Mazi Mitchell has shaped the visual tone of everything from feature films and prestige television to high-end commercial work. From running the streets with Malik Sayeed and Hype Williams during the golden era of music videos to lighting expansive cinematic projects, his approach has always remained the same: use the right tool for the job.
Now, with Apple Studios’ Government Cheese set to debut in April, Mitchell takes us behind the scenes of the period drama—set in 1969 Chatsworth—where he harnessed the FilmGear® 10/12k Tungsten Power Beam to sculpt its distinct visual tone. We also explore his philosophy on lighting, the lessons he’s learned from cinema giants, and why FilmGear®’s F-Series remains an essential part of his toolkit.
Sculpting the Look of Government Cheese
A period piece like Government Cheese demands a sharp command of time, place, and atmosphere. Directed by Paul Hunter and shot by cinematographer Matt Lloyd, ASC, the team grounded their visual language in two key references: Roger Deakins’ work on A Serious Man and Robby Müller’s sun-drenched naturalism in Paris, Texas.
For the main character’s home interiors, Mitchell relied on the FilmGear® 10/12kW Tungsten Power Beam, using it to shape the subtle transitions of time throughout the day. The unit’s punchy photometrics and crisp shadows helped Mitchell define distinct spatial moods between character perspectives and flashbacks.
“Everything you see in the daytime interiors—morning, midday, sunset—was primarily lit with the Power Beam. We’d add a bit of atmosphere in the room, and that shaft of light gave us a beautiful sunlight effect. Since it was tungsten, I could dim it down to warm it up even more. And being a 12K, I had plenty of stop to hit the exact level of dimming and warmth we needed.”
The unit’s degree of control—from its dimming curve to its 0-degree beam angle—proved crucial as they battled Southern California’s famously unpredictable spring weather.
“Seasons are shifting now—we had June Gloom in April and May, which gave us a flat, low-contrast look. That’s when we had to lean on lighting instruments to lift the contrast and bring sharpness back into the image.”
Learning the Language of Light
Before becoming one of the industry’s most sought-after gaffers, Mitchell was cutting his teeth on music videos—where instinct and adaptability meant survival. One of his defining early moments was flying out with the savant, Malik Hassan Sayeed, to Cancun for the 50 Cent video, Just A Lil Bit, armed with nothing but experience and a local crew he had never met.
“No one spoke English, and my Spanish wasn’t great, but I realized lighting is universal. A 10K is a 10K anywhere in the world. If I could point and explain what I needed, we could get the job done. That was the moment I learned to be comfortable with being uncomfortable.”
That same fearless approach carried him through years of work with mythical auetuer, Hype Williams, whose instinctual, high-concept visuals pushed Mitchell to expand his lighting vocabulary.
“Hype would show up on set and just absorb the environment. He’d ask a few questions, go back to his lab, then return with references. That forced me to work on the fly, to build my own basket of tools. Now, I have a full toolbox—but back then, I was still figuring out what went inside.”
Mazi Mitchell and Warren Washington in Don't Be a Menace to South Central While Drinking Your Juice in the Hood (1996)
History With FilmGear®
Through decades of evolution in lighting technology, one constant for Mitchell has been FilmGear®. When he’s not using the Power Beam, Mazi turns to the F-Series. Whether bouncing an 18K HMI as a soft key or using it directly for backlight and ambiance, it’s a system that’s earned his trust.
“FilmGear® units are reliable, sturdy, and accurate. I’ve been using them for eight years now. The F-Series has become my go-to because I know exactly how they respond in different scenarios.”
From the sunlit exteriors of Government Cheese to the controlled warmth of its interiors, Mazi Mitchell’s lighting approach reflects both his deep experience and his instinct for storytelling through tone. With tools like the FilmGear® 10/12K Tungsten Power Beam and the versatile F-Series, he was able to bring the period world of 1969 Chatsworth to life—shaping each scene with precision, consistency, and character. For Mitchell, it’s never about overcomplicating the process; it’s about using the right light for the right moment. And with FilmGear® in his kit, he knows he can always deliver exactly what the story calls for.
We take pride in our lights being engineered by filmmakers, for filmmakers. Talking with Sebastián and Franmiris gave us valuable insight into not just their creative process but also how our work at FilmGear® helped realize their vision. If you want to grow your own lighting arsenal, contact our team at info@filmgearusa.com or call (323) 780-8880 for more information!
Written and Interviewed by Jibran Kabani