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It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

It was the honor of a lifetime to serve as Director of Photography for the Splinter Unit on Mission: Impossible – The Final Reckoning with @txlfilms, and to continue the journey as DP for the @missionimpossible Publicity Tour for @paramountpics - and what an epic tour it has been.

My deepest thanks to @tomcruise and Christopher McQuarrie for their unwavering guidance and studious dedication to the craft of filmmaking and their willingness to share decades of their hard-earned wisdom. Their shared approach was nothing short of a masterclass in lens choice, shot selection, and the art of classical storytelling through cinematography. Watching them meticulously shape one of the largest films in cinema history firsthand was a lesson I’ll carry with me forever and for which I will always be grateful.

Endless love to my filmmaking brothers and sisters at @txlfilms who I was fortunate enough to spend the last year and a half on this adventure with.

🎬 Behind-the-scenes with Kylie and Kendall Jenner. Lighting breakdown #2.⠀
⠀
If you’re curious to know more about these lighting setups and color breakdowns - click the link in bio to register to watch the full commercial and lighting breakdown. 

1️⃣ 5600K balanced ARRI L7-C LED Fresnel pushing through double diffusion. Half frost 4x4 first and then 8x8 full-grid sheet t-boned to camera right at about a 45° angle to wrap around the girls.

2️⃣ Kendall Sunset shot. Steadicam with the Alexa LF and a 35mm Signature Prime. All natural light. We had to shoot this particular shot at 3pm, despite the intention to make it a sunset shot. As much as I wish I could take credit for this - it is truly a @ty.roth superman moment. He completely saved this shot in the color suite at @company3 and ultimately created this dark sunset mood from what was initially a very “mid-day look”.⠀
⠀
3️⃣ Also 35mm Signature Prime - our heavy lifter of the shoot in terms of lens choice. Both girls are lit by a single S60 Skypanel with a large Chimera Softbox with full grid in front. Softbox is as close as possible without being in the starting frame of the Steadicam shot.
⠀
Shot on the @ARRI Alexa LF + Signature Primes. 🎥⠀
⠀⠀⠀⠀
Director: @sophiabanksc⠀
DP: @kevingarrison⠀
Editors: @thekhoma @kspencerjones⠀
Post/Editorial: @abandonvisuals⠀
Colorist: @ty.roth @company_3⠀
Gaffer: @craigarz⠀
Key Grip: @yeaforbes⠀
Steadicam: @quaidcdebaca⠀
1st AC: @joedcheung⠀
Prod Coord: @mrsjpadro

🎬 Behind-the-scenes with Kylie and Kendall Jenner. Lighting breakdown #2.⠀
⠀
If you’re curious to know more about these lighting setups and color breakdowns - click the link in bio to register to watch the full commercial and lighting breakdown. 

1️⃣ 5600K balanced ARRI L7-C LED Fresnel pushing through double diffusion. Half frost 4x4 first and then 8x8 full-grid sheet t-boned to camera right at about a 45° angle to wrap around the girls.

2️⃣ Kendall Sunset shot. Steadicam with the Alexa LF and a 35mm Signature Prime. All natural light. We had to shoot this particular shot at 3pm, despite the intention to make it a sunset shot. As much as I wish I could take credit for this - it is truly a @ty.roth superman moment. He completely saved this shot in the color suite at @company3 and ultimately created this dark sunset mood from what was initially a very “mid-day look”.⠀
⠀
3️⃣ Also 35mm Signature Prime - our heavy lifter of the shoot in terms of lens choice. Both girls are lit by a single S60 Skypanel with a large Chimera Softbox with full grid in front. Softbox is as close as possible without being in the starting frame of the Steadicam shot.
⠀
Shot on the @ARRI Alexa LF + Signature Primes. 🎥⠀
⠀⠀⠀⠀
Director: @sophiabanksc⠀
DP: @kevingarrison⠀
Editors: @thekhoma @kspencerjones⠀
Post/Editorial: @abandonvisuals⠀
Colorist: @ty.roth @company_3⠀
Gaffer: @craigarz⠀
Key Grip: @yeaforbes⠀
Steadicam: @quaidcdebaca⠀
1st AC: @joedcheung⠀
Prod Coord: @mrsjpadro

🎬 Behind-the-scenes with Kylie and Kendall Jenner. Lighting breakdown #2.⠀
⠀
If you’re curious to know more about these lighting setups and color breakdowns - click the link in bio to register to watch the full commercial and lighting breakdown. 

