VOLUME VIIII

Welcome to Sol-Caritas' exclusive exploration of visionary creatives. In this interview, we delve into the mind of Mikell Limbrick, aka Fetti, a cinematographer whose journey began in 2010 and has since defined him as a master of clarity and bold visuals.

Discover how Fetti transitioned from making beats with local artists to filming live comedy shows for talents like DeRay Davis, and explore his commitment to authentic storytelling, exemplified by projects like A House Without a Father. He shares insights on capturing live performances, working with multi-camera setups, and fostering positive on-set collaboration.

From his early influences to founding The Thinkers Club, where deep discussions shape his work, Fetti also offers practical advice for emerging filmmakers on creativity and resourcefulness. Join us for an inspiring conversation about his path, his vision, and his passion for capturing meaningful stories on film.

Mikell Limbrick aka Fetti

Your journey into cinematography began in 2010—what initially inspired you to pick up a camera and pursue filmmaking? What was the moment or experience that made you realize cinematography was your calling? Did you have any influences or mentors that shaped your decision to enter the world of filmmaking?

I started out with a good friend of mine name Santiago Briones. AKA "Big Sevun". We were making beats for local artists to get ourselves involved in the entertainment scene in Houston. I came up with the idea to collect interviews of the upcoming local artists since they weren't getting any notoriety & this was around the time that Twitter was the popular app at that time.

During our interview journey, we stumbled across a few artists that agreed to pay us $1200 for a interview! That was a nice piece of change around that time. That video lead us to getting more gigs & the name started to get solidified in the city. As time passed, Big Sevun decided to spend more time with his family & gave me grace to keep going with the business. From them on, I kept going & never stopped.

How did your early experiences filming blogs, concerts, and music videos shape your creative vision as a cinematographer?

One thing I had to do was unfollow other cinematographers on social media. I found myself mimicking certain styles of other professionals & not creating my own style. I chose the clear, color popping approach since most videographers were heavy on effects in their films. Technology is changing daily. But I still try to stick to my script instead of riding every new wave that comes about.

You transitioned to filming straight-to-DVD comedy concerts in 2013. What was it like capturing live performances for comedians such as DeRay Davis and Cocoa Brown? What were the unique challenges of shooting live comedy shows, and how did you approach capturing the energy and spontaneity of the performances? How did you balance the technical aspects of multi-camera setups while keeping the performances front and center?

I was excited yet nervous filming for celebrities. It's always a surreal experience watching their facial expressions when they view the final edits of projects.



What made me nervous is the fact that when filming a performance, you have to be perfect in your method because artists can't stop their performance if you're having any type of malfunction with your camera, the audio, etc. So preparation was key.

What has been your biggest challenge as a cinematographer, and how did you overcome it? Can you recall a specific project or situation where you faced significant hurdles—whether technical, creative, or logistical? How did that experience change your approach to your craft, and what did you learn from it that you continue to apply today?

Film Production requires a team. I've been pulling many project alone the best way that I could. But some projects call for second & third angles which would prompt me to hire extra camera operators.

This is a bit difficult due to the fact that many shooters have their own style of filming & switching out of your norm to accommodate as an extra isn't always easy.



But I've managed to link up with a few outstanding, motivated camera holders who know what's needed to complete the mission.

You’ve worked with Carlos Wallace on impactful projects like A House Without a Father and P.E.N.S.—what draws you to these powerful narratives? What was it about these particular stories that resonated with you on a personal level? How do you use your cinematography to highlight the emotional depth of such narratives, and how do you ensure the message remains impactful on screen?

What I enjoy about our film project most is that it's a step away from the norm of what we're seeing from our community of film making. "A House Without a Father" is a project that can be comfortably viewed by grandparents and grandchildren alike. I believe our niche is to give the audience family-oriented content & not mimic the heavy drug use, nudity, & R-rated material that's flooding the market today.

What was the inspiration behind creating The Thinkers Club, and how has it influenced your work as a filmmaker and leader? How did your idea for The Thinkers Club come about, and what do you hope to achieve through its discussions? Has leading this community of thought-provoking discussions impacted your perspective on storytelling and leadership in the film industry?

The Thinkers Club is a group that I created on Facebook around the year 2020. The group was geared towards finding solutions on certain issues plaguing our community & discussing certain narratives from a logical perspective without being biased. The group has under 100 members that I felt were well educated & intellectual to engage in great, Positive dialogue. Some conversations are so in-depth that I would input a few narratives in my projects for certain direction.

Finally, with your extensive experience across film, fashion, and business, how do you define success in your career?

One thing I've learned being a creative since 2010 is to not limit your opportunities based on the climate of the industry. I often use to believe that there were certain projects I couldn't film just because none of the other producers did it. I wouldn't push the envelope for fear of rejection or producing a subpar project. I also believe I can achieve certain quality because I didn't own a high-end camera.

What advice would you give to emerging cinematographers who are just starting out in the industry? What practical steps should young filmmakers take to build their skills and reputation? How important are aspects like networking, developing a signature style, and learning from failure in the early stages of their careers?

When I started paying attention to Spike Lee, my favorite director, he taught me to use what I have & create whatever I wanted to create & not limit myself to what I can achieve. Nowadays, they are film projects created on cellphones! & I'm talking award winning films.

Today, I encourage any & all to use the tools you have now to start creating; cellphones, cheap lights, microphones, standard programs, etc. & work your way up. Researching is an art that is still the most reliable to achieve success. & IT'S FREE‼️