Resolution is a word that gets more airtime than it should in a world where pocket-money cameras have four times the sharpness of classic cinema. In fact, ending that preoccupation with numbers should go on a list of things we’ll try to do in 2025. A new year’s not-resolution, perhaps.

Here’s a few others.

Take user-generated content more seriously

If you’re perpetually engaged in senior positions on high-end projects at union rates, it’s easy to overlook changes in the wider industry. Of course, a lot of people are conspicuously not in that position at the moment, and there’s a lot of things to blame: the peak and decay of streaming, the hangover of the pandemic, pricy-but-mediocre franchise films and streaming series, and industrial action which, whether we like it or not, certainly kicked an industry when it was down.

The fact that this all happened at the point where user-generated content was ascendant is no coincidence, but certain markets have been able to ignore that reality because YouTube has not so far been capable of funding an Alexa 65 and a set of DNAs. That probably hasn’t changed yet, although some shockingly high-end work is being done. The Dust channel has been putting out user-generated sci-fi for aNo while, and while much of Dust’s output might not quite satisfy Netflix subscribers, it is naive to assume that the status quo is eternal.

Snobbery is involved, though as a business consideration the rise of user-generated content is a question for the c-suite more than camera crews. Other things, though, are more in the hands of the craftspeople.

Recognise production design

Given film is so much a team sport, the lack of communication between departments is often slightly shocking. Perhaps that’s because it is also a very expensive artform, provoking a nervousness which tends to keep people firmly in lane. A film set is a place where it is often better to keep silent and be thought a fool. In the abstract, most people are keenly aware that there is no good cinematography without good production design, but that’s easily forgotten in the midst of pixel peeping the latest camera release (of which more anon).

Sometimes, production design means months of preparation. Sometimes, it just means picking the right time and place. Still, interdepartmental collaboration is sometimes more competitive than it should be. That’s particularly true on less financially replete productions, where it may be accepted that the show will not compete with blockbusters but that nobody wants that outcome to be their fault. So, camera refuses to unbend for the location manager, or vice versa, and the result is unnecessarily compromised.

We could equally assign a couple of new years’ resolutions to other departments, encouraging them to recognise the need to, say, put the camera somewhere it can see both the actors at once. Ultimately, though, we should admit that too many people put too much importance on the camera, and not enough on what’s in front of it.

Be bold

Even lay audiences have started to notice that a certain proportion of mainstream film and TV has adopted a rather cautious approach to high contrast and saturated colour. Some of the accused productions have been comic book or animation adaptations, which probably ought to be the opposite. What’s even more counterintuitive is that this is invariably the product of digital cinematography, which was long held to be lacking in dynamic range – which is the same thing as high in contrast.

Engineers have since given us fifteen-stop cameras, but there seems to be a lasting societal memory of early, less-capable electronic cinematography which makes people afraid of the extremes. It’s at least as likely that fiscal conservatism is leading to artistic conservatism around the sheer cost of nine-figure blockbusters. Nobody ever got in trouble for not crushing the blacks.

The result is an identifiable lack of punch in movies and TV shows that even determinedly nontechnical people are starting to notice. There’s a whole discussion to have about history, how things once looked, and how they look now, but with modern grading we can have anything. The solution is easy, if the producers will stand it: be not afraid of minimum and maximum densities – unless you’re grading for HDR, in which case absolutely be afraid, but that’s another issue.

Stop pixel peeping

And yes, like a lecturing parent frustrated with a chocolate-smeared child’s perpetual tendency to steal cookies, we do have to talk about that obsession with numeric specifications. It is the camera department’s equivalent of bargain vodka. Everyone knows it’s a bad idea, but it starts off fun and we can stop whenever we like. Soon, though, we realise that cameras are now almost too good and pixel peeping has facilitated a generation which thinks that swear-box words like “cinematic” and “painterly” are objectively measurable. Then it turns out that our attractively-priced metaphorical booze was mostly brake fluid, and people end up spending time counting megabits that should have been spent working out a mutually-beneficial compromise with the location manager.

Everyone knows that good equipment is necessary. Everyone knows it isn’t sufficient. Everyone also knows that pixel peeping is a bad habit and complaining about it almost feels redundant. But if we can make 2025 the year when film students use social media to discuss technique more than they discuss technology, that’ll be a minor victory.

