There’s a strange misconception in filmmaking that success comes from mastering equipment. Cameras. Lenses. Lighting setups. Technical jargon. But after listening to Jared Hess, it becomes painfully obvious that the most valuable skill on a film set has almost nothing to do with cameras at all. It’s trust. The ability to walk into chaos, uncertainty, impossible schedules, nervous talent, dangerous environments, and somehow create calm while still delivering beautiful images. That’s the real craft.
Jared’s career path reflects the evolution of modern independent filmmaking itself. Raised around storytelling through his father’s screenwriting background, he entered filmmaking during the DSLR revolution, when cameras like the Nikon D90 suddenly allowed creators to bypass expensive film stock and traditional gatekeepers. Instead of waiting for permission, Jared began creating content guerrilla-style, teaching himself how to solve production problems in real time. That relentless experimentation eventually led him into professional work with ESPN, WWE, Bellator, and major fight productions.
What makes the conversation fascinating is how unglamorous professional cinematography actually sounds. Jared describes shooting in rough Miami neighborhoods where safety became part of the production plan. He talks about entering gyms with barely functioning electricity, unstable environments, and unpredictable personalities. Yet these difficult locations became his training ground. Instead of resisting chaos, he learned to adapt to it. And in many ways, that adaptability became his greatest professional advantage.
One of the strongest themes throughout the episode is the psychology behind filmmaking. Jared repeatedly emphasizes that talent management matters as much as lighting setups. Fighters cutting weight before a match don’t want to spend hours waiting for camera adjustments. Celebrities constantly surrounded by cameras don’t automatically trust another filmmaker walking into the room. Jared explains that the cinematographer’s energy directly affects the subject’s comfort level. If the crew appears nervous, stressed, or disorganized, the subject immediately shuts down emotionally.
That idea expands into a larger lesson about leadership on set. Too many filmmakers believe authority comes through aggression. Jared sees it differently. Calmness creates trust. Preparation creates confidence. Communication creates momentum. Even when productions go wrong—and they always do—the crew takes emotional cues from leadership. “You want them to feel relaxed,” he explains, describing how important it is to humanize yourself before interviews or emotionally vulnerable moments.
The conversation also offers incredibly practical advice for directors working with cinematographers. Jared stresses the importance of trust between directors and DPs. Once a cinematographer is hired for their visual ability, constant micromanagement only slows the process down. He argues that strong pre-production communication solves most on-set problems before they even happen. When the creative vision is aligned beforehand, the production day becomes about execution instead of confusion.
Another fascinating part of the interview revolves around modern digital cinematography itself. Jared discusses the challenges of judging images across different monitors, lighting environments, and workflows. He specifically praises OLED monitors as one of the most important technological tools for modern cinematographers because they provide more reliable image accuracy in unpredictable shooting conditions. While this may sound technical, it reveals something deeper: modern filmmakers are constantly balancing artistic instinct with rapidly evolving technology.
But beneath all the filmmaking advice lies something much more universal. Jared’s philosophy ultimately comes down to humility. He repeatedly returns to the importance of relationships, professionalism, and making others feel comfortable. Great productions are rarely built through ego. They’re built through trust, collaboration, patience, and consistency over time. The cinematographer is not simply capturing light. They are managing emotional environments while shaping visual storytelling under pressure.
And maybe that’s why the best filmmakers often appear calmer than everyone else on set.
Not because things aren’t falling apart.
But because they’ve learned that panic never improves the image.
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Alex Ferrari 0:47
Enjoy today's episode with guest host Dave Bullis.
Dave Bullis 1:54
My next guest on this show, and I actually met by accident. I actually reached out to him originally because I thought he was the Jared Hess from Napoleon Dynamite, and he's actually another Jared Hess who's a cinematographer, so we still, you know, we talked, and you know, he agreed to come on, so you know, Jared is on location in this interview, so a few segments are going to be a little noisy, so just bear that in mind, but it's still very, very audible, and without further ado, with cinematographer Jared Hess. Jared is a cinematographer based out of Orlando, Florida, and Jared has worked in the indie film television market for over 10 years and has produced content for such clients as Bellator, WWE, and ESPN. Jared, how's everything going, buddy?
Jared Hess 2:39
Good man out here in sunny Orlando, so can't complain about 80 degrees, so now the rest of the United States happier quota right now. So
Dave Bullis 2:50
It's here in Philadelphia. It's been such a warm winter, it's been unbelievable.
