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Video Editor Emeric Le Bars Has Time on His Side

Hollywood’s film community is populated by a host of specialized craftsmen and technicians, with many working behind the camera in unique, separate and distinct fields. These widely varying duties abound in the post-production stage of filmmaking and while many make limited contributions, others have a critical impact on a films audience. The editor is perhaps the single most significant of all post-production talent, with the ability to dictate the feel, pace and emotion of the finished product, and French-born video editor Emeric Le Bars is quickly proving himself as one of the best in the business.

While Le Bars has distinguished himself as an in-demand cutter with a solid reputation thanks to such as editing award winning features Lily’s Light and documentary Live Another Day, numerous episodes of TV series Say Hello, contributions to in-douse content for Smile TV and public television station PBS Socal, numerous freelance editing jobs and his own web series The French Touch. It’s a fast-growing body of work that ensures Le Bars status as a rising up and comer on a natural career path.

“As a youth, I was shooting a lot of small personal movies with friends and family,” Le Bars said. “And I started getting really good at video editing—the passion started there. Then when I went to college, I had classes and internships where I was doing a lot of video editing and camera work. I knew this was what I wanted to do in my life and moved from France to the United-States as soon as I graduated.”

Based in Hollywood, Le Bars keeps busy, thanks to his editing skills but has recently parlayed even more fascinating skill into a new facet of his career—time lapse photography, Time lapse, of course, is the sequential series of photos shot over a long period of time and compressed into a finished product that shows what was originally a gradual piece of action (a flower blooming, a dawn-to-dusk cityscape) at a dramatically accelerated pace. While the process sounds simple, it’s a discipline that requires comprehensive technical knowledge and painstaking attention to the camera’s mechanics to ensure a seamless final effect, and Le Bars is one of the best in the business.

“Time lapse photography is really a mix of photography and video editing,” Le Bars said. “That’s why I love it so much. I have a portfolio of more than 600 clips from all around the world. And time lapse has become a big part of my life—I now specialize in them, shooting for big companies like Skyspace LA, Google, Red Bull and, recently, on the Netflix original Real Rob.”

Le Bars’ previous work, and notable profile as a force to be reckoned with, made him a natural for the show (a charming fast paced series centered on comedian Rob Schneider’s day-to-day Hollywood life) which began to prominently feature his top quality time lapse.

“I had worked with Real Rob editor Darius Wilhere on The Hollywouldn’ts, a movie he directed,” Le Bars said. “He saw that I was also doing time lapse and asked me to edit a few for Real Rob. I wasn’t used to working on demand—usually I go out and shoot what I want, the way I want it. This time, I had to make sure I was doing what Rob Schneider wanted, make sure I am using the right interval for the subject, the right composition and the right shutter speed. The color correction is also very important as well because it has to be related to the subject is, Los Angeles, sunshine, palm trees.”

Characteristically, Le Bars nailed it: “Emeric is, without a doubt, in the top 1% of time lapse videographer-editors working in the world today,” Real Rob editor Darius S Wilhere said. “His work is gorgeous and the quality is evident to anyone who sees at it. It’s his attention to detail and his willingness to return to locations again and again until he has the exact right shot that communicates the beauty and power of a given location.”

“This level of work only comes from constant dedication to one’s craft for years and tens of thousands of hours. I applaud his diligence to the craft and look forward to working with him for many years to come. The director and producers were thrilled with his work and have asked me in advance to secure his services for season 3.”

“Rob Schneider and Netflix loved the shots,” Le Bars said. “My time lapse work ended up opening 8 episodes of season 2 and also as a few establishing shots in the episodes. It definitely is an amazing credit to have on my resume”

Having firmly established himself with a formidable catalog of professional achievements in just a few short years, the driven, ambitious Le Bars’ potential is unlimited.

“I have always been a big dreamer,” Le Bars said. “And every day I am thankful that I am where I always wanted to be, working in the field I always wanted to work in and that I am around so many creative people in the city of Angels. All of this helps me to create more and more content, to edit more and more time lapses and videos.