1️⃣ 5600K balanced ARRI L7-C LED Fresnel pushing through double diffusion. Half frost 4x4 first and then 8x8 full-grid sheet t-boned to camera right at about a 45° angle to wrap around the girls.

2️⃣ Kendall Sunset shot. Steadicam with the Alexa LF and a 35mm Signature Prime. All natural light. We had to shoot this particular shot at 3pm, despite the intention to make it a sunset shot. As much as I wish I could take credit for this - it is truly a @ty.roth superman moment. He completely saved this shot in the color suite at @company3 and ultimately created this dark sunset mood from what was initially a very “mid-day look”.⠀
⠀
3️⃣ Also 35mm Signature Prime - our heavy lifter of the shoot in terms of lens choice. Both girls are lit by a single S60 Skypanel with a large Chimera Softbox with full grid in front. Softbox is as close as possible without being in the starting frame of the Steadicam shot.
⠀
Shot on the @ARRI Alexa LF + Signature Primes. 🎥⠀
⠀⠀⠀⠀
Director: @sophiabanksc⠀
DP: @kevingarrison⠀
Editors: @thekhoma @kspencerjones⠀
Post/Editorial: @abandonvisuals⠀
Colorist: @ty.roth @company_3⠀
Gaffer: @craigarz⠀
Key Grip: @yeaforbes⠀
Steadicam: @quaidcdebaca⠀
1st AC: @joedcheung⠀
Prod Coord: @mrsjpadro

🎬 Behind-the-scenes with Kylie and Kendall Jenner. Lighting breakdown #2.⠀
⠀
If you’re curious to know more about these lighting setups and color breakdowns - click the link in bio to register to watch the full commercial and lighting breakdown. 

1️⃣ 5600K balanced ARRI L7-C LED Fresnel pushing through double diffusion. Half frost 4x4 first and then 8x8 full-grid sheet t-boned to camera right at about a 45° angle to wrap around the girls.

2️⃣ Kendall Sunset shot. Steadicam with the Alexa LF and a 35mm Signature Prime. All natural light. We had to shoot this particular shot at 3pm, despite the intention to make it a sunset shot. As much as I wish I could take credit for this - it is truly a @ty.roth superman moment. He completely saved this shot in the color suite at @company3 and ultimately created this dark sunset mood from what was initially a very “mid-day look”.⠀
⠀
3️⃣ Also 35mm Signature Prime - our heavy lifter of the shoot in terms of lens choice. Both girls are lit by a single S60 Skypanel with a large Chimera Softbox with full grid in front. Softbox is as close as possible without being in the starting frame of the Steadicam shot.
⠀
Shot on the @ARRI Alexa LF + Signature Primes. 🎥⠀
⠀⠀⠀⠀
Director: @sophiabanksc⠀
DP: @kevingarrison⠀
Editors: @thekhoma @kspencerjones⠀
Post/Editorial: @abandonvisuals⠀
Colorist: @ty.roth @company_3⠀
Gaffer: @craigarz⠀
Key Grip: @yeaforbes⠀
Steadicam: @quaidcdebaca⠀
1st AC: @joedcheung⠀
Prod Coord: @mrsjpadro

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

Happy Valentines Day @aly_guseva ♥️ How fortunate I am to experience such an incredibly adventurous life together with you.

A beautiful stroll through misty Greenwich, England.

A beautiful stroll through misty Greenwich, England.

A beautiful stroll through misty Greenwich, England.

Day 3 of 10 filming in Iceland with @chrisburkard for @txlfilms and @geniusworldinc. Spontaneous Icelandic hailstorm to wrap up the day.

