Category Archives: Cinematographers

Cinematographer Shuntian Jiang works alongside one of China’s biggest stars for new Descente commercial

When Shuntian Jiang decided he wanted to make movies, he considered being a director. However, he discovered quickly that directing is often more managing and hustling than it is creating. Jiang knew that lifestyle wasn’t for him; he is an artist. He quickly fell in love with cinematography, because the only thing that makes him happy is to tell a good story with emotional images.

Throughout his career, Jiang has shown the world why he is such a celebrated cinematographer in China. His contributions to countless productions, including La Pieta, Path to Salvation, and No Home for Young Man, have impressed the masses, with his passion and determination shining through in every shot.

“When I was growing up, I never felt like I could work a regular office job. Just the thought of it killed me. I think I’m very blessed to become a working cameraman. I love to wake up each morning and go to a strange location and make it look nice. I also love the vibe of a production, people with the same passion making movie magic happen,” he said.

One of Jiang’s more recent projects is a commercial for the Japanese sports clothing and accessories company Descente. The purpose of the commercial series is to promote the 2019 spring/summer apparel, featuring international movie and TV star Daniel Wu.

As the cinematographer, Jiang worked closely with the client and director as well as the still photographer to come up with the look to best showcase their product and the charisma of super star Daniel Wu, best known for the Netflix series Into the Badlands. Wu is a legend in Hong Kong cinema, and Jiang was honored to work with such an icon and create a series of commercials for a famed brand like Descente, which was formed in 1935.

“Descente is a good combination of fashion and function. The quality is very good, the fabric texture is very hi-tech, which is great for extremely close up shots. The designer has included many details in the clothing, so I can get a lot of different close ups for different looks. Basically, there are a lot of options for how I can show the products,” said Jiang.

Descente bts with star Daniel Wu gaffer Guoqing FuThe commercial features Wu participating in a variety of sports in different Descente outfits to showcase the function of the product through his charisma. There were eight different looks, and they had to shoot everything in a singular day, which was an enormous challenge but one Jiang looked forward to. It was a daylight shoot, so he didn’t use any lights. He had a grip team just to hold all of the equipment to follow the star so he could move quickly without sacrificing quality. In a shoot with such a short time frame, this approach was essential to the commercial’s success. Jiang had everything planned perfectly during pre production to ensure a smooth shoot. He scouted the location and took photographs of each possible frame beforehand to show the director. His work ethic was outstanding.

“I liked the working style of this commercial; it is a little different than other shoots, but it was still a very interesting experience. We really needed to focus to make sure there were no mistakes, but once a look was completed, we relaxed a bit while we planned out the next one. This made it feel more like 30 minutes of intense work here and there rather than an exhausting 12-hour day,” described Jiang. “Another thing I really liked was working with Daniel, he is such a big star but he is very humble and professional.”

The Descente commercial was distributed on the WeChat page. WeChat is the most popular Chinese chatting/social media app and has more than 1 billion users. The commercial is also displayed on the front page of Descente’s official Chinese website. All the site visitors see it immediately, where it links directly to the products.

“Even though everyone was expecting this project to be a success, because it’s a very well-known brand with a very well-known star, I’m still really happy when my friends and family see the commercial. They just see it randomly on WeChat, without me sharing it to them. It’s such a great feeling,” he concluded.

By John Michaels

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Cinematographer Omer Lotan recalls creating award-winning drama ‘Remains’

Omer headshot
Omer Lotan

When Omer Lotan first began pursuing filmmaking, he thought he wanted to be a director. At the time, he was new to the industry and was not aware of the many positions, so directing seemed like the obvious choice. However, he soon discovered a love for cinematography, and he knew that was his destiny.

“I learned to understand that from all the positions on a film set, this would be the most interesting, challenging and rewarding one, since the look and feel of the film is truly in your hands. I found out how much I could learn about original cinematic ideas from working together with a range of talented directors,” he said.

Lotan was right to trust his instincts and pursue cinematography, and he is now at the forefront of his industry in his home country of Israel. Having worked on many acclaimed projects, from the films Thunder From the Sea and Last Round, to the hit music videos “Time to Wake Up” by Hadag Nahash and “Childhood and the Big City” by Ivri Lider, to the viral commercial for Viber, Lotan has shown audiences everywhere that he is a master at his craft on whatever the platform.

