MediaTwins Productions https://mediatwins.us/ Sun, 18 Jan 2026 23:30:29 +0000 en-US hourly 1 Why Savannah’s Growing Film Industry Needs Experienced Production Partners https://mediatwins.us/2026/01/18/why-savannahs-growing-film-industry-needs-experienced-production-partners/ https://mediatwins.us/2026/01/18/why-savannahs-growing-film-industry-needs-experienced-production-partners/#respond Sun, 18 Jan 2026 23:22:06 +0000 https://mediatwins.us/?p=1091 *By Kristian Dane Lawing, Emmy-Nominated Cinematographer & Adjunct Instructor, Georgia Film Academy* —– Savannah is showing the signs that it is reigniting the engine of its remarkable transformation into a viable film and video production landscape. What was once primarily a location for visiting productions is again evolving into a genuine production hub with local talent, growing infrastructure, and increasingly sophisticated clients demanding professional-grade content. Yet this growth brings a critical challenge: the gap between enthusiasm and expertise. Especially as many experienced filmmakers left the region after the last downturn. This past fall, I had the privilege of teaching motion picture lighting and electricity at the Georgia Film Academy, operating out of Savannah State University. Working with students eager to enter the industry reinforced something I’ve observed throughout three decades in production: technical knowledge and creative vision aren’t the same thing, and both require years to develop. The Southeast’s production boom has meant more opportunities than ever—but also more clients making their first significant investment in video content, often without the experience to distinguish between competent execution and genuine expertise. The Savannah Production Landscape Today Drive through Savannah’s historic waterfront or out to the islands, and you’ll see what appears to be the return of production trucks, active sets, and crews at work. Local businesses are starting to recognize that video content is no longer optional— that it’s essential for competitive marketing, recruitment, training, and brand building. Corporate clients from Atlanta and beyond are rediscovering Savannah as a production-friendly location with visual diversity few coastal cities can match. Simultaneously, documentary filmmakers are drawn to the region’s rich history and complex stories, from Gullah-Geechee culture to environmental challenges facing coastal Georgia. Commercial productions appreciate the Spanish moss aesthetic and architectural variety. And the infrastructure appears to be on the road to improving—the establishment and growth of equipment rental houses, the return of experienced crew members, and institutions like SCAD and my own Georgia Film Academy developing local talent. This growth is unquestionably positive. But it creates a paradox: as demand increases and more production companies emerge to meet it, clients face greater difficulty identifying partners with the depth of experience their projects actually require.   What “Experience” Actually Means in Production When clients evaluate production partners, they often focus on equipment lists, demo reels, and pricing. Of course these matter, but the real differentiator—the factor that separates adequate execution from exceptional results—is derived from years of experience solving the problems that inevitably emerge under production pressure. Teaching lighting and electricity at the Georgia Film Academy meant introducing students to the technical fundamentals: color theory, DMX, lighting and rigging instruments, power distribution, safety protocols, and much more. These are essential building blocks. But what I couldn’t fully convey in a semester—what only years of production experience provides—is the instinctive problem-solving that defines professional cinematography and production in general. Consider a seemingly simple corporate interview. A less experienced crew sees a conference room and sets up conventional interview lighting. An experienced cinematographer sees the same space and immediately notices: the windows will create color temperature and lighting issues when the sun shifts; the HVAC system’s hum will interfere with audio; the reflective table surface will be an issue; the background needs depth separation to avoid looking flat on camera. None of these problems are insurmountable—if you’ve encountered them before. If you haven’t, each becomes a crisis discovered too late, often in post production, resulting in disappointing footage or even blown budgets from extending production days and reshoots. The Hidden Costs of Inexperience Savannah’s production community includes talented newcomers bringing fresh perspectives and what seems like competitive pricing at first glance. Some of them will develop into excellent professionals over time. But clients selecting production partners based primarily on cost often discover that inexperience carries hidden expenses far exceeding any initial savings. I’ve been hired to salvage projects that began with less experienced crews. Common patterns emerge: inadequate pre-production planning; poor lighting choices requiring expensive correction in post-production; audio issues discovered too late to completely fix; projects that drag beyond scheduled timelines because problems weren’t anticipated; and perhaps most costly, creative approaches that fail to serve the client’s actual objectives. These aren’t failures of effort or intention. They’re the natural result of learning curves. The question for clients is whether they want their project to be someone else’s education or the beneficiary of hard-won expertise. What Experienced Professionals Bring to Regional Production After 28 years as a director of photography—including an Oscar-shortlisted documentary filmed during the Iraq War, Emmy nominations for both national series and commercials, and many years traveling internationally as a cinematographer for National Geographic, Discovery, Travel, HBO and many others — I’ve learned that every seemingly novel production challenge is one that has been solved before. The value isn’t just in having technical knowledge; it’s in pattern recognition. When MediaTwins approaches a corporate video for a regional manufacturer or a documentary for a major studio, we’re applying lessons from literally hundreds of previous productions across six continents. We know how to light a CEO interview so it conveys authority without coldness. We understand how to film industrial environments safely while making manufacturing processes visually compelling. We’ve navigated the complications of multi-location shoots, tight deadlines, sensitive subjects, and the thousand small decisions that collectively determine whether a project succeeds or merely gets completed. This experience means we ask the right questions during pre-production, anticipate problems before they emerge, and solve unexpected challenges without panic or budget overruns. It means we can look at a client’s goals and production constraints and immediately outline not just what’s possible, but what approach will deliver the best results within those parameters. The Mentorship Imperative Teaching at the Georgia Film Academy reinforced my belief that Savannah’s production community benefits when experienced professionals actively engage with emerging talent. The industry needs fresh perspectives and new voices. But it also needs mentorship—experienced practitioners willing to share knowledge rather than simply competing on price. This is partly why MediaTwins