Viltrox Luna 30-300mm T4: Versatile Long-Range Zoom

The Luna 30-300mm T4 was the first model in the series, debuting with an impressive 10x zoom range that caters to a wide variety of shooting scenarios. Designed specifically for full-frame cinema cameras, this lens is suitable for capturing close-up details and distant subjects in the same shot without sacrificing image quality. Here are some key features and benefits:

1. Wide Range & Compatibility: With a focal length of 30-300mm, this model is a great choice for filmmakers needing long reach in a single, adaptable lens. It accommodates full-frame sensors, covering an image circle of 46.5mm, making it compatible with a broad range of modern cinema cameras.

2. Constant Aperture: The T4 constant aperture is a significant advantage when adjusting focal lengths on the go. It allows for consistent exposure across the zoom range, which is crucial for scenes with dynamic movement or when changing perspectives mid-shot.

3. Focus Breathing Control: This model minimizes focus breathing, making it ideal for video work, as it keeps the field of view steady when adjusting focus.

4. Build & Handling: The Luna 30-300mm T4 lens has a durable, weather-sealed construction. Its design caters to cinematographers who require reliable equipment in diverse conditions. The ergonomic layout and robust zoom and focus rings offer a smooth, controlled feel, adding to its appeal for narrative, documentary, and wildlife applications.

Viltrox Luna 42-420mm T5.6: Extended Reach and Specialized Utility

The Luna 42-420mm T5.6 offers a unique option for filmmakers focusing on extreme telephoto needs, with an even greater zoom range than the 30-300mm. While it shares similar core design elements, the 42-420mm lens is slightly more specialized in terms of its target use cases, most notably with a 65mm image circle, making it usable with Alexa 65 and URSA 17k cameras. Let’s look at some defining features:

1. 10x Telephoto Zoom: The 42-420mm zoom range excels in settings where extreme reach is essential, such as wildlife or sports filming. This lens can provide close-ups from a distance without intruding on a scene, making it perfect for capturing natural behavior in animals or live-action sports from the sidelines.

2. Consistent T5.6 Aperture: Although slightly narrower in maximum aperture than the 30-300mm, the T5.6 constant aperture allows for predictable exposure adjustments throughout its extensive zoom range. This can be advantageous when shooting in brightly lit environments where depth of field needs to be balanced.

3. Large Image Circle: The 42-420mm model is designed for large sensors, covering an image circle of up to 65mm. This makes it compatible with both full-frame and large-format sensors, enhancing its versatility across camera systems. r

4. Adjustable Back Focus: An additional benefit of the 42-420mm lens is its adjustable back focus feature, enabling cinematographers to fine-tune the focus plane to maintain sharpness. This flexibility is especially helpful when working at long focal lengths where small adjustments can significantly impact image clarity.

5. Specialized Niche Applications: Due to its reach, the 42-420mm lens is particularly useful in niche cinematography, such as documentary or wildlife filming, where being far from the subject is either practical or required. It may also find use in surveillance or nature videography where image quality and long focal range are primary requirements.

Viltrox Luna 22-220mm T2.8: The Upcoming Super 35 Zoom

While it has not yet been released, Viltrox has announced a third model in the series: the Luna 22-220mm T2.8, designed for Super 35 cinema cameras. With a unique focal range and aperture, this model aims to fill a niche in cinematography that balances light intake, zoom reach, and Super 35 compatibility. Here’s what we know so far:

1. Fast T2.8 Aperture: One of the standout features of the upcoming 22-220mm lens is its T2.8 aperture, which is relatively fast compared to the other Luna models. This wider aperture offers better performance in low-light conditions and provides more control over depth of field, making it ideal for dramatic shots with selective focus.

2. Super 35 Sensor Compatibility: Catering to the Super 35 market, this model is well-suited for television production, independent filmmaking, and scenarios where Super 35 sensors are the standard.

3. Potential Applications: With its combination of fast aperture and flexible zoom range, the 22-220mm is likely to become a favorite among Super 35 users needing versatile, fast glass. The zoom range from 22-220mm would allow for effective storytelling flexibility in various settings, from interior dialogues to medium-distance action shots.

Viltrox’s Luna series offers options that can cover a wide array of filming situations, whether the demand is for long-range reach, versatile zoom, or optimal light intake. With this trio, Viltrox continues to position itself as a compelling choice for serious cinematographers looking for quality, flexibility, and specialized capabilities in zoom lenses.