One of Lotan’s first taste of international success came back in 2013 with the film Remains, which tells the story of Itamar and Thomas, who share a bed, walls, an apartment and electricity bills. Thomas commands, manages, and criticizes; Itamar is silent and listens. In the face of the couple’s confinement and the abysmal feeling of suffocation, and in the face of the power struggle that permeates their daily conversations, Itamar is forced to take action – an action that briefly allows him to feel things through the body, through the concrete world. The story was influenced by Writer and Director Yotam Ben-David’s personal experiences.

“Power, domination and oppression are in the heart of the story, and I found it very interesting to understand how to translate these topics into a cinematic language. I think the film has elements, which everyone can relate to and be moved by, and since I personally know Yotam well, it was even more interesting for me to take part in his very personal and emotional film,” said Lotan.

When working on Remains, Lotan knew he had to come up with creative ideas and search for original ways to bring his and the director’s vision to life. The director wanted the intimate film to have an epic ambience, which is why they decided to have a lot of wide shots, as well as many camera movements. The camera work and the lighting, with the long wide shots, the dark and contrasted interiors, as well as the quiet urban night shots, enhance the main emotions of the film. Lotan used the architecture of the urban areas and the apartment’s spaces to tell the story and describe the character’s feelings, feelings that create a tension and sometimes might even be uncomfortable to watch.

“Both Yotam and I share similar aesthetic visions, and our previous collaborations led to a deep creative dialogue throughout our work together. He is very clever and original with his cinematic approach, which always encourages me to bring creative ideas to the table as well,” said Lotan.

Remains had an impressive festival run. It was screened and competed at various film festivals in Israel and around the world and won the Best Short Film Award at the Evolution Mallorca International Film Festival, as well as Best Short Narrative Film Prize at the Jerusalem Film Festival, none of which could have been achieved without Lotan behind the camera.

“After screenings of the film I received a lot of positive feedback about the visual impression left by my work. It is always exciting to be complimented for your work, especially when these kind words are coming from a variety of audiences from around the world,” said Lotan.

So, what’s next for Lotan? The upcoming documentary Homeboys is set to premiere next year. He travelled to Uganda to film the musical-documentary that follows Samuel and Isaac, South-Sudanese teenagers deported from Israel who dream about being musicians. Be sure to keep an eye out for it.

 

By John Michaels

Cinematographer Carl Nenzén Lovén Enjoys International Acclaim

carl-1Cinematographer Carl Nenzén Lovén’s sterling professional reputation is distinguished by his signature mix of gorgeously captured visuals, encyclopedic knowledge of camera equipment and his unflagging zeal on location—no matter how challenging the setting may be. In just a few years’ time, the Swedish-born Lovén has emerged as an international force, one whose quickly growing resume of professional achievements reflects his generosity of spirit.

Whether it’s a music video, short or feature Lovén delivers spectacular results, working not just as lead cinematographer but also, when a project appeals, serving in innumerable capacities in the camera department, sometimes as assistant cameraman or working the crucial on set function of focus puller.

Lovén’s expertise proved invaluable on his most recent assignment, ‘Go Back to China,’ the forthcoming dramedy feature from noted producer-director Emily Ting.

“I loved the script when I read it,” Lovén said. “The story follows Sasha, a trust fund baby who will lose her fortune unless she returns to China to work for her father’s toy company. It explores the complex relationship between a neglectful father and a daughter who’s been brought up in a wildly different culture, so it’s a really interesting combination of elements.”

“I was first assistant camera for the Hong Kong, and China portions of the movie,” Lovén said. “I was the only one flown in from the US as camera crew, to oversee, and act as connection between our DP (director of photography) Josh Silfen and the local crew. Since I’d spent roughly four years of my life there, studying Specialty Cinematic Arts at Hong Kong City University, I was well equipped to interact with the locals—far better than someone who had just arrived.”

While he could navigate the cultural landscape with ease, Lovén was presented with a different challenge—limited technical resources.

