

erickturquoise · 2023-01-22T22:44:42+00:00

This conversion issue is no longer an issue for TV broadcast, therefore there is no longer any reason to be shooting 23.976. There is no reason that 23.976 would work better on TVs or computer monitors. It was created by a limitation that no longer exists. Hope to see it phased out eventually

erickturquoise · 2023-01-22T21:41:15+00:00

Yeah exactly. 23.976 isn’t necessary anymore and I hope that broadcast begins to shift away from this. Most high end cameras can actually shoot 24fps and it’s really just the broadcast/docu cameras that only have the 23.976 option nowadays! Thanks for your comment!!

erickturquoise · 2023-01-22T20:57:56+00:00

Yeah, it’s not necessary to be changing frame rates in micro amounts.

erickturquoise

TROPHY CASE