“Just follow your dreams in life. I know it’s easy to say, but if a young French man who came to the US with nothing and succeeds in the industry can do it, anyone can do it. Create a life that you will remember. Work hard for what matters to you, not to others.”

 

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THE SWEET DREAMS OF RICARDO CAMPOS

Artists suffer for their craft. For every self-important/self-indulgent creative type there are a thousand who are working in conditions that most of us would prefer to avoid. All of this is done for the sake of the creation of art. Cinematographer Ricardo Campos took this idea a bit too literally when working on the film “Sweet Dreams.” Because the story and the film’s cast and crew were so intriguing to him, he agreed to take on the DP position which was filmed in the North East of the US…overnight in the dead of Winter. A weekend shoot at the Beverly Hills Hotel this was not. While he admits that the experience was quite uncomfortable in terms of climate, the end product is what keeps him remembering more of the good than the bad. “Sweet Dreams” is dark and unsettling, which is an apt description of the physical sensation of making it.

The process of creating art can sometimes find itself positively correlated to the message it’s delivering. For a film such as “Sweet Dreams” this may not be a comfortable experience but channeling their emotions into their work is the positive manner by which artists deal with these occurrences. Like the postal service motto of old; neither rain, snow, freezing cold, or dark of night (all of which frequently occurred on this shoot) would deter Ricardo and the crew/cast of this film from their work. When the camera wasn’t rolling, it was quite common to find twenty or more people huddled together in a pop up tent with a heater. This energy and sense of desperation is palpable in the film. Eduardo Alcivar (director of “Sweet Dreams”) notes, “From the beginning of this project I knew it was going to be a difficult one to make but very rewarding. For starters, we began production on this show in the middle of winter in the North East which is as cold as it sounds. In addition to that, we were shooting overnight exteriors in the middle of the snowy woods so as you can imagine, things were a little more complicated than usual. I reached out to Ricky to shoot this project because he and I had been wanting to shoot a narrative piece together for a while and I thought that Sweet Dreams would be the perfect opportunity for that. He is a very driven professional. Once he understands what is needed there is no stopping him. He brought a high level of abilities and professionalism to the shoot that spoke to many of us.”

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The story of “Sweet Dreams” takes place over the course of one freezing night in the outskirts of New York. Two women, Carmen and Janie, are trying to discard a body. They are both call girls who work for a boss in the organ smuggling black market. Later that night when they find a suitable location and open the trunk to take the body out, they realize that the man inside is still alive. It becomes immediately clear to Janie that this man [Henry] and Carmen know each other and have been having a relationship. After a long argument in the snowy woods, and a message is sent to both of them by their boss with instructions to kill each other, both girls end up dead alongside Henry.

While everyone in the cast and crew had their hands full dealing with how the environmental conditions on set made them feel, Campos had to contend with how these factors affected what he was able to witness with the camera. Being aware of the possible outdoor conditions, Ricardo kept his lighting design decidedly simple but effective. A china ball on a boom was used as a floating key for the interiors. For the exteriors at the gas station scene, vapor lighting was used to match the practicals. Overall the lighting has a great deal of contrast and is punchy, as soft lighting would not be congruent with the feel of the film. Ricardo’s preference for natural organic imagery was the Alexa camera.

Fans clamored over this cutting and dark tale, which Campos confirms is always the goal. He concedes that he was quite happily surprised when the film was accepted to the 2017 Festival International de Cannes and was shown in the Short Film Corner. Cannes is perhaps the most prestigious festival on the planet and having your work accepted there communicates inclusion into a very noteworthy club. Ricardo states, “It was a huge honor to have the film show at the short film corner there. It was also amazing because it led to so much more work afterwards.”