The post Why Savannah’s Growing Film Industry Needs Experienced Production Partners appeared first on MediaTwins Productions.

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*By Kristian Dane Lawing, Emmy-Nominated Cinematographer & Adjunct Instructor, Georgia Film Academy*

—–

Savannah is showing the signs that it is reigniting the engine of its remarkable transformation into a viable film and video production landscape. What was once primarily a location for visiting productions is again evolving into a genuine production hub with local talent, growing infrastructure, and increasingly sophisticated clients demanding professional-grade content. Yet this growth brings a critical challenge: the gap between enthusiasm and expertise. Especially as many experienced filmmakers left the region after the last downturn.

This past fall, I had the privilege of teaching motion picture lighting and electricity at the Georgia Film Academy, operating out of Savannah State University. Working with students eager to enter the industry reinforced something I’ve observed throughout three decades in production: technical knowledge and creative vision aren’t the same thing, and both require years to develop. The Southeast’s production boom has meant more opportunities than ever—but also more clients making their first significant investment in video content, often without the experience to distinguish between competent execution and genuine expertise.

The Savannah Production Landscape Today

Drive through Savannah’s historic waterfront or out to the islands, and you’ll see what appears to be the return of production trucks, active sets, and crews at work. Local businesses are starting to recognize that video content is no longer optional— that it’s essential for competitive marketing, recruitment, training, and brand building. Corporate clients from Atlanta and beyond are rediscovering Savannah as a production-friendly location with visual diversity few coastal cities can match.

Simultaneously, documentary filmmakers are drawn to the region’s rich history and complex stories, from Gullah-Geechee culture to environmental challenges facing coastal Georgia. Commercial productions appreciate the Spanish moss aesthetic and architectural variety. And the infrastructure appears to be on the road to improving—the establishment and growth of equipment rental houses, the return of experienced crew members, and institutions like SCAD and my own Georgia Film Academy developing local talent.

This growth is unquestionably positive. But it creates a paradox: as demand increases and more production companies emerge to meet it, clients face greater difficulty identifying partners with the depth of experience their projects actually require.

 

What “Experience” Actually Means in Production

When clients evaluate production partners, they often focus on equipment lists, demo reels, and pricing. Of course these matter, but the real differentiator—the factor that separates adequate execution from exceptional results—is derived from years of experience solving the problems that inevitably emerge under production pressure.

Teaching lighting and electricity at the Georgia Film Academy meant introducing students to the technical fundamentals: color theory, DMX, lighting and rigging instruments, power distribution, safety protocols, and much more. These are essential building blocks. But what I couldn’t fully convey in a semester—what only years of production experience provides—is the instinctive problem-solving that defines professional cinematography and production in general.

