I've been in it since the 80's with the privilege of watching said industry grow from all tungsten to HMI to LED and back again on all kinds of projects. Always humbling, always inspiring. As the Owner/Operator of Riviera Maya Camera and Grip with my partner Noel we've watched the industry grow, shrink and reinvent itself from storyline to technology. Some of it keeps getting better and truly more fun.

Our clients range from sweet small jobs for BBC, ZDF, Nat Geo and tiny film projects up to massive efforts like Netflix and Sony Music. Each and everyone is unique with it's own set of technical and spiritual challenges. Every shoot the phoenix flies and when we are lucky we fly right along in the light. We also fix, permit, line produce and teach. What folks say about us. 

We've built a massive lighting, grip, electric and camera kit here in Quintana Roo with a very layered Sprinter LED + Trailer + BoxVan Package that works fast for small and medium commercial and feature productions. The bigger 8 Ton + MackTruck Crawford 800A gennie work for multiple set ups for larger projects especially where we can build stashes into 'future days'. Our kit (and this will be the end of that talk thank you because the rest of this is all 'how to' blogs) is Tungsten: 10k-Peppers, HMI: 18k to Pocket Pars, and LED: from 6&4k Godox down to MCPros with an avalanche of 1200's, 600's, 300's and Asteras, SGC's and Nanlux/Arri/Lupo/Alladin/FlyNoodle Panels. Dollies include the Fisher 11, Rickshaw, MaxMove and Dana Dollies, Doorway, Western and some other treats. We are tightly allied with Revolution 435 and CTT for specialty items like Technocranes, Lambda arms and ArriLF's and Up (or arrays) with unique shipping options that save time and money. Which is what it comes down to in commercial production and what makes it 'funner' if you can afford to get it on set on your Indie shoot.