In 1999, I graduated from the Savannah College of Art & Design with a degree in Film & Video. Soon thereafter, I realized that Hollywood wasn’t hiring directors fresh out of film school. Instead, I carved out a niche for myself doing corporate and commercial work. Budgets were low and expectations were high.

In college, I had learned a fair bit about graphic design and photography, in addition to all the disciplines associated with video production (audio, lighting, editing, etc.). I now had to build on those skills, and learn new ones like basic web design and motion graphics.

I stayed busy, and kept learning. On bigger shoots, I was able to hire dedicated audio operators, grips, gaffers and other excellent folks. On smaller shoots, I had to do everything by myself.

In August of 2008, the economy fell off a cliff. Shoots that allowed me to hire a crew became few and far between. Any work that existed required me to draw on my specialty: doing it all!

As the economy has continued to languish, I’ve discovered that the “crew of one” is becoming the “new normal.” I’ve been doing this for over a decade, so I’ve already made a lot of the mistakes that I see the next generation of photo/video shooters making.

This site is my attempt to share my 10+ years of experience with you. If you produce, direct, write, shoot video, take photos, design graphics, edit, deal with clients AND take out the trash, I hope you’ll find crewofone.com full of information and inspiration that you can use.


– Alexander Fox

Crew of One

  11 comments for “About

  1. June 13, 2011 at 1:38 pm

    Hi Alex,
    glad to see you still pro-activ as ever ๐Ÿ˜‰
    Nice blog, full of good ideas, easy learning tutos, well that’s is all fine to me !!!

    Keep up the good work…

    Have a nice day.

    • Alexander
      June 13, 2011 at 3:00 pm

      Merci beaucoup!

  2. August 24, 2011 at 9:05 am

    Good morning Alex. I am enjoying the blog. I would like to make a suggestion for consideration for a future blog. I was traveling last week shooting in Denver, CO then in Afton, WY. I shooting with my AF100 and am now using FCP X but regardless of camera and editing software, a robust workflow for backing up source files from the card, the transcoding workflow and those backups, while remote is important. Also when I return to the studio, moving the files to a permanent library has always been a challenge. I tend to “over backup” which causes confusing months or years down the road when Im trying to recall footage.

    Any suggestions on that workflow and backup techniques would be valuable for me and I imagine other readers. I am using Shotput Pro now but interested in your suggestions.

    Thanks much and hope life continues to treat you well.

  3. Marc
    February 18, 2012 at 3:03 am

    Just skimmed your ebook and it’s a damn fine read! Not only well written, but informative and concise. Thanks!

  4. February 20, 2012 at 5:13 pm

    How does one get a hold of you to talk about your eBook, got an email address?

    • Alexander
      February 20, 2012 at 5:32 pm

      Sure! alex[at]crewofone.com

  5. Andy
    April 4, 2012 at 4:04 pm

    I found your blog just surfing the net and I want to thank you for your skill & talent & technics support. I come from the photography world and now with a 5D Mark II Iยดm getting used to video and following your advice would surely be and great help and inspiration! Thanks again for sharing ๐Ÿ˜‰

  6. November 15, 2012 at 1:59 am


    I enjoy reading your blog. I am going to purchase some tota lights soon but I was wondering if I should also get the frame for gels and diffusion. I know you use an umbrella for diffusion and bounce so would the tota frame with gels be redundant? Or have you found them to be usefu? I’m not sure how often I will need to change the color of the light.


    • Alexander
      November 15, 2012 at 12:43 pm

      Hi Tyler, thanks for the kind words! I do have the Tota frames, but I don’t use it very often. About the only circumstance in which I’ll pull one out of the bag is if I need to use a color-correction gel. For example, if I’m using a window as a keylight, and I want to use a Tota as a backlight, I’ll put a blue gel on the Tota (using a Tota-frame), so that the light from the Tota will not look orange by comparison with the window light. If you want to use diffusion and a gel, you have to put the umbrella/diffusion panel on a separate stand, because the Tota frame occupies the same slot in the lamp as the umbrella.

  7. October 13, 2016 at 10:08 am

    Hello, Your ideas are amazing. Would you kindly be part of our Contributors. We are Ugandan University students running City Television Uganda, an online channel.

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