We recently caught up with Fabian Perez, a longtime Adorama Rental Co. client. They are a seasoned Director of Photography with more than a decade behind the camera. Over the years, he’s lent his eye and expertise to hit reality shows like Ink Master, Project Runway, and Top Chef. His latest project, Hulu’s breakout series Love Thy Nader, holds a special place in his heart. It allowed him to do what he loves most—craft something distinctive, visually rich, and emotionally resonant. Follow along as he shares this inside look at his life and career.
Q) Can you tell us a little bit about yourself and your background in production?
Fabian Perez: I got my start about 13 or 14 years ago as a production assistant on The David Tutera Project. I was just happy to have my foot in the door. Within a month or two, I was hooked on the camera department—everything about cameras and lighting fascinated me. I worked my way up from junior AC to lead AC. My first big break came on Ink Master, where I started operating and learning from an incredible group of mentors. There were about 7 to 10 DPs with their own approaches to lighting and storytelling. From there, I moved on to shows like Project Runway and Top Chef. This is where I really came to appreciate the creativity that goes into unscripted TV. Even with the tight schedules and small crews.
Eventually, I started shooting second unit on The Real Housewives of Dubai. This was another great learning experience, and that led me to projects for Hulu and Bravo. Most recently, I landed on Hulu’s Love Thy Nader, which is especially meaningful to me. It was the show’s first season, and I worked on the pilot as well. I got to really help shape its look and make it my own. (A big shout-out to our executive producer, Rachel Tung, for trusting me with that.)
Q) What has been your favorite project or show you really got to immerse yourself in that spoke to your soul?
FP: There are three shows I’ve worked on that really stand out for me: Ink Master, which was a true milestone—a trial by fire that taught me resilience and helped shape the foundation of my career. Top Chef was another favorite—working with director Ariel Boles was an incredible learning experience, and I carried those lessons into other cooking shows we did together. And then there is Love Thy Nader. From the start, executive producer Rachel Tung had a clear vision, and everything just clicked. The cast was fantastic—driven, kind, and full of heart—and bringing their story to life for Hulu was an absolute joy.
Q: What made you decide on the equipment and style choices you went with for Love Thy Nader?
FP: For the pilot, we worked with a mix of gear—but one thing we were clear about from the start was that the look had to be rich, cinematic, and full of vibrant color. The cast is comprised of four sisters who are models with a high-fashion, Kardashian-level aesthetic, so every outfit, every skin tone, needed to pop. At the same time, being in the unscripted world means balancing that look with practicality, i.e. tight budgets, fast turnarounds, small crews.
We ultimately went with Canon C300 Mark IIIs because they delivered that signature Canon color and dynamic range without sacrificing mobility. I would’ve loved to try the C400, but it wasn’t out yet. The C300s are a bit heavy, sure, but they gave me the control I wanted in-camera, so what we captured stayed true to my vision before it even hit post.
Lens-wise, we used Canon 25–250mm and 15–120mm lenses for the reality-style coverage, along with some prime glass. For smaller setups, we ran C70s to keep the same sensor and look, especially when producers had to grab quick shots. I was adamant about keeping the style consistent—the goal being that no one should be able to tell which camera shot what.
For car rigs, we went with DJI Pocket Osmos for a more stabilized, cinematic feel, and the DJI Ronin 4D for those movement and slow-motion shots. That camera is incredible—it gave the show its polish and energy without losing that spontaneous, real-world edge.
Q) What has been your experience with Adorama Rental Co (i.e., the prep facility, the gear quality, service, etc.)?
FP: My two biggest concerns when working with a rental house are always the gear they carry and the people I’m dealing with—especially when you’re juggling a line producer’s preferences and the budget. It’s always a bit of a balancing act. What I really appreciated about working with Adorama was how much they listened to what we needed—and then went a step further to suggest what might work even better.
For example, if I called and said we needed a specific kind of light—something I’ve used on other shows—I’d email ARC Business Development Manager Derek Barocas. He’d come back right away saying, “We don’t have that exact model, but here’s one that does X, Y, and Z, and it’ll get you through until we can source the exact one.” That kind of response is huge. It wasn’t just, “Sorry, we don’t have it.” It was always, “Let’s figure it out.” That flexibility made all the difference.
Adorama never gave up on trying to get us what we needed—they always pushed to make it work. And the facility itself is great—tons of space with really organized bays. The team was so personable and always checked in to make sure everything was running smoothly. That level of care really stood out. Everything is always in great condition when we get it. We couldn’t be happier. Adorama always makes it work.
Q) Are there any new equipment releases/announcements you’re excited about? Why?
FP: I’m curious to see what DJI does next with the Ronin 4D. I just know there’s got to be a new model coming soon—the 6K and 8K have been out for a while now, so it feels like an update is on the horizon. I’m especially interested in how they’ll push things further this time.
What I’d love to see is the ability to shoot vertical with the 4D. So much brand and social content these days is framed that way, and it would be amazing if DJI added a vertical mode or even a simple adaptor for it. That would be a real game-changer
Q) Are there any upcoming projects that you are involved in that you care to share about?
FP: I would be happy to return for a Season 2 of Love Thy Nader, if I am offered to, to take it even further and really keep elevating the look and storytelling.
Outside of LTN, I’m just hopeful for a better tomorrow for our industry. All any of us can do is keep doing what we love. As well as hope everyone else gets to do the same.
Q) What’s one fun fact your colleagues might not know about you?
FP: I love to cook! I’ve always said that if I hadn’t fallen in love with production and television, I would have delved more into the culinary arts and learned to be a chef. One of my favorite things to cook is risotto—I make a mean truffle goat cheese risotto! I start with a base layer of truffle cheese risotto, then add chorizo on top. It’s awesome!
At ARC, being part of Fabian’s creative journey reminds us why we do what we do, and we’re grateful for the chance to stand alongside artists like him as we continue championing the work that moves our world forward.