NOT YOUR TYPICAL FUNNY MAN: JAMES PRESTON ROGERS

Actor James Preston Rogers is tight lipped about the plot details of the upcoming 2018 release Benjamin (Darius Films). What he is happy to speak about is his enjoyment of being in this film cast alongside so many comedic heavyweights. Rogers is so often noticed and cast for action roles (with a commanding physical presence of 280 lbs. and over six and a half feet tall) that displaying his comedic abilities alongside Kevin Pollak, Dave Foley, Rob Corddry, Peri Gilpin, Cheri Oteri, and numerous others was a joyful difference for him. His appearance as Ulf, a Russian semi-pro hockey player allowed James to stay close to the accent he had developed for the “Siberian” in “Frontier” (on Netflix) playing the nemesis of Jason Momoa’s lead character. The accent is as close as James gets in this film to any aspect of the melee that the Siberian or the combative aspect of Ulf’s hockey career in this comedic role. The inference of Roger’s commanding stature might be the premise of a fish out of water but James takes his place evenly matched alongside so many recognizable faces in the comedic acting world. As director and costar of Benjamin Bob Saget states, “Simply put, James is impressive. His comedy talent is obvious. He understood the role of Ulf and added great depth to it. It would have been easy to present the character as one dimensional but James portrayed Ulf as sincere, deep, and of course with the imperfections that make real people so funny. It was a pleasure to work with him and we were lucky to have him in the cast.”

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Benjamin is the title of the film as well as the character which the story focuses upon. A teen who has decided to delve into drug use, a group of family and friends hold an intervention to dissuade him. During the act of revealing the skeletons in their own closets (in hopes of eliciting a similar response from Benjamin) these individuals all come to realize how they are perhaps living more chaotic lives than the young man they came to help. Rogers appears as the Russian hockey player/boyfriend of Benjamin’s mother Marley, played by Peri Gilpin (perhaps best known as Roz from TV’s “Fraiser”). ULF comes in as Marley’s boyfriend very supportive of her and her situation. Throughout the course of the story ULF realize that he doesn’t fit into this new world he has embarked on, and need to focus more on himself to make his dreams a reality. English is Ulf’s second language. He really loves hockey and Marley and will do anything for either of them as the wild side of the sport and this woman fulfill a part of him. Amongst all the other adults who appeal to Benjamin, Ulf is the character who is likely the most unlike them and therefore has an unexpected connection with the perspective of Benjamin.

Appearing as Ulf is the second time recently that James has appeared as a Russian (the first being in “Frontier”). The language and accent are nearly second nature to this Canadian born actor who spent his childhood and early adult years amongst a variety of cultures. His childhood friends in Toronto were German, Irish, English, Scottish, and originated from many other parts of the world. This was early training for his ears, training that Rogers put to good use in his acting career. In regards to his role in Benjamin, James describes, “The advantage I have over Russian actors is that English is my first language. You need to know that the script is written in English and is for an English audience looking for a Russian accent. It can be difficult for a Russian actor who learned English as a second language to hit all of the nuances of the jokes the writer is looking for. I’m sure it would be the same for me if I were in a Russian language film. Sometimes it’s about what you don’t say and let the space be taken up for the audience to complete the joke in their own mind. This comprehension gives me an advantage and I usually book these kinds of roles over the Russian actors. Like almost anything, you need to know your audience. If you put the accents on too heavy, you will lose your audience. You need to put on just enough and know the comedic timing for the joke to get across.”