Jared Hess 2:55
Oh yeah, I've heard that, you know, I was just out west doing some shooting, also, for the, you know, the weather's been great, like for the most part, so nobody's getting hit too hard by snow and winter, so,
Dave Bullis 3:10
So you know, you know, Jared, just to begin, you know, the, the question I always ask everybody is, you know, how did you get started, you know, you know, and what exactly is your background?
Jared Hess 3:19
Well, my dad was actually a screenwriter, you know, before I was born, and he had a business partner, Wayne Beach, and he, you know, they.. my dad went into other things. Wayne Beach kept going at it, and he sold a couple films to Wesley's Knife, The Art of War, Order 1600 and then he directed it on Slobod, you know. So I kind of always looked up to him, and you know, I was always into doing telling stories, and thought I was going to be an actor for a while. When I went to college, I decided to kind of pursue the kind of film element doing digital media video production, and then the birth of the D 90 came out, so I wasn't chasing down film stock and renting expensive equipment, and started making my own content. I'm doing gorilla style filmmaking, producing some short films, and then I started getting picked up, you know, primarily by ESPN, and then Spice Television shooting a lot of their feature content, and what have you. So,
Dave Bullis 4:36
So, how did they discover you at first? Did you send them a reel, or did they maybe, you know, happen upon your content online.
Jared Hess 4:42
Well, I worked with a couple individuals who I'd known with, and they kept pushing me and kind of exposing some of the things that I've been shooting, and you know, I did a couple of short films and was always looking to kind of self-promote, and you. Know there came up a couple opportunities where they needed some people to be kind of a film style look for some of the feature content, and so kind of created kind of that niche, or fell into that kind of niche of kind of doing the film look for, you know, features for different clients, you know, whether it's they're usually short form. I've done a couple long, you know, long form, hour long projects as well, outside of features, and when I meet features, I mean, like, you know, short form features for, you know, different, whether it's a fight or, you know, a big event, those kind of things, the story, the backstory, and the storylines that are primarily used without within the actual live event. So
Dave Bullis 5:50
Now you know, you got to work with WWE, you know, so, so you know, what did you do for them? What did you shoot for them?
Jared Hess 5:56
Done a couple of, you know, they've asked me to do a couple of different things, where I shoot, Eng, or do like some of their backstage kind of things, you know. I really wasn't able to commit to them because of Bellator, and then now I do Premier Boxing Championships, which is two shows on Spike Television. So, you know, I've been on there, I do a lot of elements, and I'm almost 30 weeks with Spike, and then you know, so I do a lot of their stuff. Right now, I'm shooting the project with Hoist Gracie, Ken Shamrock, and Kimbo Slice for the doing an upcoming kind of fight that they're doing an hour long project with those four guys, or those three guys, primarily, you know, and that, that's really cool. Yeah, it's, you know, actually, I'm, I'm not really a violent person at all. It's funny that I actually end up doing a lot of fighting kind of stuff, so I've, I've kind of become just the go-to guy when it comes to setting up shoots in some, you know, undesirable locations, but some of these gyms aren't always the most flattering of places to be setting up a on-location shoot, but since I've shot in so many of them and become known a lot to the fighters, some of the more prominent ones. I've, I guess you could say, I've kind of created a name in that environment,
Dave Bullis 7:29
So you know, are some of the more popular gyms, are they, and are like, are they in some of, like, the rougher neighborhoods, and you know, is that maybe a challenge of itself?
Jared Hess 7:37
Yes. Recently, it's funny you mentioned that. I recently I have shot in a pretty.. I mean, Miami, Florida has got several locations where you don't want to be caught after dark, but recently I did a shoot there, and when I was addressing my crew before we got started, I mentioned the first thing that we want to make sure we do not do is get shot, and that safety was a number one issue, because we were clearly could be considered trespassing onto into enemy territory. It wasn't a safe neighborhood by any means. So, yeah, I mean, recently I also shot it, you know, Mayweather's gym, which you know may arguably be one of the greater fighters of our lifetime, and you know, you go into like locations like that, and people have shot so many times, DP is have left in the photo bulb, sometimes you go into places and there's barely intellect any electricity, you've got, you know, it's you've got a garage door that opens, so you're often surprised, pleasantly or not, on what you're going to walk into, you know,
Dave Bullis 8:51
So you know on those locations, you know, I guess you know it really challenge also comes because you can't do a real tech scout, right, so you basically, I mean, I'm sure the location scout, if even there is one, is basically probably just them just showing, you know, taking a photo with their cell phone, you know, probably somebody from, like, you know, an entourage or an assistant probably taking a photo, right? And then you probably just, that's probably all you get, if even that. Correct, am I correct or not Jared?