Consider a seemingly simple corporate interview. A less experienced crew sees a conference room and sets up conventional interview lighting. An experienced cinematographer sees the same space and immediately notices: the windows will create color temperature and lighting issues when the sun shifts; the HVAC system’s hum will interfere with audio; the reflective table surface will be an issue; the background needs depth separation to avoid looking flat on camera.

None of these problems are insurmountable—if you’ve encountered them before. If you haven’t, each becomes a crisis discovered too late, often in post production, resulting in disappointing footage or even blown budgets from extending production days and reshoots.

The Hidden Costs of Inexperience

Savannah’s production community includes talented newcomers bringing fresh perspectives and what seems like competitive pricing at first glance. Some of them will develop into excellent professionals over time. But clients selecting production partners based primarily on cost often discover that inexperience carries hidden expenses far exceeding any initial savings.

I’ve been hired to salvage projects that began with less experienced crews. Common patterns emerge: inadequate pre-production planning; poor lighting choices requiring expensive correction in post-production; audio issues discovered too late to completely fix; projects that drag beyond scheduled timelines because problems weren’t anticipated; and perhaps most costly, creative approaches that fail to serve the client’s actual objectives.

These aren’t failures of effort or intention. They’re the natural result of learning curves. The question for clients is whether they want their project to be someone else’s education or the beneficiary of hard-won expertise.

What Experienced Professionals Bring to Regional Production

After 28 years as a director of photography—including an Oscar-shortlisted documentary filmed during the Iraq War, Emmy nominations for both national series and commercials, and many years traveling internationally as a cinematographer for National Geographic, Discovery, Travel, HBO and many others — I’ve learned that every seemingly novel production challenge is one that has been solved before. The value isn’t just in having technical knowledge; it’s in pattern recognition.

When MediaTwins approaches a corporate video for a regional manufacturer or a documentary for a major studio, we’re applying lessons from literally hundreds of previous productions across six continents. We know how to light a CEO interview so it conveys authority without coldness. We understand how to film industrial environments safely while making manufacturing processes visually compelling. We’ve navigated the complications of multi-location shoots, tight deadlines, sensitive subjects, and the thousand small decisions that collectively determine whether a project succeeds or merely gets completed.

This experience means we ask the right questions during pre-production, anticipate problems before they emerge, and solve unexpected challenges without panic or budget overruns. It means we can look at a client’s goals and production constraints and immediately outline not just what’s possible, but what approach will deliver the best results within those parameters.

The Mentorship Imperative

Teaching at the Georgia Film Academy reinforced my belief that Savannah’s production community benefits when experienced professionals actively engage with emerging talent. The industry needs fresh perspectives and new voices. But it also needs mentorship—experienced practitioners willing to share knowledge rather than simply competing on price.

This is partly why MediaTwins maintains equipment rental services alongside our production work. When a newer production company or independent filmmaker rents lighting packages from us, we’re happy to discuss technical approaches, offer suggestions, or troubleshoot challenges. The Southeast’s production growth benefits everyone when quality standards rise collectively.

Similarly, our willingness to collaborate with existing teams—serving as director of photography for another company’s production, providing consulting on lighting design, or handling specific technical aspects of larger projects—reflects the understanding that expertise should be freely shared.

What Clients Should Look For

For businesses, nonprofits, and institutions investing in video production, particularly those creating content for the first time or stepping up from basic execution to professional-grade work, several factors should guide partner selection:

**Verifiable credentials matter.** Our Emmy nominations, Society of Camera Operators membership, broadcast network credits—these aren’t just résumé decoration. They represent work that met the industry’s highest technical and creative standards, evaluated by peers with decades of experience. A production partner with these credentials brings proven capability, not just claimed expertise.

**Ask about problem-solving experience.** Request examples of productions where unexpected challenges emerged and how they were resolved. Experienced professionals will have numerous stories because problems are inevitable—the differentiator is handling them professionally.

**Understand the difference between equipment and expertise.** Modern cameras are remarkably capable, and quality equipment is more accessible than ever. But a cinema camera doesn’t create cinematic images any more than AI creates compelling writing. The difference lies in the experience behind the equipment.