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Being cast alongside so many famous comedic actors might seem intimidating, and James admits that it was at first. However, the process became so enjoyable and satisfying that any insecurities took an immediate backseat to the experience. Rogers tells that the scripted and non-scripted jokes were plentiful and the conversations off camera were intelligent and enlightening; proof that like James himself, his costars are far from one dimensional. Rogers feels drawn to roles that (similar to career courses of larger actors like Dwayne Johnson and Jason Momoa) dispel the idea that an actor who is cast in action roles does not possess the ability to be equally gifted in comedy or drama. He confirms, “Just because are tall or in good physical shape doesn’t mean that we don’t have life experiences and emotions that equip us to communicate through the camera and onto an audience. Most well-known actors get painted with one brush and it’s very rare that we get to color outside the lines. I love seeing a comedic actor cast in a dramatic role and present another side of themselves. My father was hilarious and I think that part of that comedy gene exists in me. When I was in 10th or 11th grade we’d have these things called ‘cut-fests’ at school. You’d square off with someone and trade insults. People would cut class just to watch. It was all for laughs. Between my father and the cut-fest I was working on my comedy timing through my entire childhood, I just grew into being a big guy. Benjamin has given me the chance to show that training and the fact that I’m standing alongside some of the best comedic actors in the present day entertainment industry is beyond exciting.” James Preston Rogers has taken his rightful place as the physically and comedically impressive gentleman alongside his talented cohorts and can be seen doing so in Benjamin.

Anna Pniowsky masters different levels of fear to terrify audiences in ‘He’s Out There’

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Photo by Kevin McIntyre

Even at the age of 12, Anna Pniowsky understands that choosing to pursue a career as an actress would not be worth doing for the wrong reasons. It is a cutthroat field to work in and if you wish to become an actress for glamor or fame, it is unlikely that you will be able to withstand the pressure and the challenges that you will be faced with. Pniowsky knows that becoming an actress involves a type of perseverance that most individuals will never require in their lifetimes. She is always on her game, ready for any audition, callback, or role that she is tasked with. On top of that, she has mastered the ability to look self-doubt in the face and turn it away. Her love for acting transcends any obstacle that she comes across and by believing in herself and surrounding herself with people who support her dreams, she has no doubt that she will be acting for years to come.

“If you feel that acting is truly in your blood, remember the well-known adage – it is a marathon, not a sprint. It takes a lot of auditions before you book something. You will feel self-doubt and you will want to give up, but if you truly love it, you can push forward. You just have to believe in yourself,” told Pniowsky.

Despite her age, Pniowsky has earned herself a breadth of experience and training in her field. Just this past year, she landed the lead role in a film written, directed, and starred in by Oscar-winning actor Casey Affleck. The film, Light of My Life, is a drama about a father (played by Affleck) and his daughter (played by Pniowsky) who live on the outskirts of a society that was destroyed by a pandemic ten years ago. Buzz about Pniowsky’s role in the film is already gaining traction as being a career-defining moment for the talented young actress and audiences everywhere are eager to see what happens when it premieres.

Prior to filming Light of My Life, Pniowsky won the role of Kayla in Sony Screen Gems’ horror film, He’s Out There. He’s Out There depicts the terrifying tale of a mother and her two daughters who take a vacation to a remote lake house and wind up being tormented by a murderer in the woods. In the film, Pniowsky acted alongside celebrated actress Yvonne Strahovski, as well as her little sister, Abby. She was paramount to the film’s storyline and appears in the entire duration of the film. In order to play her character as convincingly as possible, Pniowsky endeavored to master multiple different ways of appearing frightened. Since her character is scared throughout the entirety of the film, she felt it was very important to develop her character to be dynamic and she avoided appearing one-dimensional at all costs. With that, she developed various different levels of fear that she could transition back and forth between, depending on the intensity of the scene. In doing so, she created a character that audiences can relate to, and ideally, will identify with as they embark upon the journey that the film aims to take them on.

The film’s director, Dennis Iliadis, could not have been more pleased with Pniowsky’s performance. Knowing that the quality of the film rested entirely on the performance of his cast, he was determined to find actresses that could emulate the mood of the film directly into its audience. When asked about Pniowsky’s performance, Iliadis had the following to say:

“Anna was phenomenal to work with. For such a young age, she’s an actress of incredible intelligence, sensibility and instinct. I have never worked with a young actor or actress who is so hard working, disciplined and focused. We had a very emotionally demanding and technically difficult shoot but in those very challenging conditions, Anna gave a great performance in a role of strenuous physicality and very complex and heightened emotions. Even in the most difficult situations, Anna was always prepared, always ready to go. She really made the rest of us up our game.”

