On January 21, 2026, a two-person crew spent the day in Los Angeles with a visual artist who goes by "Silly Gabe." He builds all of the visuals for Zedd's shows, the imagery that plays behind the artist on stage and he was in the middle of preparing for a Zedd show in Vegas that weekend. That deadline gave the day its shape. We weren't asking him to re-enact a creative process for camera; we were following one that was already running on its own clock.
Jack G. worked as director of photography on an FX9, with Brett W. operating a second camera on an FX3 and a Ronin. That split is a practical answer to a house shoot with a subject who moves. The FX9 carries the interview and the more composed observational frames; the FX3 on the gimbal goes where a tripod can't, following Gabe from room to room, catching him at a screen, at a desk, mid-thought. When your subject is talking through how he approaches the work while also doing the work, you want a camera that can stay with him and one that can hold a clean, deliberate frame. Two operators means you rarely have to ask someone to do it again.
Working out of a private home also means the crew is managing space as much as light: cable runs in hallways, gear staged so it isn't in the shot or underfoot, and enough restraint to keep the room feeling like the room. Bug had the run of the place throughout, which is fine. Dogs in a docustyle piece are not a problem to solve.
This shoot was one half of a linked pair. Carlos is finishing the story at the show in Vegas, picking up Gabe's work at the point where it stops being files on a machine in a house in Los Angeles and becomes the thing the audience actually sees. Our job was the before: the desk, the process, the quiet part.