Jared Hess 9:16
Yeah, I mean, yeah, absolutely, 100% Scouting locations is fantastic, and it's a wonderful, it's a wonderful thing to have if you can get it, but yeah, you're not. It's usually the lowest common denominator that's being sent up there, you know. So it's kind of one of those things that's an afterthought. So a lot of the times I'll do the research myself, and you know, kind of walking into situations where I'll have to just be ready, you know, and, and you know, kind of rigging up things and having things set up easy enough where I can, because a lot of times I don't have a director and I'm producing out there and during. Working myself, so having knowing every element and how to over, you know, to compensate and to use certain things to my advantages. You know, if you've got, you know, we're shooting 240 frames. I've got a guy who's fighting 20 pounds in a day and a half, he's not going to want to sit there and work out for me for two hours, so and be patient while I set up light. So I've really got to kind of be ahead of the game and be ready to go and be patient with these guys. You know, the number one thing I'll say I think I have going for me is, you know, what I try to tell people is that you got to be really good people person, especially interacting with people, and you know, showing that you're not stressed, even though you may be, you'll get the better through the data on things, and that's what's true, I think, with any kind of on location shoot.
Dave Bullis 11:07
You mentioned not having a director on some of these shoots, so when you go into, you know, to some of these shoots, then it's basically you just have that shot list that you want to get, and I'm guessing, you know, you're basically that, that basically is becoming, you know, you're the director, then, but just the shot list. Am I, am I correct in that?
Jared Hess 11:27
Yeah, a lot of the time we're working with certain story elements, you know, so if, if you know, we have certain backstory that's provided by, you know, different producers or different pre-interviews, so I'll be provided a lot of that information, so you know we'll get certain, I'll get certain shots and set up certain things that will kind of kind of help out and kind of captivate the story that we're trying to tell, so because if you know if we're shooting, for instance, somebody who's, you know, tried to, you know, try to escape Cuba or something like that. We don't have any footage of him trying to, you know, get on a boat and come over from Cuba and come to the United States, and in, you know, what we also want to use original footage, as opposed to trying to dive into stock footage, so you're trying to recreate kind of emotional elements that kind of tie in with the story. It's always, you know, not only an obstacle, but it's kind of a fun part, because you know it's a challenge. You create something that's still visually enticing, and but also ties into the story,
Dave Bullis 12:42
You know, very true, you know, you know, I've done some, you know, interview segments, not nothing of that caliber, what you're doing, and you know, usually you have that, you're the same question, you know, the same questions that you have to ask the subject, and you know, like, like, for instance, I put together, like, an educational, real educational package, excuse me, for a couple universities, and you know, you have to ask the same questions, and one of the things that I found was, was that basically, you know, they, they want you to, it starts off, you know, small, like you're just being the videographer, and then suddenly, you know, there's so many people having different say, you know, a different say in things that you've got to, you know, sort of please, like, you know, 567, or eight different people, you know. Do you, do you find that is the instance in some of these cases
Jared Hess 13:28
100% You're always trying to please other people, and not only that, you're, you know, you know, some of the things that I shoot get used on a million different things. I might be, you know, say, hey, this is supposed to be used in this location, but at any given point it could be used during the live show, could be thrown in with promotional stuff, so you're, you know, and then you always get the, hey, why didn't you do this for us? Well, I had no idea it was going to be used in that, that's not why I shot it that way. So, yeah, I mean, you're always trying to kind of be ahead of the game, please, people, communication, you know, is always key. So, yeah, you're always trying to kind of communicate with what's what's what's going on, and then not, not to mention you always wanted to make it look good, and how you want to