After wrapping He’s Out There, Pniowsky gained a new appreciation for the horror film genre. Most mainstream horror films today have one goal and that is to terrify an audience. It is rare, however, to be able to act in a horror film with an underlying moral compass. Pniowsky was fortunate enough to be able to identify the deeper meanings that the story tells. Not only is it a story that highlights the unrelenting strength of a mother’s love for her children, it also does an excellent job of emphasizing a journey of personal growth in Pniowsky’s character. She found herself inspired by the presence of strong, female characters in the film and feels that young girls can learn a lot from Kayla’s will and determination to survive. She loved seeing strong female characters taking charge and fighting hard for what they believe in. It is a message that women of all ages can carry with them beyond the film and into their own personal lives and Pniowsky was honored to be able to play a role in helping foster that movement.

FLIPPING THE SCRIPT WITH ROBERTO SAIEH

Honesty is one of the scariest things in our lives. At the same time, there can be no growth without it. One cannot move forward until acceptance of reality has occurred. This is both the core of the story of the film Asia A as well as the reason that director Andrew Reid worked with screenwriter Roberto Saieh on the project. Saieh has a talent for delivering a realistic perspective rather than the typical sanguine escapism which much of the industry is known for. While there is a time and place for both, the blunt actuality of Asia A (the title is derived from the American Spinal Injury Association classification of “A” for a person with no motor or sensory function preserved in the sacral segments S4-S5) causes it to stand out. Reid shares a strong connection to the storyline of the main character Marquise which made the film very personal for him. This makes it even more impressive that the director credits Roberto with flipping the story upside down in their initial meeting, a sure sign to him that this was the perfect screenwriter to help him create the intensity and realism that he demanded.

Asia A is the story of Marquise (played by London Brown of HBO’s “Ballers”), an athlete who has recently suffered a spinal cord injury which has changed his life dramatically. Without knowing whether this will be a lifelong change or a temporary one, Marquise is forced to deal with the uncertainty of his future and what he thinks it will look like. While the core of the idea may not be completely unique, the way in which the story is told is not the norm. This is not a film about events but rather about the characters and how their relationships are affected. The main character’s interaction with his (recent ex) girlfriend [Camilla] and his older hospital roommate [Noah, played by Emmy winner Pruitt Taylor Vince] present him with the choices of letting the actions of others determine his future or doing so for himself, during a very vulnerable and painful part of his life. Reid explains why he pursued Saieh to write the script stating, “Roberto’s creativity is what makes him unique from other writers. His goal is to create truly authentic stories that resonate with audiences. Storytelling is art, entertainment, and emotion all wrapped into one package and Roberto is a true storyteller. What ensures his success is his creativity and work ethic, which are unparalleled. Talent will get you into the room but it’s hard work that keeps you there.”

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An extremely benevolent impact of Roberto’s work in the eyes of the film’s director is that he flipped many of the key relationships in the film and by doing so changed the emotional kaleidoscope of it. A few expertly made adjustments completely transformed the way that the audience and even Reid was witnessing the characters and events. While most writers would fixate on what happened to Marquise, this writer focused on his response to them and those around him. Saieh came to this perspective by an unexpected association as he tells, “It occurred to me that Marquise, the main character, had to grieve the life he once had in order to accept the one before him. Using that as a starting point, I loosely modeled his journey based on the five stages of grief: Denial, Anger, Bargaining, Depression, & Acceptance; taking each as inspiration. It’s impossible for me to know what it feels like to be an Asia A patient but I have experienced different kinds of loss in my life. It is that sympathetic emotion that I overlaid onto the story and used to shape Marquise’s journey. I firmly believe that no matter what you’re writing about, as long as the emotional honesty is intact it will ring true.”

