Long-form writing from 15+ years behind the lens. Field reports from Kumbh and Ladakh, craft notes on aerial color, gear teardowns, and the occasional unsolicited essay on why we still chase the light.
Cutting a 3-camera Indian wedding in Premiere vs Resolve on M2 Pro — render times, proxy workflows, color roundtrips, and which NLE actually ships the film faster.
Read the full pieceGetting your CST and LUT node order wrong in DaVinci Resolve doesn't just look bad — it breaks the math your LUT was built on. Here's exactly why, and how to fix it.
Banquet hall tungsten turns every sangeet into an amber swamp. Here's the node-level correction pipeline that pulls it back without destroying skin.
DGCA's Digital Sky portal looks simple until it isn't. Here's the exact workflow — UIN registration, Green Zone checks, NPNT compliance — that gets your drone legal and in the air.
Sony's S-Gamut3.Cine renders Kerala's monsoon greens with a saturation spike that survives even a careful CST. Here's the exact node chain that tames them without draining the life from the scene.
The FX30 and FX3 share Sony's color science but their skin tones don't match out of the box. Here's exactly why — and the one node that bridges them.
Silk lehengas kill lav capsules with friction noise before you've hit record. Here's exactly where to place the mic, which tape holds, and how to rig a bride for a full sangeet.
Mandap fire blows highlights before you can blink. Here's the exact node tree — qualifiers, HDR wheels, and saturation limiters — that holds the bride's lehenga while the flames stay alive.
That blown magenta band above the Arabian Sea isn't overexposure — it's a gamut violation. Here's the node tree that recovers it before your LUT even sees the frame.
Same sensor, same log profile — and the cameras still don't sit on the timeline. The drift, the offset, and the group-grade workflow that locks them up in Resolve.
Three light sources, three colour temperatures, one subject. The parallel-node tree we run on every pheras segment to keep skin where it should be.
Most "the LUT looks bad" calls aren't a LUT problem. They're an exposure-mismatch problem upstream. The four-node tree that fixes it for good.
Most cinematic LUTs are graded against pale Western skin. Apply them to brown skin and the bride goes pumpkin. Here's the qualifier-based fix.
S-Log3 isn't Rec.709. The LUT doesn't know that. Here's the Color Space Transform node every Sony shooter should have wired into their grade.