**Consider the full production scope.** The cheapest bid often reflects inexperience with actual production requirements. Experienced professionals provide detailed proposals that account for pre-production planning, adequate crew, contingency time, proper insurance, and realistic post-production timelines. If a bid seems surprisingly low, it probably reflects underestimated complexity.

**Value communication and collaboration.** Great production partnerships involve ongoing dialogue, creative collaboration, and mutual respect. The most technically accomplished cinematographer won’t serve a client well if they can’t translate creative vision into practical execution or communicate clearly throughout the process.

The Long View

I am certain that Savannah’s production growth will continue. The Georgia Film Academy, SCAD, Savannah Film Academy and similar programs will continue to develop new talent. Technology will continue to become ever more accessible. Competition will increase. And all of this is welcome as it benefits the region’s creative economy.

But fundamental realities of production won’t change. Great cinematography still requires mastery of light, composition, and storytelling. Professional production still demands logistical expertise, problem-solving ability, and creative vision refined over years of experience. Clients investing in video content—whether a corporate brand video, a documentary project, or a commercial campaign—still need partners who bring not just equipment and enthusiasm, but proven capability developed across hundreds of previous productions.

MediaTwins relocated from Los Angeles to Savannah because we recognized the Southeast’s production potential and wanted to bring Hollywood-caliber expertise to a market experiencing tremendous growth. Teaching at the Georgia Film Academy allows me to contribute to developing the next generation of production professionals. But it also reinforces my understanding of what experience provides that enthusiasm alone cannot: the accumulated wisdom of decades spent solving every conceivable production challenge, the creative confidence that comes from proven success at the highest levels, and the technical mastery that transforms competent execution into genuinely exceptional results.

Savannah’s growing film industry requires experienced production partners who elevate regional work to compete with content created anywhere in the world. That’s the standard MediaTwins brings to every project, regardless of scale or budget. And that’s what clients should demand from anyone asking for their trust and investment.

The post Why Savannah’s Growing Film Industry Needs Experienced Production Partners appeared first on MediaTwins Productions.