Although the injury happened directly to Marquise, the experience affects all of those around him and particularly those closest to him. In the original script, Noah is the hospital roommate of Marquise and becomes a protector to him. Wanting to present something with an inverse correlation to the norm, Roberto wrote Noah as crass and irreverent with an almost forced cheerfulness. Noah’s deceased wife pitied him and he used this as a crutch to combat the depression and anger of his situation. A diabetic, Noah is eating himself towards death and has already endured two leg amputations. Rather than a wise mentor, Noah becomes a textbook example of who Marquise does not want to become. Saieh describes, “To me, characterizing Noah this way seemed like a truer version of how people are lacking self-awareness and are self-victimizing while at the same time offering a harder-hitting narrative. I didn’t want to shy away from exploring the darker side of the themes. This isn’t the story of someone who successfully went through a similar experience and is now mentoring someone else through it. It’s the story of someone [Noah] who couldn’t do what life is asking of Marquise now.”

Further driving this point and doing so painfully for the film’s protagonist is the fact that his ex-girlfriend Camilla pursues what she believes to be the right thing in reuniting with Marquise. While the comfort of her support could be a band aid, Marquise is constantly confronted with the choices Noah has made and whether or not to face his difficulties alone but with honesty.

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Roberto began his writing career with Indie Dramas and desires to take this indie sensibility and attention to “character” that defined this early work to summer blockbusters and genre films. His fascination with romantic dramas comes from his belief that some of the worst wounds you can receive can be self-inflicted, which can seem even worse when they’re the right choice. This is perfectly stated in Asia A when Marquise rebukes Camilla’s offer in a self-aware understanding that her feelings resemble pity more than love. It’s a concept Roberto feels presents itself often in our lives. He remarks, “It’s a matter of digging into personal experience and those situations where you know a relationship is over but you also know it’s going to be up to you to end it because the other person, for whatever reason, isn’t willing to step up. Having the strength to self-inflict a necessary wound because it’s the only way to save yourself seems to be a recurring theme in some of my work; letting someone go, someone that you love to death, because they’re not right for you or because you know they will be your downfall. It wasn’t that much different writing Marquise in this situation, regardless of his status as a spinal cord injury patient.”

THE SOUND OF THE GRANDMASTER: JIFU LI

The human experience is diverse and complicated. There are layers upon layers of emotions that make up the life of every individual on the planet regardless of their experiences and their point of origin. This complexity can sometimes go unnoticed in the din of so many people. The beauty that makes up each person’s life is a story in itself. This concept goes overlooked by many but is always present in the mind of Jifu Li. As a Sound Editor, Jifu spends his time ensuring that the voices and sounds present in a film weave in and out of presence in the story as the filmmakers see fit. One might not think of sound in terms of color but it is precisely this perspective that allows a contouring of the experience by the audience. Jifu uses his talents in a wide variety of films ranging from Oscar nominated to independent productions, proving that those of great talent seeks to collaborate with great storytellers regardless of the price tag…because that’s what they must do as committed artists.

Creating any film is a massive endeavor. The Oscar-nominated feature film The Grandmaster was almost hyperbolically so. The footage was extensive, twelve reels by the time that Jifu began his work. The production’s shooting cycle had lasted four years. Li’s previous work on five films had convinced Wu Ling (general manager of the China film post Company) that Jifu’s talent and propensity to work long hours without complaint made him ideal for the position. The Grandmaster is the story of the martial-arts master Ip Man, the man who trained Bruce Lee. While it’s a gripping drama, the film is an obvious action story as well. The picture editing and audio editing of the film were done synchronously, which meant that getting the final frame version in perfect sync was an intimidating proposition. Altogether there were fifteen versions of the film. If an action scene changed, all of the effects and Group ADR required recutting by hand, sometimes even redesigning or rerecording.  Describing what he does in a very literal sense, Jifu states, “If you cut from a punch to a slow motion reaction, the sound pacing should be fast to slow. I might add in some ‘Bass Drops.’ The hit should appear to the audience as it ‘feels’ to the characters, like you can hear the fist beat from the skin to the bones, all the texture and details. What happened a lot in The Grandmaster is that they would then change it on the other side; cut to the fighter’s slow-motion movement first, and suddenly speed up, hitting the others person’s face. The sound design will then change a lot. Sometimes there were voices and sometimes just music and sound effects. There are so many of these sonic aspects in modern films and in particular action films. My job is to make sure these subtleties are executed perfectly and to the desire of the director. It can be arduous but it’s always gratifying.”