After a brief intermission, we’re back. 🍿

Shot on the @ARRI Alexa LF + Signature Primes. 🎥⠀
⠀⠀⠀⠀
Director: @sophiabanksc⠀
DP: @kevingarrison⠀
Editors: @thekhoma @kspencerjones⠀
Post/Editorial: @abandonvisuals⠀
Colorist: @ty.roth @company_3⠀
Gaffer: @craigarz⠀
Key Grip: @yeaforbes⠀
Steadicam: @quaidcdebaca⠀
1st AC: @joedcheung
Prod Coord: @jpbradham

#arri #alexalf #signatureprimes

🎬 Behind-the-scenes with Kylie and Kendall Jenner. Lighting breakdown.⠀
⠀
If you’re curious to know more about these lighting setups and color breakdowns - click the link in bio to register to watch the full lighting breakdown. 

1️⃣ Both the girls on apple boxes, framed against the ceiling. Lit with a daylight balanced ARRI L7-C LED Fresnel pushing through a 4x4 sheet of Lee 216 diffusion. For an eye-light, we used a handheld Quasar tube in front of the girls to add a bit of pop, and wrap the light. The wonderful @yeaforbes built an absolute jungle of black fabric around the room to kill the ambient front light, and allow our LEDs to do the heavy lifting.

2️⃣ Kendall’s solo shot. Steadicam with the Alexa LF and a 35mm Signature Prime. Also lit with an L7-C pushing through a 4x4 216 diffusion, but with a honeycomb grid attached to the front now, just outside of the shot.Soft light, but with a controlled beam and nice contrasty fall-off. No handheld tube light for this one, as we were shooting a 180 degree Steadicam shot, and the camera shadows would’ve been brutal.⠀
⠀
3️⃣ The hall of mirrors. Scouting with our lovely grip and electric team the day prior - existing practical lights were utilized, and 12x12 black fabric was draped over the windows to kill any camera reflection behind Steadicam - as the entire shot is actually being shot through a large window.The soft warm LED lighting around the mirrors was bright to give the girls a strong beauty light, and the ambient light on the ceiling and back hallway was dialed into a nice blue color in post to provide color contrast.⠀
⠀
Shot on the @ARRI Alexa LF + Signature Primes. 🎥⠀
⠀⠀⠀⠀
Director: @sophiabanksc⠀
DP: @kevingarrison⠀
Editors: @thekhoma @kspencerjones⠀
Post/Editorial: @abandonvisuals⠀
Colorist: @ty.roth @company_3⠀
Gaffer: @craigarz⠀
Key Grip: @yeaforbes⠀
Steadicam: @quaidcdebaca⠀
1st AC: @joedcheung⠀
Prod Coord: @mrsjpadro

🎬 Behind-the-scenes with Kylie and Kendall Jenner. Lighting breakdown.⠀
⠀
If you’re curious to know more about these lighting setups and color breakdowns - click the link in bio to register to watch the full lighting breakdown. 

1️⃣ Both the girls on apple boxes, framed against the ceiling. Lit with a daylight balanced ARRI L7-C LED Fresnel pushing through a 4x4 sheet of Lee 216 diffusion. For an eye-light, we used a handheld Quasar tube in front of the girls to add a bit of pop, and wrap the light. The wonderful @yeaforbes built an absolute jungle of black fabric around the room to kill the ambient front light, and allow our LEDs to do the heavy lifting.

2️⃣ Kendall’s solo shot. Steadicam with the Alexa LF and a 35mm Signature Prime. Also lit with an L7-C pushing through a 4x4 216 diffusion, but with a honeycomb grid attached to the front now, just outside of the shot.Soft light, but with a controlled beam and nice contrasty fall-off. No handheld tube light for this one, as we were shooting a 180 degree Steadicam shot, and the camera shadows would’ve been brutal.⠀
⠀
3️⃣ The hall of mirrors. Scouting with our lovely grip and electric team the day prior - existing practical lights were utilized, and 12x12 black fabric was draped over the windows to kill any camera reflection behind Steadicam - as the entire shot is actually being shot through a large window.The soft warm LED lighting around the mirrors was bright to give the girls a strong beauty light, and the ambient light on the ceiling and back hallway was dialed into a nice blue color in post to provide color contrast.⠀
⠀
Shot on the @ARRI Alexa LF + Signature Primes. 🎥⠀
⠀⠀⠀⠀
Director: @sophiabanksc⠀
DP: @kevingarrison⠀
Editors: @thekhoma @kspencerjones⠀
Post/Editorial: @abandonvisuals⠀
Colorist: @ty.roth @company_3⠀
Gaffer: @craigarz⠀
Key Grip: @yeaforbes⠀
Steadicam: @quaidcdebaca⠀
1st AC: @joedcheung⠀
Prod Coord: @mrsjpadro

🎬 Behind-the-scenes with Kylie and Kendall Jenner. Lighting breakdown.⠀
⠀
If you’re curious to know more about these lighting setups and color breakdowns - click the link in bio to register to watch the full lighting breakdown. 