]]> https://mediatwins.us/2026/01/18/why-savannahs-growing-film-industry-needs-experienced-production-partners/feed/ 0 Why Savannah Needs Experienced Mentors in Production https://mediatwins.us/2026/01/18/why-savannah-needs-experienced-mentors-in-production/ https://mediatwins.us/2026/01/18/why-savannah-needs-experienced-mentors-in-production/#respond Sun, 18 Jan 2026 22:35:12 +0000 https://mediatwins.us/?p=1086 *By Kristian Dane Lawing, Emmy-Nominated Cinematographer & Adjunct Instructor, Georgia Film Academy* I’ve filmed documentaries in war zones, historical recreations for an Emmy-nominated series, and spent six years reporting on shark attacks as a cinematographer for National Geographic. But when I walked into my first regular class last fall, teaching motion picture lighting and electricity for the Georgia Film Academy, I encountered something that humbled me: students who were hungry not just for technical knowledge, but for understanding how the production industry actually works—the unwritten rules, the professional wisdom, and the hard-won lessons that no textbook can teach. That experience cemented something I’ve never forgotten: the debt I owe to the mentors who inspired my own career. And it crystallized a belief I’ve been forming for years: that it positively serves our entire industry when experienced professionals willfully share their knowledge with the next generation. Not out of altruism, but because the health of emerging production markets like Savannah, Georgia and other regional production markets depends on it. The gap between academic preparation and industry reality exists everywhere film production is taught. But it’s particularly pronounced in emerging markets like Savannah, where the production community is trying to grow, but mentorship opportunities outside of insulated institutions like SCAD isn’t as available. People like John Grace at the Savannah Film Academy and Julio Saldarriaga at GFA are making strides but they alone are not enough.   The Mentorship Vacuum in Emerging Markets Los Angeles, New York, Atlanta—these established production hubs have something beyond rental houses and soundstages. They have ecosystems where knowledge transfer happens organically. A grip working their first studio feature learns from a key grip with many years of experience. A camera assistant on a commercial can absorb lighting techniques by watching a seasoned gaffer problem-solve in real time. Young editors get to work under supervising editors who’ve literally cut their teeth on everything from network television to feature documentaries. This more or less ad-hoc apprenticeship model—informal, ongoing, embedded in daily production work—is how the industry has always developed expertise. You don’t learn what it is to be a professional cinematographer primarily in the classroom. You learn by working with people who’ve already solved the problems you’re encountering for the first time. Savannah doesn’t yet have that depth of experienced practitioners outside of certain institutions. Institutions that might not be readily accessible to locals looking to learn the film production ropes. We have talented people, certainly. And we do have veterans. We have enthusiasm and (hopefully) a growing infrastructure. But we don’t have large numbers of professionals with decades of high-level production experience present and actively engaging with emerging talent to provide this sort of shepherding. The result is predictable: we have eager newcomers with some degree of foundational knowledge but with a limited understanding of the professional workflows, industry standards, and accumulated wisdom that only comes from years of experience. This is the natural state of any smaller market, of course. But it helps creates a Catch22 of challenges that affect everyone: clients can struggle to find consistently excellent local crews while talented young professionals leave for more established markets – and production quality varies wildly.   What Students Actually Need (Beyond Technical Skills) Teaching lighting and electricity means covering the fundamentals: theory, color, power distribution, equipment, safety protocols, and much more. These technical skills are essential. But they’re also the easy part. What students struggle with—what I struggled with early in my career—is everything surrounding the technical execution. How do you work efficiently under time pressure without compromising quality? How do you communicate with directors, producers, and clients who may not understand technical constraints? How do you solve problems creatively when ideal solutions aren’t available? How do you maintain professional standards even on low-budget projects? How do you build a sustainable career rather than just floating as a freelancer? These questions don’t always have obvious answers. They’re learned through experience, ideally guided by mentors who’ve navigated the same waters. When I came up through the industry—starting in advertising, before transitioning to cinematography, —I benefited enormously from experienced professionals willing to share hard-won knowledge. For me, that first important mentor was my seasoned gaffer, John Ferguson, known popularly as Fergy. He told me from the get-go that there was room for everyone in our business and showed me that it’s as rewarding to pass on knowledge as it is to successfully solve a lighting problem. Maybe more-so. He passed on not just technical knowledge, but professional wisdom that sticks with me today. He helped me understand how to build a reputation for reliability and excellence. From then on I chose to make my own sets teaching sets and have tried to install in my younger crews a great work ethic and an open policy to ask questions. I encourage them to carry on the tradition themselves. Not to haze newcomers but to help them learn. We were all there once and those we encourage will continue fostering an environment that so often makes working in this industry feel like a safe place of growth. Those new to production and wanting to move into Savannah’s production market need the experience of that same guidance.   The Multiplier Effect of Mentorship When I committed to teaching at the Georgia Film Academy, it wasn’t primarily about consistent pay or adding “educator” to my résumé. It was recognition that Savannah’s viability as a production market depends as much on developing local expertise as it does physical infrastructure. Every student who learns proper techniques and professional standards becomes part of the human infrastructure that contributes to making regional production sustainable. But mentorship isn’t confined to classrooms. Everyone is a student at the end of the day. Most of the most valuable learning happens on actual productions, in equipment rental facilities, through industry organizations, and in informal conversations where experienced professionals share insights. My semester concluded with my students filling out important positions on a three day real-life production that I was the

The post Why Savannah Needs Experienced Mentors in Production appeared first on MediaTwins Productions.

]]>

*By Kristian Dane Lawing, Emmy-Nominated Cinematographer & Adjunct Instructor, Georgia Film Academy*

I’ve filmed documentaries in war zones, historical recreations for an Emmy-nominated series, and spent six years reporting on shark attacks as a cinematographer for National Geographic. But when I walked into my first regular class last fall, teaching motion picture lighting and electricity for the Georgia Film Academy, I encountered something that humbled me: students who were hungry not just for technical knowledge, but for understanding how the production industry actually works—the unwritten rules, the professional wisdom, and the hard-won lessons that no textbook can teach.