A consummate professional like Jifu was necessary for The Grandmaster due to one technique which was employed during filming for the benefit of the action sequences. In this film (as in many action films) the director used music to aid in the fight sequences. This type of choreography is always about timing and music greatly aids in this. Quite often, the music used during filming is not the same that is used in the final edit (sometimes the music is altogether discarded). This results in extensive ADR (automated dialogue replacement). Even beyond the main characters, Li worked extensively on Walla Editing (the background character voices), Wild Tracks (sound effects which are recorded on location by the production sound mixer and then later edited for use), and Foley.

The Grandmaster is a beautiful film, visually and audibly. In addition to its 2014 Academy Award-nomination, it also received the Best film at the (2014) Asian Film Awards, Best Film at the (2014) Hong Kong Film Awards, as well as a Golden Horse Film Festival Audience Choice Award & Best Feature Film nomination. Most meaningful to Jifu was the Golden Reel Award for Best Sound Editing in Foreign Feature Film that acknowledged his skill on The Grandmaster and which he credits for inspiring him to continue to excel in the profession.

Though he enjoys the challenge of a huge budget feature film, Li also welcomes the opportunity of smaller films and the methodology they require. His work in Editing for the film “Love is Color Blind” helped to create the mood for a very different type of adversity and combat between the film’s main characters. The film, which won a host of awards at the London IFF 2017 and the Los Angeles Cinema Festival of Hollywood, is the story of an American woman who adopts an orphan from China and has brought it back to the United States. With adolescent rebellion, the child begins to gradually question the authority of her mother. Teen angst ensues and a rift is created between child and parent. As life educates the daughter, she prepares to sincerely apologize to her mother at her 18-year-old birthday party but the mother faints from weakness due to late stages of cancer. At the last moment of life, the mother and daughter finally understand each other.

Jifu had extensive conversation with director Liu Jiaqi about the emotional shading of the tone she wanted in the film. In creating the sound design for “Love is Color Blind” he used Avid Media Composer  and Protools HD. The program creates sound Design effects and allows them to be categorized and moved around as per the director’s desire for subtle differences. These type of modern tools are equally applicable in major studio films or smaller indie productions. It’s a fact of the modern filmmaking era that both the tools and the skilled professional like Jifu who use them often work in both situations. The key factors in either are talent and hard work, something which Li is always mindful of. He reveals, “I remember when I worked for Kar Wai Wong the director and he told me an idiom which inspires me to this day. Everyone knows that the most valuable part of a toad is the toad oil but do you know how the toad oil is produced? The toad is placed under a light and is scorched by the light. It produces this oil, a process which takes about twenty hours. When I heard this, I thought ‘sometimes inspiration comes from dogged pursuit.’ The best thing/essence occurs at the moment when you feel you reach your limit and want to give up. If you persist, you might be surprised by your achievement. This is what keeps me working as hard as I possibly can.”The Grandmaster -MPSE best sound editing

Ismaël Lotz on the honor of working alongside his childhood idols

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When Ismaël Lotz looks back on his inspiration to pursue a career as a Director of Photography, Lotz recounts a unique combination of motivators. He recalls watching television and films with his father as a child. In fact, at the mere age of 7, Lotz saw E.T., and it was his first time seeing a film on the big screen. He was left in complete and utter awe, eager to see many more films just like it. After E.T., came films like Indiana Jones and Back to the Future. Eventually, he began experimenting with photographs and with shooting film on an 8mm camera. Even at a young age, he was confident that he could build a future out of his passion. His fascination with telling these gripping stories through different lighting techniques, filming methods, and sound styles opened an endless amount of possibilities and creative outlets for him to channel his artistry. He promised himself that one day, he would produce films that audiences would love the way he loved films like Back to the Future. Little did he know, he would one day work with the actors who crafted these stories before his eyes; however, today, instead of being his idols, these actors are also his equals.