1️⃣ Both the girls on apple boxes, framed against the ceiling. Lit with a daylight balanced ARRI L7-C LED Fresnel pushing through a 4x4 sheet of Lee 216 diffusion. For an eye-light, we used a handheld Quasar tube in front of the girls to add a bit of pop, and wrap the light. The wonderful @yeaforbes built an absolute jungle of black fabric around the room to kill the ambient front light, and allow our LEDs to do the heavy lifting.

2️⃣ Kendall’s solo shot. Steadicam with the Alexa LF and a 35mm Signature Prime. Also lit with an L7-C pushing through a 4x4 216 diffusion, but with a honeycomb grid attached to the front now, just outside of the shot.Soft light, but with a controlled beam and nice contrasty fall-off. No handheld tube light for this one, as we were shooting a 180 degree Steadicam shot, and the camera shadows would’ve been brutal.⠀
⠀
3️⃣ The hall of mirrors. Scouting with our lovely grip and electric team the day prior - existing practical lights were utilized, and 12x12 black fabric was draped over the windows to kill any camera reflection behind Steadicam - as the entire shot is actually being shot through a large window.The soft warm LED lighting around the mirrors was bright to give the girls a strong beauty light, and the ambient light on the ceiling and back hallway was dialed into a nice blue color in post to provide color contrast.⠀
⠀
Shot on the @ARRI Alexa LF + Signature Primes. 🎥⠀
⠀⠀⠀⠀
Director: @sophiabanksc⠀
DP: @kevingarrison⠀
Editors: @thekhoma @kspencerjones⠀
Post/Editorial: @abandonvisuals⠀
Colorist: @ty.roth @company_3⠀
Gaffer: @craigarz⠀
Key Grip: @yeaforbes⠀
Steadicam: @quaidcdebaca⠀
1st AC: @joedcheung⠀
Prod Coord: @mrsjpadro

🎬 Behind-the-scenes with Kylie and Kendall Jenner. Lighting breakdown.⠀
⠀
If you’re curious to know more about these lighting setups and color breakdowns - click the link in bio to register to watch the full lighting breakdown. 

1️⃣ Both the girls on apple boxes, framed against the ceiling. Lit with a daylight balanced ARRI L7-C LED Fresnel pushing through a 4x4 sheet of Lee 216 diffusion. For an eye-light, we used a handheld Quasar tube in front of the girls to add a bit of pop, and wrap the light. The wonderful @yeaforbes built an absolute jungle of black fabric around the room to kill the ambient front light, and allow our LEDs to do the heavy lifting.

2️⃣ Kendall’s solo shot. Steadicam with the Alexa LF and a 35mm Signature Prime. Also lit with an L7-C pushing through a 4x4 216 diffusion, but with a honeycomb grid attached to the front now, just outside of the shot.Soft light, but with a controlled beam and nice contrasty fall-off. No handheld tube light for this one, as we were shooting a 180 degree Steadicam shot, and the camera shadows would’ve been brutal.⠀
⠀
3️⃣ The hall of mirrors. Scouting with our lovely grip and electric team the day prior - existing practical lights were utilized, and 12x12 black fabric was draped over the windows to kill any camera reflection behind Steadicam - as the entire shot is actually being shot through a large window.The soft warm LED lighting around the mirrors was bright to give the girls a strong beauty light, and the ambient light on the ceiling and back hallway was dialed into a nice blue color in post to provide color contrast.⠀
⠀
Shot on the @ARRI Alexa LF + Signature Primes. 🎥⠀
⠀⠀⠀⠀
Director: @sophiabanksc⠀
DP: @kevingarrison⠀
Editors: @thekhoma @kspencerjones⠀
Post/Editorial: @abandonvisuals⠀
Colorist: @ty.roth @company_3⠀
Gaffer: @craigarz⠀
Key Grip: @yeaforbes⠀
Steadicam: @quaidcdebaca⠀
1st AC: @joedcheung⠀
Prod Coord: @mrsjpadro

🎬 Behind-the-scenes with Kylie and Kendall Jenner. Lighting breakdown.⠀
⠀
If you’re curious to know more about these lighting setups and color breakdowns - click the link in bio to register to watch the full lighting breakdown. 

