At Ultralight, we believe our gear is only as good as the underwater photographer, cinematographer, or camera assistant it supports and no one showcases that better than our Brand Ambassadors. To give you a closer look at their images, stories, and the passion behind their work, we asked each Ambassador a series of thoughtful questions about their backgrounds, favorite rigs, and what inspires their photography and filmmaking. It’s our way of sharing not just how Ultralight gear is used, but also the creativity and spirit of the people who bring it to life.
Could you please share a little about yourself and the journey that brought you to where you are today?
My name is Tiffany Aug and I grew up in northeast Philadelphia. I went to school at Emerson college in Boston before moving to Los Angeles California.
What things in life helped you get where you are today?
Growing up my dad was a mechanic and when I was in middle school he showed me how to disassemble clean and reassemble a Pentax k1000 slr 35mm film camera. It was so cool to see and understand how the camera made it’s images through building it.
How did you get into filmmaking and being a camera assistant? What sparked your passion?
I knew then I really liked cameras and thought I should figure out a way to make that my job. So I went to a film school that gave me a lot of opportunities to be hands on learning how motion picture film cameras worked.
When the digital era for filmmaking started I was nervous because I had just graduated and moved to la and had no digital camera experience. So I got an Internship at a small digital camera rental house that again afforded me a lot of hands on experience with the cameras.
When I got on set what got me where I am today was probably just finding people who I was comfortable around who supported me and who I could learn from. I still work with many of those same people today and am happy to call them not just colleagues but friends.
What type of filmmaking do you prefer and why?
I don’t specialize in cinematography but I did try it while in school. I found I was much more interested in the technical aspects of the camera and optics than I was the more traditionally “artistic side” of it. I learned I was happier supporting DPS (Director of Photography) than I was being one.
I’ve always liked more experimental or practical cinematography effects films. I still think it’s cool the things optics can achieve with light and glass. Interesting foreground elements that bend light and images and forced perspectives with dynamic camera movements are all so interesting to me.
What were some of the biggest challenges you faced when starting out?
Probably the only challenge I faced was realizing when all my camera peers wanted to be a DP (Director of Photography) I didn’t.
Of the few things I did shoot, I really liked on one project a character begins to have a frenzied breakdown but eases out of it before he succumbs to insanity. The combination of a circular dolly track and a big zoom to go on that emotional journey with him was memorable. Being able to build the tension and frenzy with the frame and movement alongside the actors performance and then easing back out to reality in camera was fun. Basically using the camera movement and optics to enhance what the cast is doing with the character.
What type of camera setup do you currently use as a camera assistant?
I have a small rolling pelican that has pretty much everything you need to build out a couple cameras in it. The contents are actually covered in a blog post over at focus pulleratwork.com. https://www.focuspulleratwork.com/post/tool-box-tour
What role does a camera assistant play?
As a camera assistant I talk a lot with the DP about what we’re trying to achieve with the camera in terms of builds and what will help them the most in getting the shots they’re wanting in a timely manner. I do a lot of comedy which often requires small light cameras for lots of handheld work on small practical location. Learning how to take as much weight off the core of the body while maintaining the functionality of it can be more difficult than people think.
Do you have a favorite piece of Ultralight gear and why?
I think my favorite piece of gear from ulcs is probably the cutout clamps or the quick release ball adapters. The city out clamps really helped get on camera accessories all the places they want to go with a really small light footprint.
I love ultralight arms for all my accessory mounting both on camera and on my focus station. The quick release ball adapters for cine locks really helped make my builds light, versatile and fast. The ability to add accessories with minimal weight is key. Also the way my operator can just push it pull their monitor to where they want with one hand and how quickly you can lower a wireless transmitter for another camera with one hand is great. I also really like the double ball rod arms because my dolly grip can just grab them with a head for quick mounting off camera if/when needed.
Similarly I use the ulcs on my focus station because I can use pressure to change the angle of my hand unit in shot or tighten it down fully if I’m in a vehicle or somewhere I need the full sturdiness of the build. The option for arri locking pins in some pieces is also great for long term mounting.