“I helped in the pre-production picking camera body for the China portion, as well as advising [on] lenses,” Lovén said “When presented with a new project I usually go through my mental library and evaluate why I would select a certain camera or a certain lens, consider why we would shoot on film, or why shooting digital would be the better choice. For ‘Go Back to China,’ it wasn’t so much choice, but more based on the rental house’s existing equipment, I got us the best gear we needed for the job.”

The cinematographer routinely mixes art and science, and Lovén also served as de facto trouble-shooter. “As first assistant my main job is to save time, and make my DP’s job easier,” he said. “That means advising on maybe how to make a shot different, or foresee things that have to be taken care of later. Apart from being second in command for camera crew, and head of gear, I was also focus puller.”

’Pulling focus’ is the act of changing a lens’ focus in correspondence to a moving subject’s distance from the focal plane, to maintain a sharp, consistent image. It’s a subtle but critical element: if an actor moves away within a shot, the focus puller will change the distance setting on the lens in precise relation to his changing position, or shift focus from one subject to another within the frame, as dictated by what the shot requires. Thus the focus puller/cinematographer is hands-on steward of a film’s entire visual narrative, and Loven’s technical skill and intimate knowledge of cinematographic and optical theory is second to none.

”Carl was an essential member of the team on Go Back to China,” DP Silfen said “He always rolled with the punches, navigating the challenges of working with local crew in a foreign country, and his focus pulling was spot on.”

Lovén always impresses with his characteristic blend of involvement, energy, technical knowledge and distinct knack for dynamic visuals. Not surprisingly, director Ting tasked him with some additional follow up.

“When the Asia portion of the movie wrapped up, I was called back to Los Angeles to do the pickup shots as well,” Lovén said, “It will premiere at SXSW this year, will be screened at the San Jose Film Festival and they are securing more festivals each day.”`

“It was a great experience, and I am really excited to see how the film turned out.”

Cinematographer Majd Mazin shares impactful LGBTQ story in award-winning film

As a Cinematographer, Majd Mazin is responsible for the visual side of a film. It is his responsibility to collaborate with filmmakers to achieve his or her vision and bring it to life, using camera, lighting and movement. He recognizes the challenges of his field, with a lot of responsibility and very little limelight, but he truly loves what he does. He builds relationships with those he works with, making sure a director’s vision is satisfied and an actor’s talent is the showcase of a scene. As a camera assistant, he approaches each new project with the same determination. He is truly a master behind the camera.

“Cinematography is an art form and a technical craft, and both aspects should be balanced and worked on respectively,” he said.

Mazin is a celebrated cinematographer and camera assistant. His work extends to films like The Fat One, web series such as The Millionaires, and music videos for hit bands like Fall Out Boy and Red Velvet. With every project, he aims to make a lasting impression to his audience, which to him, is what filmmaking is all about.

This is best exemplified with his film Prodigal Son. The film tells the story of a closeted gay teenager coming out to a conservative Latino family. Mazin believes it is an important story to be told for LGBTQ teens and their relationships with their families. The lead and writer of the film Juan Felipe Restrepo, had deep connection to the script, as it was his brother’s story, and Mazin took on the responsibility of telling it in the best way visually possible.

“The story of the film is significant to any LGBTQ teen trying to come out to their friends and family. I believe that teens are faced with a very hard choice and adversity. This film helps accompany many of these individuals, reassuring themand telling them that they are not alone in this. By bringing these LGBTQ issues to the forefront, as saturated as that field might be, I believe that it helps bolster the prominence of these issues and makes them feel like they are less on the fringes,” said Mazin.

The film premiered at Warner Bros Studios in Burbank earlier this year. It is still making it’s film festival rounds, but has already impressed audiences all over the world. It won Best LGBTQ film at Festigious International Film Festival, Silver Award Best Drama at the LA Shorts Awards, Best LGBTQ Film at the Los Angeles Film Awards, Best LGBTQ Film at the Top Shorts Film Festival, and was recognized at the Actors Awards. Such success could not have been possible without Mazin behind the camera.

“It is very gratifying to me to know that a project that I invested so much in and worked so hard on, something that I was a part of is getting the recognition that it is getting. In proxy it is reassuring that my work means something and I am making films for people to see, not to sit on someone’s hard drive,” said Mazin.

