Getting to work with Trinity Rodman on this EA shoot was honestly one of the highlights of the last few years for me.
As a fan of the National Women's Soccer League, it was really exciting to see firsthand just how locked in and professional she is on set. Trinity has absolutely been dominating the league, and it was cool getting the chance to collaborate with someone I’ve been following for a while.
Obviously I’m a huge fan of the Kansas City Current, but the Washington Spirit have been another team I’ve followed closely ever since they signed Trinity. Watching her continue to elevate the game and become one of the faces of the sport has been really fun as a fan of women’s soccer.
Working with professional athletes always comes with a unique set of challenges, especially when talent availability is limited. On this EA shoot with Trinity Rodman, we only had a small window to execute one of three total setups scheduled with her that day, so preparation became everything.
The biggest priority going in was having a lighting plan that was efficient, repeatable, and adaptable. We built the setup around exactly what we needed to make the spot work first, then created optimistic options for additional shots and moments if time opened up. With high profile athletes, schedules can shift constantly, so you have to be realistic about what is achievable while still leaving room to capitalize on momentum if things move quickly.
A huge part of maximizing time with talent is making sure the crew is operating one step ahead at all times. While Trinity was moving through wardrobe, blocking, or interviews, we were already adjusting lighting for the next angle and staging additional tools off camera. I always try to have an extra light and a flag standing by because the fastest adjustments are the ones you are already prepared for. Small changes in contrast, spill control, or edge light can completely reshape a frame, and when you only have minutes with talent there is no time to rebuild from scratch.
We also coordinated the day around filming with our hired supporting talent before and after Trinity arrived. That allowed us to continue building visuals for the campaign while refining lighting and camera movement so that when she stepped onto set we were fully dialed in. By the time cameras rolled with Trinity, the team already knew the rhythm of the scene and could focus entirely on performance and efficiency.
Shoots like this are a reminder that commercial lighting is not just about creating beautiful images. It is about preparation, adaptability, and building systems that let the entire crew move quickly without sacrificing quality.