That experience cemented something I’ve never forgotten: the debt I owe to the mentors who inspired my own career. And it crystallized a belief I’ve been forming for years: that it positively serves our entire industry when experienced professionals willfully share their knowledge with the next generation. Not out of altruism, but because the health of emerging production markets like Savannah, Georgia and other regional production markets depends on it.

The gap between academic preparation and industry reality exists everywhere film production is taught. But it’s particularly pronounced in emerging markets like Savannah, where the production community is trying to grow, but mentorship opportunities outside of insulated institutions like SCAD isn’t as available. People like John Grace at the Savannah Film Academy and Julio Saldarriaga at GFA are making strides but they alone are not enough.

 

The Mentorship Vacuum in Emerging Markets

Los Angeles, New York, Atlanta—these established production hubs have something beyond rental houses and soundstages. They have ecosystems where knowledge transfer happens organically. A grip working their first studio feature learns from a key grip with many years of experience. A camera assistant on a commercial can absorb lighting techniques by watching a seasoned gaffer problem-solve in real time. Young editors get to work under supervising editors who’ve literally cut their teeth on everything from network television to feature documentaries.

This more or less ad-hoc apprenticeship model—informal, ongoing, embedded in daily production work—is how the industry has always developed expertise. You don’t learn what it is to be a professional cinematographer primarily in the classroom. You learn by working with people who’ve already solved the problems you’re encountering for the first time.

Savannah doesn’t yet have that depth of experienced practitioners outside of certain institutions. Institutions that might not be readily accessible to locals looking to learn the film production ropes. We have talented people, certainly. And we do have veterans. We have enthusiasm and (hopefully) a growing infrastructure. But we don’t have large numbers of professionals with decades of high-level production experience present and actively engaging with emerging talent to provide this sort of shepherding. The result is predictable: we have eager newcomers with some degree of foundational knowledge but with a limited understanding of the professional workflows, industry standards, and accumulated wisdom that only comes from years of experience.

This is the natural state of any smaller market, of course. But it helps creates a Catch22 of challenges that affect everyone: clients can struggle to find consistently excellent local crews while talented young professionals leave for more established markets – and production quality varies wildly.

 

What Students Actually Need (Beyond Technical Skills)

Teaching lighting and electricity means covering the fundamentals: theory, color, power distribution, equipment, safety protocols, and much more. These technical skills are essential. But they’re also the easy part. What students struggle with—what I struggled with early in my career—is everything surrounding the technical execution.

How do you work efficiently under time pressure without compromising quality? How do you communicate with directors, producers, and clients who may not understand technical constraints? How do you solve problems creatively when ideal solutions aren’t available? How do you maintain professional standards even on low-budget projects? How do you build a sustainable career rather than just floating as a freelancer?

These questions don’t always have obvious answers. They’re learned through experience, ideally guided by mentors who’ve navigated the same waters. When I came up through the industry—starting in advertising, before transitioning to cinematography, —I benefited enormously from experienced professionals willing to share hard-won knowledge. For me, that first important mentor was my seasoned gaffer, John Ferguson, known popularly as Fergy. He told me from the get-go that there was room for everyone in our business and showed me that it’s as rewarding to pass on knowledge as it is to successfully solve a lighting problem. Maybe more-so. He passed on not just technical knowledge, but professional wisdom that sticks with me today. He helped me understand how to build a reputation for reliability and excellence. From then on I chose to make my own sets teaching sets and have tried to install in my younger crews a great work ethic and an open policy to ask questions. I encourage them to carry on the tradition themselves. Not to haze newcomers but to help them learn. We were all there once and those we encourage will continue fostering an environment that so often makes working in this industry feel like a safe place of growth.

Those new to production and wanting to move into Savannah’s production market need the experience of that same guidance.

 

The Multiplier Effect of Mentorship

When I committed to teaching at the Georgia Film Academy, it wasn’t primarily about consistent pay or adding “educator” to my résumé. It was recognition that Savannah’s viability as a production market depends as much on developing local expertise as it does physical infrastructure. Every student who learns proper techniques and professional standards becomes part of the human infrastructure that contributes to making regional production sustainable.