make it look, you know, not just some generic, you know, flat shot of just coverage. You want it to make it look cool, make it look like it's your own, and kind of edgy, you know, and look like you really put some production value into it, and you've got to do that within a budget. And so, yeah, I mean, the other thing is it's always great to have a bunch of hands on set, but it also can get too many hands, and you got too many people putting their two cents in, you know. I feel comfortable enough where I can walk into a gym shoot with a fighter, you know, especially somebody that I know or account. That I know, and it could be myself, and you know, a PA, and in a shooter, or you probably have to shoot and send them to do it. I'm completely confident that I can get what I need to get done and communicate with the spider, because I kind of is also just like in anything else, there's kind of a unspoken rule book of what you're supposed to do within the gym or within a certain environment, and you want to kind of make it look like you've been there before, so once they get the feeling that they kind of know you, or you kind of have that cred, I think you're that benefit of the doubt, you know, you'll get the extra 20 minutes to get some extra stuff, he may, you know, that's that fighter, that, that you may be able to get some extra stuff, where maybe the initial interview didn't wasn't able to get, because he was nervous that you know he didn't want to relay that to anybody, but because if you created that relationship. Now you've gained some information that, hey, this would be a great storyline to kind of add into the piece. So, and then at the end of the day, you have a job to do as a producer that you know, DP, so you really got to kind of the guy just kind of sitting there, he's cutting 20 pounds, for instance, and he's just kind of a lump, you gotta, you gotta say, "Hey, let's get this done, let's try to sell this fight, and give me, give me all you can give me for, you know, 15 minutes, and we'll get you back to what you need to do, get yourself ready for this fight, well, let's get people to watch, you know, so it's a lot of give and take, and, and you know, at the end of the day, I'm just trying to make them look good, you know, that's one thing I try to really do. So, if the talent, I want them to look good, then they will be the ones that say, "Hey, I want to work with this guy, he understands me and makes me look good. So,
Dave Bullis 16:59
You know, you know, Joe, you mentioned being a people person, and how you know important that is. I, you know, I think that is a great point to make, because you know, I've been on set sometimes where you know, even the director cinematography, or even the director has just been a complete jerk to everybody, and you know, they're yelling, and you know, every everything is yelling at everybody, so you know by the end of the day they're just basically tuning that guy out.
Jared Hess 17:26
Yeah, I mean it's like I said, if things are gonna go wrong too. So if you know I've had fighter, which are notorious, or I'm the same fighter, that's what I'm working on right now, but it doesn't matter regardless who you're working with, you've got things are going to go wrong at some given point. Technically, flights get missed, all that kind of stuff, but if they, you know, you developed a rapport, maybe not that guy, but maybe his buddy or something like that, you, you're going to get the benefit of the doubt if you tiptoe around them and make them feel awkward. I think it's kind of create an environment that that's not conducive, not only to get your help you out, but I think it just creates something like a, like a trust, a mistrust situation, where you just want to create like a really kind of relaxed, you want them to be themselves, you know. Hey, help me out. I promise I'll make you look good. You want to give them the confidence that you're not there to make him look bad. Ultimately, as black and white as that sounds, that's really, you know, these especially if you're working with somebody who's, you know, if you're working with an Albert Pujols, or you're working with the Hoist Gracie, you're working with somebody who's always, he's got a camera in their face all the time, you want them to kind of develop a trust with you, so you know they're otherwise they're just gonna be like, okay, yeah, I'm just gonna give you the same answer I will give everybody else, you want the new answer, you want the new look, you want the thing that somebody else isn't going to get, you know, and it comes with, you know, I think confidence, knowing what you're doing, being ready, but also kind of developing that personal relationship.
