Faceless

Faceless Faceless Studios Created In 2019 Production, Recording Studio, Photography and Live Events

06/03/2026

We all start somewhere🎬🙂‍↕️

Looking back at the days of flying the Sony a6300 on a gimbal, it felt like getting to the next level was miles away. But you upgrade the glass, you step up to the A7S III with the 35mm G-Master, you scale to the FX6 on a Dana Dolly, and eventually, you find yourself operating an ARRI Alexa Mini on a crane.

The gear changes, but the work ethic has to stay exactly the same. Doing the same thing every day isn’t just repetition; it’s compounding interest.

Seeing my name in the credits of a feature film isn’t the finish line, but it’s absolute proof that being in the trenches pays off. You take the PA gigs, you learn the logistics of a real set, and you build the infrastructure step by step.
Never downplay your day-one rig. It’s the foundation of everything you do next.

Filmmakers: What was the exact camera setup you shot your very first paid gig on? Let’s talk about it below. 👇🏾

06/01/2026

$30,000 Cinema Setup with my students🎬🎥

We rolled out the heavy artillery for the drone program testimonials today.

in full effect!
This isn’t just about capturing an interview; it’s about showing the youth what a real production environment looks and feels like. We ran a full 3-camera, 3-light setup powered entirely by the Sony ecosystem, and the students actually helped me build this out.
We locked down the A7S III with the 70-200mm G-Master, flew the FX3 with the 24-70mm G-Master, and anchored the entire room with the FX6. We bathed the set in cinematic light using the Amaran 300c, and edged everything out perfectly with the Nanlite PavoTube 30s and 15s.
For the video village, we had the Hollyland pushing the wireless feed. For audio, we wired the talent up with Rode lavs for crisp, isolated dialogue while running the Sennheiser 416 on the boom as our pristine backup.

When you put premium cinema tools in the same room as students learning flight dynamics and tech, the energy completely shifts. They aren’t just learning how to fly drones; they are learning how to document their own legacy.
Filmmakers: What is your absolute favorite A-Cam / B-Cam combo for a sit-down interview? Let’s talk about it below. 👇🏾

06/01/2026

Let’s talk about the absolute delusion and resilience it takes to survive in this industry😂🎬

You clock out after a grueling 12-hour day managing set logistics for a production, drag yourself to the squat rack to hit those 170-pound target goals, and then stay up until 3 AM rigging the ARRI Alexa Mini LF just to turn around and operate the wheels for a jib shot at dawn.

We operate on pure adrenaline, caffeine, and a borderline unhealthy obsession with getting the perfect shot. The bank account might look chaotic while we build out these cinema packages, but the second we step on set and grab the wheels, none of that matters. You show up, you execute, and you make it look like a million bucks.

The infrastructure is built in the dark.

Filmmakers and Crew: How many hours of sleep are you actually surviving on this week🤨🎬?

05/31/2026

Gotta love some onset bloopers🎬😂

We rolled out the heavy artillery for the Faceless Foundation student testimonials today. We had the Sony FX6 and two FX3s rigged out with the 24-70mm, 70-200mm, and 35mm 1.4 G-Master glass. We lit the set in cinematic light using the Amaran 300c through a softbox and edged everything out perfectly with the Nanlite PavoTubes.

The lighting was dialed. The framing was flawless.
I hit record. The slate claps. I yell “Action!”.. crickets. 😂
My guy completely zoned out. I had to walk the camera right up in full distorted .5x mode just to wake him

You can bring all the high-end cinema gear and premium lighting in the world to set, but working with the youth will absolutely keep you on your toes. We got the shot eventually, but the blooper reel is undefeated🤦🏽‍♂️😂!

Directors: What is your go-to trick to get non-actors to relax and remember their lines on camera? Let’s talk below. 👇🏾

05/29/2026

Built for the solo commercial grind. 🎬🔋

This is my essential “one-man-army” camera and lighting package for a high-end commercial day.

When you’re operating as an owner/operator, your gear needs to be fast, self-sustained, and lethal. We built today’s setup around the Sony FX6, rigged out with the Sennheiser 416 for pristine scratch audio and the Atomos Ninja for monitoring. For glass, we are running the holy trinity of Sony G-Masters—the 24-70mm, 70-200mm, and the 35mm 1.4—but the secret weapon in my hand is the Laowa Probe lens for those impossible macro perspectives.
But a cinema camera is nothing without light and power.

We are rolling out a massive 700-watt light today, completely off-grid, juiced up by the EcoFlow portable generator so we can shoot anywhere without hunting for wall outlets. Everything is staged perfectly on the Kupo cart, including the iPad configured as a wireless director’s monitor so the client can see the frame in real-time. Add in the SmallRig sticks, a Newer slider, the DJI Mini 3 Pro for aerials, the Osmo for quick BTS, and a Pelican packed with extra V-mounts and my Meta Ray-Bans—and we are completely unstoppable.
Don’t just bring a camera to set. Bring the entire infrastructure.

Filmmakers: What is the one non-negotiable piece of gear on your cart that saves your life on a solo shoot? Let’s talk in the comments. 👇🏾

05/26/2026

Never contained in a box as a videographer/cinematographer 🙅‍♂️

05/24/2026

Now I work for myself 24/7 365😭😂

When you decide to step outside the standard path to build a production company, people love to project their fears onto you. They will judge the 14-hour days, the financial risk of investing in high-end cinema packages, and the unglamorous grind of building a roster of clients from scratch.

They call the freelance hustle “too risky.” Meanwhile, they have to ask another adult for permission to go to the doctor, and they celebrate getting 10 minutes of their own Tuesday afternoon back.

Building your own infrastructure is exhausting, and it requires you to be in the trenches on weekends while everyone else is clocking out. But I will gladly take the 16-hour days I choose over the 8-hour days I’m forced into.

Creative Entrepreneurs: What was the exact moment you realized you could never work a normal job again? Let’s talk about it. 👇🏾

05/23/2026

True to this not new to this😂

This life picked me

05/21/2026

Who needs the gym when you’re on set😂🎬?

In studio shenanigans with the team doing camera tests can get out of hand quickly.

Spoiler alert: The fully-rigged ARRI Alexa Mini is not for the weak. 😭

By the time you add the matte box, V-mount battery, monitor, and cine glass, you are basically lifting a dumbbell. Who needs a gym membership when you operate a cinema package for 12 hours a day?

Camera Crew: What is the heaviest, most over-rigged camera package you’ve ever had to shoulder-mount for a full day? Let’s talk about the back pain below. 👇🏾

The turnout for our lighting workshop at TAMCC was absolutely incredible. 🎬💡Seeing the hunger and the raw talent in Gren...
05/20/2026

The turnout for our lighting workshop at TAMCC was absolutely incredible. 🎬💡

Seeing the hunger and the raw talent in Grenada confirmed exactly why we do this. Massive thank you to for opening your doors and helping us build this community.

But we aren’t just teaching—we are executing.
We are coming back to shoot two original short films: Cutting Dead Ends by and SUNDAYS, a project deeply rooted in generational family traditions directed by myself

One of our main goals of and is to raise the level of cinema coming out of the Caribbean, and that means bringing the community onto set with us. If you are looking to see how a fully functioning production moves, we are opening up volunteer and shadowing opportunities to be a part of making the magic happen.

We are building the infrastructure right now. Let’s elevate the region together.

Filmmakers and Creatives: Drop a 🇬🇩 in the comments we’re looking forward to filming with you all VERY very soon!

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31-17 12th Street
New York, NY

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