Mazin came on board during pre-production. He knew they had a very short period of time to shoot, edit and color and release the project, and he wanted to make the most of it. The experience was united with the director and he was given a heavy say in the choice of the visual language. He wrote the shot list with the director, scouted the locations, and hired his crew. Overall, the experience was not only meaningful for Mazin, but also very collaborative.

“I very much enjoyed working with Director Amalia Ramirez. I felt that I was working with a very competent and visionary director. She has provided a comfortable and collaborative environment for me and the rest of the cast and crew. I enjoyed my crew as we worked as efficiently as possible while coming up with innovative ways to attack problems that we faced on the day,” he said.

A cinematographer’s work is essential to the success of any film. Without Mazin’s work, the idea that the director and writer are trying to portray cannot be told in a believable and truthful way. It is his job to not only use the visual language and style, but to make an uninterrupted visual experience that keeps the audience engaged and furthermore, expand on the story and plot. Prodigal Son was no different, and Mazin’s emotional connection to the story just made him that much more determined.

So, what’s next for Mazin? He is currentlyworking on a feature film titled The Keeper. Be sure to keep an eye out for it.

 

Written by Annabelle Lee

The Lost Soul: Victorian Horror/Thriller Premiering Next Week on Amazon Prime Streaming.

 

Lost Soul BTS-5113

NEVER MAKE A DEAL WITH THE DEVIL, NO MATTER HOW SMALL…

 PREMIERING OCTOBER 23, 2018

STREAM INSTANTLY ON AMAZON PRIME

How do you get your soul back after you sell it? You steal it.

 LOS ANGELES, CA (October 20, 2018) THE LOST SOUL, a mysterious look into the afterlife follows a man grasping at life and narrowly escaping death. Available now to stream on Amazon Prime. Distributed by Sun and Moon Films, the film is created by filmmaker Jeff Caroli (“BALI: BEATS OF PARADISE”).

 The Lost Soul is a fantasy mystery film that has been screen all around the world. The premiere was held in New York City, USA. Since, it has been screened both in Europe and Africa. The film was nominated for best cinematography for Jeff Caroli.

Jeff Caroli is an accomplished cinematographer. For the past 11 years Caroli has been a cinematographer and has garnered millions of views on Youtube.His works include “Queen of the Hill” a music video starring Grammy award winner Judith Hill and the upcoming feature films, “Bali: Beats of Paradise” and “Insight”.

 

ABOUT SUN AND MOON FILMS:

Sun and Moon Films is a US-based production company producing films locally and internationally. The company has produced in the US, China, Indonesia, and Thailand. Sun and Moon Films has had theatrical distribution as well as screenings in various film festivals around the world. The company’s film Bali: Beats of Paradise is premiering at the Academy of Motion Picture Arts and Sciences in Beverly Hills, November 7, 2018. Upcoming projects include Insight, starring Madeline Zima, Tony Todd, Keith David, and Sean Patrick Flannery.

Meet Danish Director of Photography Sophie Gohr

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Cinematographer Sophie Gohr

Though the career paths for many go undecided until later in life, ‘signs’ of a person’s natural gifts and interests are often apparent in childhood– we just have to know how to spot them.

Growing up in Espergærde, a small fishing village outside of Copenhagen, Denmark, Sophie Gohr was surrounded by a bucolic countryside that fueled her creative imagination. After attending a National Geographic photo exhibit, she went home and made her own camera out of cardboard. She was 6.

I was absolutely in love, I knew I wanted to do something like that when I got older,” recalls Gohr.

With a lens made out of a toilet paper roll, Gohr would take her ‘camera’ across town, going on photo adventures and capturing everything ‘mentally.’ Quickly taking notice of their daughter’s budding interest, Gohr’s parents bought her a camera. It was then that the young Dane began cultivating the creative eye that would later lead her to become a sought after cinematographer.

I would sneak up to the library in school at every chance I got to look at photography books,” says Gohr. “My favorite photographers were Steve McCurry and Yann Arthus. The photographs were telling a story and it was like magic to me, I could feel it, smell it and it was like I was there.”

With a painter for a grandfather, and a fashion designer and dance instructor for a mother, Gohr grew up surrounded by creatives who supported and nurtured her developing interest in the arts. Some of her earliest memories are of her grandparents taking her to museums to look at paintings, and attending ballets, opera houses and Riverdance performances with her parents.