We don’t have exact pricing, but it’s estimated the 30-300 will land between $85,000 to $100,000. The 42-420 is estimated between $150,000 to $200,000. No pricing information is currently available for the 22-220.

The C80 is designed for filmmakers who need a full-frame, professional-grade camera in a compact form factor at an accessible price. In this article, we’ll dive into the technical features of the C80, compare it to the EOS C70 and C400, and discuss why filmmakers should be excited about this new addition to Canon’s lineup.

Key Features of the Canon EOS C80

The Canon EOS C80 introduces several significant upgrades, such as its 6K full-frame, back-illuminated stacked CMOS sensor. This is a leap forward for filmmakers who require high-quality imagery in various lighting conditions. The sensor supports triple-base ISO levels of 800, 3200, and 12,800, maximizing dynamic range and allowing the camera to deliver stunning imagery in both low and bright light.

One of the key technologies featured in the C80 is Canon’s Dual Pixel CMOS Autofocus II. The back-illuminated sensor provides efficient light-capturing and a wider autofocus area, making it especially useful for tracking faces, animals, and objects. The fast readout speed from the 6K sensor also ensures crisp and smooth 4K images from 6K oversampling.

Additionally, the camera includes an SDI output, a notable step up from the C70, which enhances uncompressed video signal transfer with secure cable connections. Connectivity options such as HDMI, mini-XLR audio inputs, Wi-Fi, and Ethernet make it highly versatile for a range of production environments. The internet connectivity also allows for remote camera control via Canon’s IP-based XC Protocol, a crucial feature for multi-camera setups or when the camera is mounted in hard-to-reach places.

For recording, the C80 supports 6K 30P in Cinema RAW Light and includes the XF-AVC codec for 10-bit 4:2:2 recording. It also allows for slow-motion capture at 4K 120P.

Overall, I loved the feel of the C80, reminding me of my tried-and-true C70. With that said, I was really impressed with the visuals and autofocus, bringing everything I loved about the C400’s sensor over into a tighter form factor. Putting it through its paces, I found the camera performed really similarly on all fronts to the C400, including base ISOs and autofocus.

Comparing the EOS C80, C70, and C400

Canon EOS C80 vs. Canon EOS C70
While the C70 is already popular among filmmakers, especially solo shooters, the C80 brings several advancements that differentiate it. Both cameras share the same RF mount, allowing filmmakers to use Canon’s latest RF lenses, which are optimized for full-frame performance. However, the C80’s full-frame sensor and 6K capability give it a significant edge in terms of image quality, especially in demanding environments that require more dynamic range and resolution.

The C80’s 12G-SDI output is another major upgrade over the C70, which lacks this feature. The SDI output is critical for filmmakers who need to send uncompressed video to an external monitor or recording device, particularly in professional environments.

In terms of form factor, the C70’s compact size has been appreciated by run-and-gun filmmakers, and the C80 continues this trend with an equally compact and ergonomic design. However, the C80 has a slight advantage with its enhanced handle assembly and Multi-function Shoe, adding more versatility for rigging the camera.

Canon EOS C80 vs. Canon EOS C400
The C400 is Canon’s higher-end cinema camera, aimed at filmmakers who need a more robust feature set for larger productions. One of the most significant differences between the C80 and the C400 is the maximum resolution. The C400 can record at 6K 60FPS, whereas the C80 is limited to 6K 30FPS. This makes the C400 better suited for projects that require higher frame rates at full resolution, such as fast-paced action sequences or high-end commercial work.

The C400’s boxier form factor is another point of distinction. While the C80 is designed for a more handheld, ergonomic feel, the C400’s box design is better suited for cinema rigs and larger productions.

In terms of price, the C80 is $1,500 cheaper than the C400, making it an attractive option for filmmakers who don’t need all the high-end features of the C400 but still want a high-performing, full-frame cinema camera. Plus, the C80’s release has led to the C70’s price drop, now coming in at $4,499.

Why the Canon EOS C80 is Exciting

There are several reasons why filmmakers should be excited about the Canon EOS C80:

1. Full-Frame and 6K Recording: The full-frame, back-illuminated sensor with 6K recording capability offers filmmakers a level of image quality previously reserved for higher-end cameras. This makes the C80 ideal for everything from indie filmmaking to commercial shoots where image quality is paramount.