How do you approach your creative process and storytelling?
I think technical precision almost always aids creative storytelling. Often it’s the technical creativity that’s going to enable you to be flexible enough to get all the shots envisioned in the creative side. Being able to physically get a camera somewhere and have it work, or have it be able to quickly convert from one way to another.
What is the workflow for a camera assistant, and what are your responsibilities?
But as an assistant my workflow on a typical shoot is to talk to the DP/op/a 1st before hand to find out how we’re shooting. (Handheld, studio, remotes, stabilizers etc) As well what conditions we’re using (stage vs location vs travel). Bc all of that can affect how you build and pack a show/camera. Obviously reading scripts to be aware of any scripted effects or shots you need to think about is on the check list as well.
What’s the best piece of advice you’d give to someone just starting out?
When I was starting out I wish I learned sooner that not all crews are the same. You’ll find your tribe eventually. If you start out and don’t mesh with the first crew you’re on set with don’t get discouraged, just keep meeting people and putting yourself out there and you’ll find your people.
Day to day you want to familiarize yourself with the work for the day and upcoming days to know what gear you need today or need to order for later. And listen to rehearsals and discussions about the look and feel of the shots So you know what the ultimate goal of the day is visually.
I think a Greta too for everyone on set is to always be listening. There’s lots of times when you’re asked to withdrawal for private rehearsals or during or between takes a when directors and actors are having private discussions to tweak performance. Figuring out how to give people theie Space and privacy to work but listening for the fall out of those conversations, the decisions that get made that may affect you or that you could contribute to is important. It’s easy to be asked for space and just shut down, but it’s super beneficial for everyone if you can figure out a way to still stay checked in when asked to step out.
I’m often asked to build a camera that can limit time converting between builds. Because on set time is money and if your handheld/steadi/studio build are all really similar then you save a bunch of time on the technical side that they can use on the creative time getting more takes or different performances or even more setups or more complicated setups.
What are some of the challenges you have on set, and how can they avoid them?
While there are always entirely new challenges on every production I find on set experience can really help solve most of the situations you’ll find yourself in. There are a lot of go to solutions that solve a lot of different problems that arise. I’m lieu of experience is say being really familiar and super comfortable with all the equipment you’re taking is helpful because then you know all your options and tools at your disposal when an issue arises. Also having a flexible attitude. So instead of thinking “this is how we do things” you’re thinking “ this is the way we’d like to do things but we can change if we need to.”
How has cinematography changed since you started your career as a camera assistant?
Cinematography has had a lot of evolutions since I started working on sets. It’s always Interesting to see the current trends. Personally I’m hoping the rise and success of recent limited series gives rise to productions wanting a more traditional and intentional cinematography for their work, even in episodic. I came up in the heyday of everything being handheld zoom lenses for speed and the immersive “doc” feel and while that’s a quick and efficient way to shoot I guess I’m excited for the current climate of more cinematic series that really focus on telling a story or a joke not just with words but also images.
What are your thoughts on the changes with film versus digital cinematography?
I think the mirorless deba ir really a bigger topic in photography than motion picture but kind of similarly I would say there’s a bit of a debate over film vs digital in cinematography. I think the digital era did a lot to ease the burden of communication between camera and director. The wysiwyg revolution definitely was a path that took some navigating but ultimately I think the pros out weighed the cons of it. However it does slow the motivation to foster that symbiotic relationship between directors and camera people because they don’t have to go as far out on a limb of trust as early in the relationship, it develops more slowly over time.
What advice do you have for photography who want to work with brands?
In terms of developing a brand I think I’d say just be aware that weather you intend to or not you likely will be associated with a visual “brand” weather you mean to or not. Mostly looking at what projects your taking and what the directors your working with visions are will be the biggest factors in what your brand is often because if the project is envisioned with a lot of lifestyle natureal light content, and you do it well you will probably briefly get pigeonholed as the “lifestyle natural light dp”. so in terms of social media it’s important to showcase all the different types of lighting and imagery you shoot so you can be presented with opportunities from a wider range of projects.
