You click through the vast majority of cinematography videos on YouTube, on Instagram, things like that. The vast majority, right? A lot of them are telling you specific way to light a specific scene. And I think it's great because it gives you examples of maybe how somebody else's mind works. But one thing I want to really, really, really drive through is that even if I put one out, right? Or any other great talent and person on YouTube, that does not mean that it is the finite way of doing that. It's not the finite way of achieving that. And everybody has a visual expression of how they think. And also everybody has a technical expression of how they want to achieve a certain result. And at the end of the day, this is art, right? There are technical things that come into place when it comes to cinematography. But on top of that, I want you guys to think the next time that you are lighting or composing a shot, how you would like it, just like that video that I put out, where you're in perfections, right? And what I mean is, let me give you an example. Is when you go online and you watch a cinematography video, we always hear non-stop. We want that soft cinematic key light. Yeah, yeah, we want that soft cinematic key light, right? And soft light can look great on a face. I'm not saying it doesn't. But what I am saying is why the fuck does soft light always have to be the go-to, right? Why do you feel that you have to do that, right? Everybody's telling you that that's how your key light should go. There are many, many great films, especially in the 90s and the early 2000s when I grew up, that have wonderful examples where the character is specifically lit with hard light. And it is maybe not the most flattering, or it maybe looks a little bit aggressive, but there are many times where that image has so much depth and so many layers, but had that DP stuck to this rule or this societal norm within cinematographers of all, we want that soft key light, right? We would have never gotten that image, right? And then on top of it, everything in life is circumstantial. I'm sitting in this car right here right now. The sun is beaming in. Do you think that if I had some lights outside this window, that they would be very soft, right? If I was trying to mimic the sun, it's blasting in and it's hard, right? Sometimes some of this could be genre specific. Sometimes some of this could be taste specific. And sometimes it could be all about, you know, what you're trying to motivate within your scene, right? And there's so many different things, but what I'm saying here, guys, is don't think that there is a one way to do it all. When people say, oh, you need a soft key light. Oh, you should use this for now. Oh, you should use this light to do this. Don't think that way. The other one that drives me insane, and I'm gonna wrap up this video, is the trend right now where everybody wants to shoot large format, wide fucking open, right? I think Jacob Owen said this, he said, you know, you wouldn't build a house with only a hammer, right? You got screwdrivers, you got wrenches, you got saws, all of these things and tools in your arsenal that you would use to build a house. So why is it that almost every major music video commercial and cinematographer right now can't wait to get their hands on a large format camera to have the lens as bleeding wide open at T1.2. So their focus puller wants to rip their hair out. So that way as the audience, you know, Timothy Shalamet's face in Dune is melted the fuck away. I can barely make out his left eyeball yet alone as ears, and the production design is totally gone, right? Maybe there's a reason for that creatively in some films, maybe, but at a certain point right now it's become a trend and it's become a thing that I feel like so many other people say, well, this guy's doing that. So I guess I have to do that, you know, so that way people will like my art form because that's what looks good, that's what everybody thinks looks good, right? No, no, we're artists at the end of the day and you have to make your own self expression in the way that you deem fit and the way that you want to convey a certain message to your audience, right? Pablo Picasso, you know, had to explain to certain people actually didn't want to fucking explain. Some people say, oh, why do you paint like that? This is not how people paint, this is not. But he's Pablo fucking Picasso now, right? You have to set your own trend. You have to tell people, listen, this is my style. Doesn't matter if it's different and eventually the right people will flock on to say, damn, you know, what this guy is doing is different, damn, this is visionary. You know what, and for a while I thought, oh, I'm going against the grain, oh, man, you know, people are not gonna like me saying this and you know what, I'm tired of it. So if you've taken anything from this video, I hope that you guys continue to express yourselves, continue to experiment as well. As I am right now too, you know, learning more about myself and more about what I like and trying different things rather than always just following what's going on out there and thinking that it's a technical rule that you have to uphold or thinking that this is a standard in what results in a good image or what people think is a good image. What do you think it is at the end of the day? You're the one crafting it. So don't ever forget that, go out there, shoot some awesome shit. Go! Go! Go! Go! Go! Go!