2. Affordable Price Point: At $5,499, the C80 delivers many of the features seen in higher-end cinema cameras at a much lower price point. It strikes a balance between professional-grade quality and affordability, making it accessible to a wider range of filmmakers.

3. Compact and Ergonomic Design: The C80’s compact size and lightweight build make it highly versatile for filmmakers who need to be mobile. Whether mounted on a drone or used in handheld setups, the C80’s design allows for a wide range of creative applications.

4. Dual Pixel CMOS Autofocus II: Autofocus is crucial for many solo shooters or documentary filmmakers who need reliable and accurate focus tracking in fast-paced situations. The updated Dual Pixel Autofocus II ensures sharp, consistent focusing across a wide area of the sensor, even in challenging environments.

5. Versatile Connectivity Options: With 12G-SDI, HDMI, Wi-Fi, and Ethernet, the C80 is built to integrate seamlessly into professional workflows. The ability to control the camera remotely via Canon’s XC Protocol further enhances its versatility in multi-camera setups.

Learn more about the…

Canon EOS C70

Canon EOS C80

Canon EOS C400

Note: This is a quick, Day-1 release review. I’m happy to dive deeper into these apps in the future.

Mobile App:

The amaran mobile app promises ease of use with an intuitive interface aimed at creators who prefer simplicity over complexity. Powered by the trusted Sidus Mesh technology, the app retains most of the essential features that users love in Sidus Link, including real-time control over various lighting fixtures. For new users or those with less technical expertise, the amaran app is a welcome addition, boasting the ability to quickly adjust lights on the go, manage multiple fixtures in a group, and toggle between different effects with minimal effort.

However, the simplicity of the mobile app also presents limitations. While the app works well with newer amaran and Aputure fixtures, some users—including myself—have reported issues with older Aputure lights. In my experience, I could turn these fixtures on and off, but had little control beyond that. For those who deal with complex lighting setups or frequently switch between various scenes, the Sidus Link app may still be the preferred choice, especially due to its wider range of advanced control options.

In essence, the amaran mobile app feels like a “lite” version of Sidus Link, making it a good starting point for beginners. But for anyone serious about intricate lighting designs, investing time to understand the full capabilities of Sidus Link might be more beneficial in the long run. The amaran app’s simplified interface does streamline workflows for basic setups, but for larger, more complex projects, the extra features in Sidus Link prove invaluable.

Computer App:

The computer version of the amaran app has garnered significant interest, especially as desktop lighting control has been a long-requested feature from Aputure users. Unfortunately, the current iteration leaves much to be desired.

During my initial testing on a M1 MacBook Pro, I encountered several issues with connectivity. The computer app was not able to connect directly to my lights via Bluetooth, even though all settings were verified. Interestingly, I was able to connect the lights to my mobile app first, which then allowed them to appear on my desktop app on the same account. However, this workaround did not guarantee smooth operation; control over the lights remained sporadic and laggy, if they could be controlled at all.

That being said, the concept behind the amaran desktop app is highly promising. The inclusion of features like keyboard shortcuts and the ability to monitor live video feeds directly in the app makes it a potentially invaluable tool for streamers and content creators who need to make quick adjustments to their lighting without disrupting their workflow. Furthermore, the integration with Elgato’s Stream Deck introduces a level of control that could significantly enhance live content production once the bugs are ironed out.

Despite the current bugs, I see the potential for the desktop app to grow into a reliable tool for lighting control. I will certainly revisit it once updates are rolled out, and I’m especially interested in testing it alongside a Stream Deck to see how it enhances the workflow. For now, however, most users may be better off sticking with the mobile app or Sidus Link for reliable control.

Sidus Link vs. amaran: Where Do They Fit?

The comparison between Sidus Link and the new amaran app is inevitable, as both offer control over Aputure and amaran lights. Sidus Link remains the industry standard for advanced users, providing a wider range of features, including complex lighting scenarios, effects, and detailed customizations. The app’s more complex interface does present a learning curve, but the payoff is worthwhile for professionals who need complete control over their lighting.

On the other hand, the amaran app is positioned as a more accessible option, particularly for creators who might be intimidated by the depth of Sidus Link’s features. Its friendly user interface and core functionalities are sufficient for many content creators, especially those who primarily need to make quick adjustments on the fly. As Sidus Link continues to evolve with new premium features behind paywalls, the amaran app may increasingly serve as the free, entry-level solution for most users.