Do you have any exciting projects or goals?
I think right now a dream project would be something fantastical with a puppetry element or intense practical character animatronics. Something shot very traditionally using a lot of practical on set effects. I’ve been on a big 1985 “legend” kick lately . My usual favorites like Great muppet Caper, muppet Christmas Carol are other examples of what I think the dream is.
Can you share a memorable moment or experience from your underwater adventures?
Most memorable on set experience for me might be a little music videoNobody saw that I did with one of my best friends. It was a really small crew and a super friendly and collaborative environment where everyone just kinda contributed to making every shot as cool as possible with what little we had. It was a donation camera package with absolutely no bells or whistles I think the lighting was out of a van the gaffer owned so all around a really small package that we absolutely pushed the Iimits of. It was just really fun to work so closely with a small group of people all in sync with one goal of making something that just looked really cool.
Do you prefer a specific lens or camera setup in your work and why?
If I could only use one camera/lens for a year I think is an impossible question to answer because I work in such a diverse range of projects I’m not sure any one anything would work. I guess camera is slightly easier to answer bc I’m a big fan of the Sony Venice 2 it’s the closest thing to a perfect camera ive worked with and if have a really biased opinion that you get a really great range with the fujinon duvo 25-1000. But that could be because I own one of those.
What are common mistakes that happen on set, and how can they avoid them?
The ridiculous places we regularly have to put cameras is always good for a laugh. I think I’ve placed more cameras and operators on toilets in my career than anywhere else… except maybe in the back of incredibly small cars.
Also anytime one camera has to quickly bail out if a scene to avoid being seen by another is usually good for a laugh. On one show we were shooting in a circle around the cast and a cam kept going faster so my operator o b cam ended up looking like he was just being chased by the other camera
I’m a big reader when I’m not working. I get a lot of flack from Friends because I’m pretty behind on current shows/media.
What does being an Ultralight brand ambassador mean to you?
Being a UlCS Ambassador is a lot about peer pressuring people Into joining the cult of ultralight. Just kidding it is about using quality reliable products on builds to showcase their usefulness and durability. Also letting people see the difference between other similar products and the real deal. Also getting new products out there to be field tested with. Real feedback from on set use.
How did your partnership with Ultralight come about?
I met Ken at ultra light late in 2019 I think. He Was a friend of a cinematographer I work for. At the time we were doing stand up comedy specials and other Multicam events. Me. Showed me some parts he had and asked for feedback on what might catch the eye of the non underwater cinematography crowd. We introduced some operators to a monitor they could change the angle of quickly with one hand and discussed color coated parts and the rest is history.
What excites you most about being a brand ambassador for this company?
The most exciting thing about working with ulcs is probably the direct contact with what’s new and exciting at ulcs. Also being able to talk directly with Ken when I have questions or feedback or need a recommendation for what parts might help me achieve a goal.
Has working with Ultralight influenced your workflow and creative process?
Working with ultralight has definitely cemented what was a preference for gear I to a strong preference. It’s also really highlighted for me just. How bad some of the off brand attempts are.
What unique features of Ultralight do you find most valuable?
Probably the best unique feature of ultralight that I enjoy is that when I clamp something fully it says put. I also really like the long clamps and flexibility of the systems and ability to buy individual parts or a bundle.
Do you get to test or provide feedback on new gear before it’s released?
I have been fortunate enough to test gear before it comes out. Working with Ken and discussing feedback has been a really fun experience. I feel super supported and his customer service is great.
What advice do you have for photography who want to work with brands?
If anyone is looking to work as a brand ambassador I think a good place to start is buying products you love that you use frequently and show ASE them to your colleagues and social media.
Thank you, Tiffany, for taking the time to share more about yourself and your work with us. We definitely picked up a few new things, and I’m sure our customers did too. It’s always great hearing how someone finds their way into a field they love—the wins, the lessons, and everything in between.”
For more information, you can find Tiffany on Instagram and her IMDb page
