The Hook It’s 3:47 AM on a beach in White Rock, BC. I’m rigging a GoPro to a homemade slider for Going Home, my 2024 short that would later screen at the Soho International Film Festival. The ocean’s louder than I expected. The Hero 12 Black I’m using keeps fogging because I didn’t account for … Read more
The Camera That Died During My Grandmother’s Story It was 2015. I was shooting In The End, a short about my grandmother’s dementia. Twenty minutes into an interview about meeting my grandfather, the camera stopped. File corrupted. Recording limit I didn’t know existed. That story—gone. I’d spent $1,800 on gear that looked professional but couldn’t … Read more
The Hook 3:47 AM call time. Victoria, BC. February. The set for Maid smelled like sawdust and stale coffee, and the BC dampness had already soaked through my rain shell—the cheap one I bought thinking “it’s just drizzle.” By hour six, I had a headache sharp enough to ruin my focus, and by hour nine, … Read more
3:47 AM: The Moment the Math Stopped Working I’m crouching in a Vancouver alley on the Maid set, spray-painting a milk crate to match an art department reference photo, and my hands won’t stop shaking. It’s not the cold. It’s the math. I’d been running the numbers for three hours: if this 10-episode gig dried … Read more
The Hook Middle of night three on Married & Isolated, I’m wrestling a SmallRig cage onto an iPhone 12 at 2:47 AM. We’re shooting the breakup scene—tight quarters, one practical lamp, and I need that horizontal flare without blowing out my actor’s face. The Moment 1.33x I’d been using all week is back at base … Read more
The Hook At 4:30 AM on the Maid set, I watched a $50,000 cinema camera rig get canned because someone forgot to hit record on the audio. The DP was livid. The AD had to reset 40 background actors. And the sound mixer? He just shrugged and said, “That’s why I always run a backup.” … Read more
So You Want to Be an Actor? (Yes, You Can Start With Zero Experience) The Hook I stood in a restaurant set at 6:47 AM, wearing someone else’s sweater that smelled like moth balls, waiting for my big moment as “Restaurant Patron #3.” My job? Blink at the camera while pretending to enjoy a prop … Read more
When Netflix-Level Stabilization Lives in Your Pocket I was wrapping up a night shoot for Going Home last month. Phone in one hand, frantically trying to capture this gorgeous neon-lit alley in downtown Vancouver. The shot was perfect—moody, cinematic, exactly what the scene needed. Then I watched the playback. It looked like I’d filmed it … Read more
The 2 AM Reality Check LAX Terminal 1, 2 AM. My flight from Sundance just landed three hours late. I’ve got two Pelican cases stuffed with camera gear from Going Home post, a backpack overflowing with festival swag, and exactly zero energy left to deal with LA traffic. The Uber line snakes around the terminal. … Read more
B-Roll Footage: How to Shoot & Edit Like a Pro (2026 Guide) In Going Home, my short about two hard‑of‑hearing friends who bump into each other on a downtown street, I learned a crucial lesson about visual storytelling. When the cast signs, every gesture, every flick of a wrist, every raised eyebrow carries the weight that … Read more