In the long term, if the amaran desktop app’s bugs are addressed and it integrates smoothly with tools like Stream Deck, it could become a valuable asset for streamers and other content creators. Until then, the mobile app serves as a competent, user-friendly option for wireless lighting control. If anything, this release has users salivating for the heavily-teased Sidus Link Computer App.

A Thoughtfully Designed Case

The foundation of the Khronos ecosystem begins with its custom-designed case, which is available for both the iPhone 15 Pro and Pro Max. This is no ordinary protective case; it’s crafted from aerospace-grade aluminum alloy using precise CNC manufacturing. The result is a sturdy and lightweight enclosure that ensures your phone stays firmly in place. One of the standout features of the Khronos case is its proprietary mounts and pins, which allow for seamless integration with the wide array of accessories that make up the system.

Please note: It does take some time to screw your phone into the case and remove it. Consider using a phone that isn’t your day-to-day carry so you aren’t worried about taking the case on/off.

Accessories to Enhance Your Filmmaking

One of the most impressive aspects of the Tilta Khronos Ecosystem is the number of accessories available to build out your setup. Here’s a quick list of the accessories currently available:

• Focus PD Handle
• Quick Release USB-C Hub
• Cooling System
• NATO Bracket with Circular Wooden Handle
• Circular Wooden Handle
• Adjustable Handle
• Universal SSD Holder
• ARCA Quick Release Adapter
• Cold Shoe Quick Release Adapter
• Universal NATO Mount
• Mini LED Panel (Daylight)
• Lens Adapter
• Quick Release Filter Tray
  • White Mist Filters
  • Black Mist Filters
  • FSND Filters

I’ll review some accessories that stood out to me as being particularly helpful for a realistic filmmaking rig:

The Focus PD Handle is a critical component. More than just a handle, it powers the rest of the accessories in the Khronos lineup via the system’s contact pins. It also connects to the Blackmagic Camera app, enabling remote control over recording functions, as well as focus and zoom operations.

Another highlight is the Quick Release Filter Tray, engineered for ease of use. It uses magnets to attach and detach filters quickly, and Tilta offers a variety of filtration options. This simple but innovative system helps you switch filters on the fly, which can be a game-changer in fast-paced shooting environments.

Mobile filmmakers know that overheating is a common issue, especially when pushing phones to their limits with 4K video recording. Tilta addresses this concern with a MagSafe-powered Cooling System. This not only keeps your phone’s internals cool during long shoots but also powers your device, ensuring you can keep filming without interruption.

Tilta also understands the importance of storage. Their Universal SSD Holder is essential for those who need more space than what the iPhone provides, allowing you to record directly to an external drive and avoid running out of storage during critical moments. This feature is particularly useful for long-form content creators who need continuous recording without the worry of hitting storage limits.

Additionally, the Khronos ecosystem offers a Mini LED Panel, perfect for adding a professional touch to your shots with well-placed lighting, such as an eye light. This small but powerful accessory ensures your subject looks their best, even in low-light conditions.

The real magic of the Khronos ecosystem comes from its Quick Release USB-C Hub. This essential accessory transforms your iPhone into a fully-fledged camera rig by unlocking a variety of ports, including a 100-watt USB-C power distribution port, two additional USB-C Power Delivery/Data Transfer ports, a 3.5mm audio jack, and even a full-size HDMI port. With these options, you can power multiple accessories, transfer data, and monitor your footage on a larger display—all from a single hub.

The USB-C hub also features an Arca quick-release and a ¼”-20 mount, allowing you to easily attach the entire system to a tripod, stabilizer, or shoulder rig, depending on your filming needs.

For filmmakers looking to turn their iPhone 15 into a professional cinema camera, the Tilta Khronos Ecosystem offers a robust solution. With a wide range of thoughtfully designed accessories, Tilta has built one of the most comprehensive ecosystems for mobile filmmaking. Whether you’re shooting short films, documentaries, or commercial content, this system provides everything you need to elevate your iPhone filmmaking to the next level.

There were over 300 vendors this year, and while a lot of new gear announcements happened around April to align with NAB, there were plenty of surprises in store for Cinegear. Overall, 2024 felt like the year of the Camera. In previous years, buzzy topics like AI, LED Lighting and Virtual Production dominated the conversation. This year there were more jibs, Steadicams, and car rigs than we could count. With cameras getting smaller and more accessible, there will inevitably be more cinema camera owners than ever before, and henceforth more stabilization, rigging and AKS to be bought.