But mentorship isn’t confined to classrooms. Everyone is a student at the end of the day. Most of the most valuable learning happens on actual productions, in equipment rental facilities, through industry organizations, and in informal conversations where experienced professionals share insights. My semester concluded with my students filling out important positions on a three day real-life production that I was the Director of Photography on, where there were real stakes and expectations. To a person, they told me afterwards that they learned more in that situation than in the 16 weeks of classroom instruction. Because it was real, practical, and they had the experience of our 16 weeks together to draw upon. And because, throughout the production I tried my best to make sure they individually understood not only what they were doing, but why, and how it affected the bigger picture.

This is also why my company, MediaTwins, maintains equipment rental services alongside our production work. When filmmakers or newer production companies rent lighting packages from us, I’m happy to discuss technical approaches, troubleshoot problems, or explain why certain equipment choices work better for specific applications. These conversations take a few extra minutes but potentially save renters hours of frustration and wasted production time. And I enjoy seeing their eyes light up when they gain a new understanding or have a new realization.

Similarly, when I collaborate —serving as gaffer or cinematographer on local projects, providing technical expertise, or general consulting —I view it as an opportunity to share knowledge, not just complete transactions. The goal isn’t creating competitors; it’s elevating the entire market.

There are certainly a number of factors influencing Savannah’s ability to attract and retain larger projects, but Savannah’s production community can only benefit if we consistently deliver professional results. That requires experienced crews working at every level. And experienced crews develop through the mentorship of professionals willing to share knowledge.

 

What Experienced Professionals can do for the Next Generation

I’ve been fortunate in my career. The Oscar-shortlisted documentary “Quest for Honor,” shot during the Iraq War, happened because my producers trusted a relatively young cinematographer with an extraordinarily difficult project. The Emmy nomination for CNN’s “Pope: The Most Powerful Man in History” came from work that demanded both technical excellence and historical sensitivity. National Geographic’s “When Sharks Attack” taught me marine production techniques and working with scientific subject matter. My recent Emmy nomination for the Kino Flo commercial “Who’s the Real Star” validated decades of commercial lighting expertise.

None of that happens without Fergy and the other mentors early in my career who shared knowledge generously when it mattered most. I am far more rewarded by carrying that tradition of mentorship forward than by any award. Every professional who’s benefited from guidance has the profound opportunity to provide it to others. And a healthy industry depends on that knowledge transfer across generations.

This is particularly crucial in markets like Savannah. Established production hubs can absorb varying quality levels because the large volume of work and the depth of the experienced crew base maintains overall standards. Emerging markets are more fragile. A few high-profile productions that go poorly because of inadequate crew expertise can damage the market’s reputation. Conversely, consistently excellent work—enabled by knowledgeable and enthusiastic crews—can help attract more production and held create sustainable growth.

 

Building Savannah’s Production Infrastructure

My decision to relocate from Los Angeles to Savannah in 2023 was strategic. The Southeast was experiencing genuine production growth, and Savannah specifically offered remarkable location diversity, improving infrastructure, and proximity to major markets as well as a welcome community. But Savannah’s long-term viability as a production hub depends on more. And one of the things it requires is a depth of experienced local talent.

Teaching at both the Georgia Film Academy and Savannah Film Academy reinforces my belief that Savannah’s larger production community only benefits when experienced professionals actively engage with emerging talent. If you’re an experienced production professional working in the Savannah area—whether you relocated like I did or you are a local with years of experience— please consider how you might contribute to mentorship. It doesn’t require formal teaching commitments or massive time investments. It can be as simple as:

– Hiring less experienced but enthusiastic crew members and working with them rather than just directing them. I find a great attitude is the precursor for a great technician.

– Offering honest feedback and specific guidance when people ask for advice.

– Sharing knowledge about workflows, techniques, or best practices as opportunities arise.

– Setting quality standards by example and explaining why those standards matter.

– Supporting educational programs like the Georgia Film Academy and the Savannah Film Academy.

– Viewing the success of other production professionals as beneficial to the market rather than threatening to your business.

I am committed to Savannah because I believe that Savannah’s production future is bright. Infrastructure continues improving and the local talent continues to develop. But sustainable growth requires the intentional effort to invest in mentorship. When the process of sharing knowledge becomes natural it elevates everyone and ultimately helps transform an emerging market into an established one.

The post Why Savannah Needs Experienced Mentors in Production appeared first on MediaTwins Productions.

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