“I remember my mom telling me to draw or paint what I felt the opera or dance was about and how it made me feel. To me that has been such a gift in making the connection of feeling something and putting it down on paper,” says Gohr.

“My mom also started meditating and doing visualizations with me when I was 10. I think a lot of these things influence you, especially having parents that supports you in your art emotionally.”

Cinematographer Sophie Gohr
Cinematographer Sophie Gohr

Today, Gohr’s ability to seamlessly infuse the shots she captures with emotive qualities and create a visual language that pulls viewers into the story on screen is one of the key elements that sets her apart from others in her field. Whether she is leading the camera department as the cinematographer on films such as “Wretched” and “Madeleine,” or on tv series such as the upcoming Danish comedy “Frida and Karo” and the upcoming docuseries “A Woman’s Story,” Gohr has a unique talent for nailing the director’s vision.

The new comedy series “Frida and Karo,” which Gohr recently wrapped production on, is directed by award-winning director Jonas Risvig, who’s known for his work as the director behind several cinematic music videos such as Felix Cartal’s “Get What You Give,” Sopico’s “Paradis,” and Tritonal’s “Call Me.”  

Sophie was our prefered cinematographer for the project and made us able to visualize our humor in the aesthetics of the piece,” explains Risvig. “She has a great eye for details and visual identities.”

Starring Karoline Brygmann from the series “Yes No Maybe” and “Something’s Rockin’,” Frida Brygmann and Peter Zandersen from the series “Follow the Money” and “Ride Upon the Storm,” and produced by Reinvent Studios, the series “Frida and Karo” is set in the modern age and follows the lives of two friends. Gohr’s seasoned skill in terms of lighting and visual composition has made her a powerful cinematographer who knows exactly how to frame and light each scene in a way that supports the story.

Gohr says they were going for a ‘very bright and happy’ look in terms of the visuals for the upcoming series. “Since it’s a comedy I decided on warm tones for the lighting, and get sunlight vibe. And I used soft vintage Leica lenses to create the feeling of softness,” explains Gohr. “I used my RED weapon to get the clean cinematic look. The director really wanted the framing to be very simple as if it was a Youtube channel show. A living room type of situation, that turned out really fresh and different.”

Through cinematography Gohr has not only found a field that utilizes her unique range of skills, but it’s one where she gets to shoot projects like the ones she dreamed of doing in her youth. Earlier this year she began working as the cinematographer on the upcoming docuseries “A Woman’s Story” from director Nathalie Jornheim. With each episode taking place in a different country, the show depicts stories about specific women across the globe and incorporates aspects of the local culture and cuisine from the countries portrayed.

“I can’t talk too much about the show yet because it hasn’t been released and we are still shooting,” explains Gohr. “But I love the theme, cultural documentaries are what I fell in love with as a kid. I’m enjoying observing the stories of each of these women, and having a director who is very visual makes it an awesome project to be a part of.”

As the head of the camera department, Gohr is in charge of creating more than just the visual look of the series, but overseeing her department’s budget and the work of those on her team. About some of the differences between shooting docuseries such as “A Woman’s Story” and some of her other work, Gohr says, “You have to be ready and on your toes at all times, to get that special moment. Where as commercials and narrative projects are usually shot in more controlled environments, and there is more prep time.”

Though the release date for the series “A Woman’s Story” is not set just yet, Gohr confides that the creators of the series are in talks with Amazon, Netflix and Youtube as potential platforms.

Though she was born and raised in Denmark, Gohr moved to London at the age of 16 to study music prior to moving into photography. “At that time I really wanted to be a rockstar and photography was something that would happen in the ‘future’ for me,” recalls Gohr. “I have now learned that sometimes what you think is only going to be a hobby, actually ends up becoming the love of your life.”

The hobby has undeniably turned into a full-fledged career for Gohr, and it’s one that continues to fuel her curiosity, ignite her passion and draw on all of her skills. In addition to working on a plethora of film and television series, Gohr regularly works as the special on set photographer on projects from Pink Banana Studios, an award winning creative production company based in London, which earned 9 AVA Digital Media Awards this year. As the special photographer, Gohr has captured crucial behind the scenes shots on numerous commercials for Pink Banana Studios, including ones for Dove, Green Berger, the Huggle App and more.