Before I get into some of my favorite gear, I have to take a moment to recognize what a special show it was. While NAB tends to feel like a sensory-overloaded mishmash of people and vendors, CineGear had a very intimate feeling. There were tons of top Cinematographers, Gaffers, and Creators who were just as happy to see you as you were to see them. This year felt like a big family reunion, and despite work being slow in Los Angeles, the community rallied together and packed the house, which you love to see.

@filmtools

CineGear 2023 is in the books and what a show it was! The atmosphere was electric, weather was ideal and the gear was top notch. We’re already counting down the days to CineGear 2024 #cinegear #expo #filmmaking #filmmakers #paramountpictures #backlot #nycstreets #onset #filmgear

♬ Sunshine – WIRA

Speaking of cameras, I finally got my hands on three of the newest offerings: The Canon EOS C400, the Blackmagic Design PYXIS 6K, and the Sony Burano. These three cinema cameras represent very different price ranges, henceforth different consumer groups, with pros and cons to each. Let’s dive in:

I’ve been waiting for something like a C400 for a long time. Canon knocked it out of the park with the C70, but the rest of the EOS Cinema line was leaving some to be desired. On paper this camera sounds amazing, but hand-on I was wowed. I will say, it’s a bit bigger and less square than I was expecting, but it’s certainly the right size for professional film sets, and will impress a prospective client. The Triple Base ISO is an incredible innovation, but what really blew me away was the autofocus. I saw focus lock onto a woman’s eye through her sunglasses, and go from passerby-to-passerby quickly and effortlessly. There’s a lot to be excited about with this camera, and at $7,999.00 I think it’ll be very popular.

Blackmagic Design took some big swings at Cinegear, announcing three new cinema cameras along with a slew of other products. Their most talked-about camera was the PYXIS, a 6k Full-Frame sensor in a compact, riggable size. I finally got hands on with the camera, and while it’s definitely light, I’m a bit concerned about vertical workflow and ergonimics. The actual payload felt a bit bigger and clunkier than advertised, but at under $2,995.00 I forsee this camera being extremely popular in the prosumer market.

Sony is killing it at the higher end and lower end, with offerings like the Venice 2 all the way down to the ZV-E10, delivering wonderful color quality, low light abilities and resolution. Upon announcement, the Burano was a bit of a headscratcher. Priced at $25,000.00 there’s certainly an audience for this camera, boasting an Full-frame 8K sensor, but it feels like the camera no one asked for. It’s certainly smaller than the Venice 2, but the drawbacks leave some to be desired. We’re curious to see how this camera performs out in the real world.

There were a couple more fun innovations in the camera space. Atlas Lens Co. released the “XCALIBER” PL to PL 0.7x Focal Reducer. Smallrig and ARRI came out with new affordable wireless follow focus units, the MagicFIZ & Hi-5 SX respectively. Finally, BLK BRD achieved meme-status with their new Mantis system that could actually be a gamechanger. You can find the first half of our CineGear Roundup here, and we’ll leave the rest of the videos below.

All-in-all it was a wonderful CineGear, and while the tech was incredible, it was amazing to see so many great people in such a casual setting. On Friday afternoon I saw Erik Messerschmidt, ASC, Wally Pfister, ASC,BSC, DGA, Jeff Cronenweth, ASC, Hoyte Van Hoytema, ASC, and Sir Roger Deakins CBE in about a one-hour span. I highly recommend you get your badges for next year as soon as you can, and make sure to get there early! We’ll see you there.

This week we had a conversation with cinematographer, director, VFX artist, and colorist Phil Holland. Phil has decades of experience in the industry having found his way onto film sets as a teenager in the San Fernando Valley. Hear from Phil about his break into the big time with his work as a VFX artist for films like “The Mummy”, Planet of the Apes”, and “Iron Man”.

Listen to the full podcast below:

The Filmtools Podcast is available on iTunes, Spotify, Google Podcasts, Anchor, Breaker, Radio Public and Pocket Casts. Make sure to subscribe on your favorite podcast listening platform and, if you like the shows, tell your friends!

We also discuss some alternative reasons (besides the obvious ones) why you might want to take the time to create a DP reel or Production Company reel, and how to leverage that and your client relationships to get the type of work that you want to do. And we talk about doing work that isn’t exactly what you want to do, and how to handle that on a creatively-satisfying level. Watch below.