Dave Bullis 19:17
Yeah, you know, that's an excellent point, you know. I always find if you're going to interview somebody, basically not, if you could give, you can talk to them, even through email beforehand, that's a huge bonus, but if you have to meet them the day of, which, you know, I've been in that situation too, you know, I find that, you know, just talking with them for five to 10 minutes, shaking the hand is important, sort of getting that, like a physical contact, you know what I mean, they know you're not going to be, you know, pretty, but basically a jerk, you know. And you know, one thing that I've, I've learned is whenever I'm going to interview a subject, so if, whenever I see they're nervous, I usually just roll the camera and I begin talking to them, and I said, you know, okay, you know, we'll begin, you know, whenever you're ready. So, basically, I'm just rolling, because you know we're all shooting on digital now, so there's no film wasting. So, you know, I usually roll and just say, you know, wherever you feel comfortable, you know, you can introduce yourself and start talking, basically, sort of, it makes them feel that they're in control of the situation, which some degree they are, but they aren't, if you know what I mean,
Jared Hess 20:29
100% man, yeah, you want to, yeah, if you, if you, if you're, you want to make them feel like you're ready, but you're, you know, not necessarily waiting on them, but yeah, you want to feel like just, I mean, I think it's creating an environment where they feel relaxed. If you know this is the sense of anxiety, whether they want to invade it or not. So, if you can kind of nip that in the butt right away, like, hey, listen, I'm gonna get out of your way, you know, and we're gonna get you, we're gonna make you look good. Everything's taken care of, everything's organized, you know, whatever, let's chill, you know, maybe you crack a joke, something to kind of humanize yourself, because they don't want you to think you're a robot, and kind of, yeah, it's at the end of the day, I feel like I've always been able to get the, you know, because you're always going to get the, oh, we need to get that, or, oh, by the way, so if you develop a personal relationship, you know you can text or call these guys and just say, "Hey, man, I hate to bother you again, but you know this really need to grab this one extra thing. I can't get five more extra minutes of your time, and I rarely have that, you know, that time where the talent is unless, unless they're really doing something, where they said no, you know, usually like, yeah, man, no problem, give me, you know, give me an hour, let's do it right before dinner, or something like that. So, and you know, like I said, that's kind of helped me in that, that avenue, you know, where I'm like, okay, yeah, no problem, man. Thank you for giving me your extra time. I'll work around you. You know, I'm in your environment, you're not in my environment, you know that kind of thing.
Dave Bullis 22:09
So, yeah, they develop never poor is very important. You know, I agree, agree 100% You know that that is something that I found over the years as well. You know, and you know, I know you also, you know, as you mentioned before, you work on on films as well, so you know, sort of to transition to that, you know, when you're on a film set, obviously, you know, there is going to be a director, you know, hopefully, hopefully, right, Jared, but, uh, yeah, but if you know you're working on a film set, you know, I, I think you know, building that teamwork and building that trust is sort of key, because you know, I've been on film sets where you know there is no teamwork, sort of everybody is off on their own little island, so to speak.
Jared Hess 22:52
Sure,
Dave Bullis 22:53
And you really don't feel like everyone's kind of working together, you feel like everyone's working and doing their job, but it's not to do the same goal, if you know what I mean.
Jared Hess 23:02
Yeah, I mean, I would say that whenever I have an opportunity to put together guys, or I walk into a situation where you know whether I'm replacing somebody else, or you know, you're you cut everybody's crude already, and you're kind of brought in to kind of manage the team, you know, you, you feel kind of like you're walking in enemy territory or something like that. You tell them once again, you know, I always try to nip that in the butt, you know, and if you can get along with everybody and kind of show them that you don't have an agenda, I think that, and your agenda is just to do a good job, you know. I think that, that, whether it takes time, more time than other times than not, you know, it seems to kind of work. That's kind of worked for me, is that, hey guys, are just, you know, not the best situation. I understand. I don't know, you guys, I'm sure you guys are all talented. Let's do a good job here. There's any confusion, I promise you, or you, something goes wrong, you know, I'll stick up for you. We're not here to throw anybody under the bus. Let's just do a good job and get and make this look good, and kind of go over what we, what you can, and the allotted time, because it's never enough time, you know that, so
Dave Bullis 24:23
Yeah, it's always time and money, right Jared?
Jared Hess 24:25
Are you kidding me? Yeah, I'm learning more and more as I do things to keep asking for even more time than I'm giving, because there's always the old, by the way, and there's always the, you know, I've changed my mind, you know. So, and is as much as you want to get aggravated and get angry, it's just, but it doesn't really help, you know. You just want to need to get on and hope the guys that are around you can kind of have the same mindset and are ready for it as well.
Dave Bullis 24:59
Yeah, you know, I. I find that you know the shooting schedules, where you know you're working like 1618, 20 hour days, and you're trying to smoosh all of this shooting schedule into a very short window. I found that, you know, over the years, that not only I think is that well, I just feel that that's not the right way anymore, and I think more, more filmmakers, more indie filmmakers are coming to their, to their senses that you know we don't have to emulate the big guys and shoot, you know, an entire script in, you know, this little tiny window. If we can, let's get a little more breathing room in here, and you know that way we're not, you know, burning ourselves out within the first week. I mean, is that something you're finding out as well?