1️⃣ Both the girls on apple boxes, framed against the ceiling. Lit with a daylight balanced ARRI L7-C LED Fresnel pushing through a 4x4 sheet of Lee 216 diffusion. For an eye-light, we used a handheld Quasar tube in front of the girls to add a bit of pop, and wrap the light. The wonderful @yeaforbes built an absolute jungle of black fabric around the room to kill the ambient front light, and allow our LEDs to do the heavy lifting.

2️⃣ Kendall’s solo shot. Steadicam with the Alexa LF and a 35mm Signature Prime. Also lit with an L7-C pushing through a 4x4 216 diffusion, but with a honeycomb grid attached to the front now, just outside of the shot.Soft light, but with a controlled beam and nice contrasty fall-off. No handheld tube light for this one, as we were shooting a 180 degree Steadicam shot, and the camera shadows would’ve been brutal.⠀
⠀
3️⃣ The hall of mirrors. Scouting with our lovely grip and electric team the day prior - existing practical lights were utilized, and 12x12 black fabric was draped over the windows to kill any camera reflection behind Steadicam - as the entire shot is actually being shot through a large window.The soft warm LED lighting around the mirrors was bright to give the girls a strong beauty light, and the ambient light on the ceiling and back hallway was dialed into a nice blue color in post to provide color contrast.⠀
⠀
Shot on the @ARRI Alexa LF + Signature Primes. 🎥⠀
⠀⠀⠀⠀
Director: @sophiabanksc⠀
DP: @kevingarrison⠀
Editors: @thekhoma @kspencerjones⠀
Post/Editorial: @abandonvisuals⠀
Colorist: @ty.roth @company_3⠀
Gaffer: @craigarz⠀
Key Grip: @yeaforbes⠀
Steadicam: @quaidcdebaca⠀
1st AC: @joedcheung⠀
Prod Coord: @mrsjpadro

🎬 My favorite shots from this spot. @lexiwood killed it. Top and bottom shots were all natural light. Overcast day and a nice big window to camera left. Middle shot is a single Skypanel S60 through a chimera with full grid diffusion - camera left.

Shot for the official launch of Global Intuition’s fashion line for @fredsegal - directed by @sophiabanksc.

Alexa Mini + Cooke Anamorphics

Director: @sophiabanksc
DP: @kevingarrison
Producer: @mrsjpadro
Steadicam: @quaidcdebaca
1st AC: @cory.burmester
Gaffer: @dannyvlahos
DIT: @marcuscoloma
Editor: @kspencerjones
Colorist: @ty.roth @company_3

Starring: @lexiwood @mackinley_hill

Cliffside moment in the Faroe Islands. Nothing like a little 600’ drop to clear the mind.

Throwback to my favorite setup in Namibia for @nomadthefilm. I can’t think of a more perfect long lens setup - although it sounds like @arri has some tasty new large format Signature Zooms hitting the market now.

Walks aboutd in Faroe always reveal something new and beautiful. Missing these beautiful grass-roofed homesteads. This is my ideal vacation home. What (and where) is yours? 🗺

I spy with my little eye, a single wire. And that’s just how we like it. 🎬⠀⠀
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Everything tucked away and hidden except for a lightweight power cable made just for our Movi setup. Wireless monitoring from @teradek + @smallhd and a very compact focus setup with our WCU-4. ⠀⠀
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@merakisam really had our gimbal setup dialed in by the time @nomadthefilm reached Varanasi, India. 🔥⠀⠀
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Much love to our amazing guide, local fixer as well and my friend of many years, @raju7pinki. ⠀
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Raju is currently helping to rescue and feed stray dogs in Varanasi during the massive flooding happening there. He’s a one of a kind human being and very much worth following. 🐕