Cap

Directed by Taj Stansberry — KSI ft. Offset

The Day-Before Call

I got the call the day before the shoot. The original DP had caught COVID and the producer knew me. Could I be on set tomorrow with two cameras? I said yes.

I showed up and worked within the framework the former DP had established — the lighting plan, the set design, the overall look was already in motion. My job was to step into someone else's vision and make it my own without disrupting what was already built. It's a particular skill: reading a lighting setup you didn't design, understanding the intent, and then finding your own angles and compositions within that structure.

KSI and Offset

This was my first time working with director Taj Stansberry. He's fun and easy to collaborate with — clear direction, good energy, keeps the set moving. KSI was cool and very professional. He showed up prepared, knew his performance, and gave us what we needed.

Offset is a trip. He wanted to be there for exactly one hour. That was it. When you know you have sixty minutes with a talent, you don't waste a single one. Every setup has to be pre-lit, every angle has to be planned, and the moment he walks in, you're rolling. There's no rehearsal, no warming up. The constraint forced efficiency — and the energy of that urgency shows up in the footage.