Jared Hess 25:41
Yeah, it's, you know, stretching just depends, I think, where the lines are drawn, as far as what you are and aren't doing, you know, especially in regards to budgeting and that kind of thing, you know, you've got, if everything's laid out and everybody, and everything is very transparent, and you kind of see from beginning to end, all the, you know, ABCD, you know, everything's light out, pre-productions done, you should be pretty ready right on pace, and not really kind of burning yourself out, but as you know, that never happened, so you be, you know, but that's cool, and you know, for the most part, that's kind of what I was brought along in that atmosphere, so it's, it's not comfortable for me, it's not the most ideal situation, but I excel in it, and let's at the end of the day, you know, I still, still get the job done, I get it the way I want it to look, and I think that, which counts, and so, yeah, telling a good story, right, that's what you're there to do, so
Dave Bullis 26:58
Yeah, exactly, and that's actually one of my next questions for you. Was, you know, you know what advice would you give to directors who work with cinematographers? You know, maybe there's something they do that you know is grading on cinematographers. There's some directors, or you know, maybe they're sometimes not clear enough. So, you know, if you, you know, what advice would you give to directors when they're working with cinematographers?
Jared Hess 27:22
Yeah, I mean, I think number one, you know, if you bring in a cinematographer and where you do a good job, you know, you look at their work, you said, 'Wow, this guy's good, and you brought him in to do something, I think you just trust him with it, you know, especially I try not to carry an ego with me, so I can't, you know, I don't know if that's a good or bad thing sometimes, but you know, go in, just try to do a good job, and once again, develop a rapport with your director, and see how he likes to, you know, and get on the same page with him, and, and really do as much pre production as humanly possible, so you, when you walk in, it is something that you're, you're really ready to go, you know exactly how you want it to look that matches up with the end product, and so that when they're going through daily, they're looking for eight, I think it shortens your days, you know. I think at the end of the time, at the end of the day, too, keeps them on budget because you're not sitting there tweaking with things consistently, or doing pickups, and that kind of thing. And yeah, I mean, number one thing is just trusting, you know, really, if you bring in somebody, do a job, and you see, and you, or, or you know, you've worked with them in the past, it's just trusting their, their eye, and, and that they're going to be there, and do what you want them to do. Actually, I've got a director here calling me now. Do you take it? I can call him back here in a moment. Are we almost about wrapping up here?
Dave Bullis 29:02
Yeah, probably like three more minutes. Is that okay?
Jared Hess 29:05
Yeah, 100%
Dave Bullis 29:07
So, you know, is there any advice then you have for first time cinematographers?
Jared Hess 29:13
I mean, yeah, I would say, you know, you know, develop develop relationships with, with, with people in the business. You know, networking is always great. No, I think doing things the right way the first time, and getting off on that bad foot, in regards to, you know, showing what you can do, but not stepping on people's toes, kind of gives you, because you're going to develop a reputation one way or another, so it might as well be a good reputation, you know. And you know, making things look, you know, scratch that itch, man. You know, that's the one thing I started doing anyways. I was like, man, this looks so great. How do I do this? And how can I do this with what I have. You know, how can I attain this look with what what I have to use, and you know, trying to recreate certain looks and certain ways of shooting, and always trying to, you know, change things up, so it's not always the repeat, you know, it's not not everything you do is the same, you know, because I think everybody who's picking up a camera and he's trying to be a TP is really just, you know, it's really just, it's an outlet for creativity, you know, so that outlet of creativity, you're trying to always come up with new looks, you may not be the first person to do that, but it's always a, I think it's self-satisfying when you are able to accomplish something that you know you pull off a look that you're like, man, I, I want it to look this way, I've got my mind's eye has got it, and when you, when it's in the can, and everything looks just the way you want it to be, and the delivery was right there, you know, you get that, that self joy, and if you're able to do it the right way, without stepping on his and her toes, and you know, pissing off this guy and that guy, you know, I think that that's really, it's really cool, really cool moment that I have. It's like, hey, Victor was happy, the producer is happy, that you know, the town loves working with me, you know. The PA was happy just to be there, you know, that kind of thing. When everybody just like, man, I was like, I love being there, and you kind of helped be a part of it. And then you also get that, that end project that, that looks fantastic. It's really gratifying,
