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Meet Los Angeles Filmmaker and Photographer: Jeremy Light

Today we’d like to introduce you to Jeremy Light.

Jeremy, please share your story with us. How did you get to where you are today?
I’ve been playing with cameras since a kid and started editing in the 90s. I started working in vaults and tv stations. I keep ending up on my head in LA so looking up at the skyline I’m always wondering what’s next. It’s great to be able to work remotely and on-the-go. Often I offline edit on a MacBook and online edit it on the big system at home. It’s important to have a home screening room or office if you want more flexibility. I’ve maintained some clients that way by them just coming over and getting comfortable, or more importantly me being comfortable! My set up is generally this: dual monitor mac editing station (Avid/ Premiere/ FCP 7) with video outs simultaneously hitting a 52″ 1080p monitor and a 100″ 2K projector with professional sound.

My work is typically food and model photography, documentary and portraiture, music video production, and creating animations for live onstage projection at concerts. I have worked a lot with the group Cynic in the past as well as Death. I used to record every concert I could so I have a huge library of underground metal shows on DV and 8mm tape. Eventually, I toured with Cynic and Meshuggah during the winter of 2009 and put together a multipart documentary regarding the reunion which is on the net under the name .

I’ve spent some years in tv stations on the tech crew, primarily switching and directing. Tv stations are fun because they’re full of technology but the workflow is regimented. There is little connection between the “news business” and the “film business” to me other than circumstantial career chances, however, technical directing is similar to online editing in the sense of a wide data flow and breakneck deadline. Live broadcasting is alive with adrenaline but has little to do with creative filmmaking in the long run.

Has it been a smooth road?
It has not been a smooth road because I have not felt settled. What I want to do has quite a road with so many things to do along the way. I am talking about making content, so, of course, there is always the ability to produce but finding that balance between passion and making a living requires risk and sacrifice. Maintaining a network is work. I’ve become more active on Linkedin and some production based sites and have taken some extra courses in the city just to meet other filmmakers. There are no shortages of productions around here so to chase a living through the sea of Los Angeles/Hollywood movie people requires a certain drive.

Has there been people or an institution that has played a pivotal role in your career?
My younger sisters were all creative. My uncles played different instruments. It was a liberal arts family basically. Our grandma was an opera singer who told me to have fun. I had a kung fu teacher discussing roles in self and society, and it was clear that focusing on strengths is worth it to be all or nothing. So I have focused on a creative career path. A friend I’d met at the photography institute, Gene Beery, was a great mentor in life. He was the elder of the class and was an inspiration because of his ethics and attitude. After his death, he still serves to remind to be humble, work hard as a team and have good humor! Gene was not known for complaining. Much love.

What type of clients or projects do you look forward to most?
I like to begin with photography. Animation is not the approach I’m starting with. Planning and filming, editing, then animation/fx/coloring are respectively the preferred production setups. Cooking photography, music documentaries, and martial arts films are part of an eclectic mix of exciting future projects. It would be amazing to edit features at home in the mountains like Walter Murch. Most of my freelance work is done on the home system, which is why we have a screening room with a projector. That is essential for post work and screw the traffic. The housemates can sleep better with insurance and double-barreled security =p

What do you know now that you wish you knew when you were just starting out?
If I had to start over, I would have stayed in the game and not taken the time to get a “film” degree. If I was sure about the path and kept that momentum, it would have best been capitalized on rather than pausing and putting time and money into an institution. Networks are important so either way just keep working and keep meeting people. When I started young, I wanted to make “the whole movie” myself. I learned that because of the teamwork, something much more awesome can be made. Pick the right crew and a little slice of heaven bestoweth down. Multiple great minds equal the substance needed to find the answers to produce great material. Often these days we work as a one-man crew. Rough cuts are cycled between cohorts for feedback. Feedback is key.


  • $300/day shooting (negotiable)
  • $300/day editing (negotiable)
  • free smiles (non-negotiable)

Contact Info:

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Image Credit:
All images 2010-2016 © Veilfilm

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