Over the course of his career, Lotz has built himself into a highly sought-after Director of Photography in the arts and entertainment industry. His creative process typically begins when he assesses the story of a script and determines which style of film would best suit its inherent messages, moods, emotions, and atmospheres. Once he develops a vision for the script, he works tirelessly to ensure that he brings it to life in such a way that honors every element of the writer’s vision. Lotz distinguishes himself by his ability to capture every detail of a storyline, no matter how large or small. In his free time, he researches and experiments different filming techniques used by other directors of photography to master new techniques and broaden his range of abilities in order to enhance his skill set for the better of his future projects. In fact, in 2016, he had the unique opportunity to test his hand at filming a documentary called I Am Famous, featuring the life of Tom Wilson.

After he developed the idea of I Am Famous, Lotz was extremely excited about the opportunity to work with an actor that he had admired and idolized ever since he was a child. Wilson, who played the infamous role of Biff in Back to the Future, built an entertaining comedy reel out of his experiences after Back to the Future stormed the film industry. His role was so well known and vehemently disliked by audiences across the globe that he became accustomed to strangers approaching him and saying, “I hate you!” For I Am Famous, Lotz was not only the Director of Photography, but also the film’s sole director and editor. His personal approach to shooting the documentary allowed him to unveil Wilson’s true self. Being able to get to know one of the actors who inspired Lotz to become a Director of Photography was an opportunity unlike anything else he had ever encountered. He worked tirelessly to ensure that the final product of the project was nothing short of perfect.

“The way I create documentaries is very close and personal. I think the closer you can get to your subject, the more honest and real you can present them in your film. I like getting close to my subject on an intellectual level, but also with my camera. The result of I Am Famous was more than I could have ever dreamt. It turned out to be very successful,” told Lotz.

On the other side of the camera, Wilson was extremely humbled by the project. He doesn’t often allow for filmmakers to tap into his personal journeys; however, he felt that he could trust Lotz to portray him in an honest, organic light. He developed a confidence in Lotz that allowed him to feel at ease on camera and that allowed Lotz to challenge him to open himself up before his audience. When Wilson agreed to the project, he had no idea that he would be so moved by the final product and he felt that it was a distinct pleasure to be able to experience working with such a well-established Director of Photography.

“Working with Ismaël was a pleasure, as he is kind, easy to collaborate with, and keeps his humanity of the utmost importance – which is sometimes a rarity in filmmaking. His friendly demeanor makes a fine foundation for his skills as a cinematographer and director who gets things done. His knowledge of the technical demands that underlie the complex technologies of filmmaking are at the highest professional level and he has proven that with a long list of impressive professional work. In my almost forty years of filmmaking, I must say that Ismaël combines the essential ingredients for a successful filmmaker; a high level of technical skill, a deep commitment to the art of cinematography, and the personal character that makes for a solid and lasting success,” noted Wilson.

I Am Famous premiered in 2017 on ShortCutz Festival in Amsterdam. It went on to screen successfully at a number of subsequent film festivals such as the Miami Independent Film Festival, the Los Angeles Film Awards, New York Film Awards, Hollywood International Independent Documentary Awards, and many more. Knowing the film has done this well so early on in its screening life is a testament to Lotz’ prowess as a Director of Photography. He is motivated to explore the possibility of creating a follow up film.

For anyone aspiring to follow in Lotz’ footsteps, he cautions them to remain honest to themselves and to their environment. He understands that in his field, it is imperative to create as much as possible. With that, will come mistakes and ultimately, learning opportunities. By watching the work of other cinematographers, you can learn new techniques and gain an appreciation for all of the different styles present in the industry. The learning never stops and maybe one day, up-and-coming cinematographers will get to work with their idols and perfect their craft as Lotz has done in his remarkable career.