Dave Bullis 32:02
Yeah. And you know, I concur. You know, it really is great when everyone sort of, you know, comes together. You know, just to.. I know you have to go, so just.. just to sort of close this out. You know, I recently was on a.. I was working with M Night Shyamalans, producer, okay? And we got to go to this post-production house, and it was a beautiful theater, and the guy who works there was saying, you know, that the track lighting that they use on the floor there, those floor lights, he said, as soon as they started screening footage of another movie, the director of cinematography was like, wait a minute, he goes, this color is off down in the bottom left here, what the hell is going on, and then he turned off the lights, so now it's like pitch black, except for the screen, and the direct photography was like, okay, now this is now this looks good. I remember this looking like this now, and you know, and everyone sort of, you know, you know, obviously, you know, some people I probably wouldn't even notice that, but obviously, you know, he did, because you know, a, as that eye
Jared Hess 32:59
Details are always something that you're, you're especially, you know, you're looking now, it's even more difficult, I think, because you have, you know, everybody is shooting, you're shooting constantly, because it's cheap, and you don't have your money's not Quentin Tarantino, so I have yet the ability to shoot on film, so you're just constantly shooting because it's cheap. You can just take another director, maybe watch down this monitor, you know. So, if they're not calibrated correctly, who knows what they're seeing, you know? Who knows what they're maybe they're looking at is the raw without a lut dropped in, and you're just, you know, you're looking at nonsense, essentially. So, yeah, there's.. it's.. it's an interesting thing, where you never know who's going to be looking at it, and where they're going to be looking at it, and.. and what lighting, you know, set up. Are they sitting in a dark room, they sit in a light room, are they looking at a video monitor, are they looking at its 24k monitor? Are they looking at an OLED? Yeah, so it's that's another thing I would say, especially with the the OLED thing, that's that's DPS best friend is an OLED monitor. If you can have one on set at all times, I was just doing that, because then you know exactly what you're seeing, and at the end of the day,
Dave Bullis 34:25
Yeah, that post production house recommended that as well, because they actually had their workflow recommendation, and that was on there, the monitor,
Jared Hess 34:33
Yeah, I mean,
Dave Bullis 34:34
That monitor, I mean,
Jared Hess 34:35
Yeah, an OLED monitor is it's especially for run and gun stuff, you're walking into fluorescent, you're walking into, you know, just who knows, and you're trying to set up, you want to make sure that you've got one of those on on site, because there's a couple of them out there, the Odyssey now has one where you can. A drop in a lot, and match it up, so it's pretty close to what your editor is going to be looking at, or your colors is going to be kind of looking at, so you know, correct your blacks and those kind of things, which is just, I mean, just incredible to have on sites, you're not guessing, and hoping that the guy you know, the color decides to go this way or that way. It's just, I mean, I can't tell you how much that saved me. It saved my probably my careers, just having one of those on on site at all times. You know, it is not as the analyst see a close to end product on especially low budget type stuff.
Dave Bullis 35:48
Yeah, that's you know, again, like one of the things they were saying was, you know, again, like these cinematographers, they always tell them how important that the particular monitor is. So, anyone listening to this. I'll make sure to link to that in the show notes. The monitor we're talking about, Jared. I, you know, I know you have to go, so you know. In closing, you know where people find you out online.
Jared Hess 36:10
You can check out jaredvideo.com I also do. I'm doing the new show with Probellator for the upcoming fight of february 19 with Gracie and Shamrock, so you can check out my work there. The show will be released the week prior. Yeah, and I'm actually doing some stuff this week for ESPN, Phil. We're doing a couple bow gang type stuff, so yeah, I'm all over the place. I haven't, yeah, I haven't stopped working since the 10th, so,
Dave Bullis 36:43
So you're on Twitter as well, right?
Jared Hess 36:44
Yeah, Twitter, Jared had 06 and Instagram is Jared has 06 as well. That's usually just patients of my son, so
Dave Bullis 36:53
I will link to all that in the show notes. Everybody, Jared, I want to say, thank you very much for coming on.
Jared Hess 36:59
Hey, thanks for having me, man. Good talking,
Dave Bullis 37:02
Good talking to you too, buddy. Take care.
Jared Hess 37:03
Bye.
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