 

Cinematographer Yang Shao personally connects to award-winning film ‘Once More’

Growing up in Changzhou, a small town in the Eastern part of China, Yang Shao found himself drawn towards filmmaking. As a child, he would pick up his family’s handy-cam and experiment, filming everything he considered interesting. In such a way, he was destined to be a cinematographer. He always had a good eye for photography and frame composition, and when the average person would just see tall buildings while walking in the city, Shao saw letters, signs, magic. He spent his youth thinking of what angle every image he took in would look the best, and he still applies this mentality now, years later, as a celebrated cinematographer.

Shao has put his artistic touch on many film and television ventures. Projects such as A Better World, Life is Horrible, Under and The Great Guys have gone on to see international success with the help of his talents. Audiences can soon expect the same from his upcoming features: Need, In the Middle of the Night, and Excel on the Highway.

The highlight of his career, however, came just last year when Shao worked on the film Once More. It perfectly showcased his talent and passion for cinematography, as the Director and Producer were eager to let him explore his creativity. He was also eager to share the story with the world.

“I was really moved by the story this movie tells. I believe in the importance of telling good-hearted stories and this one is a perfect example of that kind of story. Also, we had an amazing team who was working on the project and working with those folks was really a pleasure,” said Shao.

Once More explores the tale of a psychologically collapsed dancer who failed in a renowned competition and broke his left leg. As the remedy to this life, he intends to commit suicide, but he is accidentally saved by a neighbor girl he was in secret love with. This subtlety encourages him to get back to the stage by dancing with the bum leg.

“At the present time with the #TimesUp movement showing the toxic environment in the film industry that was exposed in the recent year, I think there’s still a lot of room for masculine vulnerability. In fact, that kind of trait in men actually gives me hope in our future. And this movie is a good example of bright and pure emotions that are left in men’s souls. I believe in importance of bringing up the stories that have to be heard but at the same time I know that good-hearted and kind stories is what will make this world a better place,” said Shao.

Once More premiered in March 2017 at the Hollywood International Moving Pictures where it was a semi-finalist on the festival program. From there, it saw great success at many international film festivals, and Shao himself was recognized at many of them, winning Best Cinematography at the American Movie Awards, the Hollywood International Moving Pictures Film Festival, Top Shorts!, Festigious International Film Festival, Los Angeles Film Awards, and more. In total, the film brought Shao seven awards for cinematography, and also numerous awards for Best Film, Best Director and Best Producer. Such acclaim could never have been possible without Shao’s artistic eye.

“I always knew that Yang is a talented cinematographer and always wanted to work with him. He brought his outstanding skill-set to the project. I’m looking forward to working more with Yang,” said Kees Van Oostrum, Executive Producer of Once More.

It was Van Oostrum that approached Shao to be a part of the film. He knew Shao’s cinematography style and that he would be vital to the production. As the cinematographer, Shao chose to use more of the natural light because the story is very elevated by itself and a lot of artificial light would only have hurt the picture in his opinion. A large portion of the movie takes place in a theater, and he made a decision to use abstract lighting to highlight the emotional state of the character and emphasize the stress that the protagonist was going through.

Coming from the East, Shao shot the story with an Asian flavor, bringing the best traditions of the eastern cinematography combined with his extensive experience working in the film industry. This allowed him to obtain angles many would not have, and this tactic was fully supported by the Director, Rachel Zhou and main actor, Jaeme Velez.

“I think we found something very precious there on set. When people’s energies start to bounce around and more importantly play in the same key, that’s when the real magic happens,” said Shao.

Above all else, however, Once More was special for Shao because of the story. He saw himself in the main character, connecting to the protagonist’s artistic journey. It provided a beacon of hope during a difficult time for the cinematographer, and he will never forget what it gave him.

“His passion and will resonated with me on a deeper level. His struggle and obstacles that were on his way to his dream are similar to mine in a way, and to most of the artists’ paths. There was a time in my life where the only thing that was left was hope and big desire to create something larger than myself. And actually, this film came along right around that time. It was like a big sign telling me to keep going, and I think in the end it paid off really well,” he concluded.

 

Written by Annabelle Lee