Landing The Land; DoP Steve Holleran on lighting for action with his independent feature film debut

“I did do a lot of documentary work in my twenties, environmental work and action sports, all around the world,” he replies when asked what it was about his early work that translated to his first feature length, The Land, which was picked up for distribution by IFC Films after showing this year at Sundance. At a modest indie budget, the plan for the production was to work frequently in uncontrolled environments, especially while shooting inner-city exteriors in the city of Cleveland where the movie is set. The lessons Holleran learned by working so often in the field proved handy as a few of the unique challenges that the team faced on The Land included lightning strikes and a gun shooting on set.

Matteo Mescalchlin; Personal drive, passion and skipping school.

For Matteo Mescalchin, life has been all about going out and building things for yourself. Being born and raised in Padova, just outside Venice, where feature films are constantly shot due to the beautiful landscape, Matteo took an interest early on learning how to shoot video by skipping school to watch crews film movies in town.

A Marvel DP : A discussion on cinematography with Manuel Billeter on lighting Jessica Jones for Netflix

With the 13-episode series Jessica Jones wrapped, and a new show, Luke Cage, scheduled to debut on Netflix this September 30th, cinematographer and workaholic Manuel Billeter is also slated for the upcoming companion series Iron Fist, shooting now. One would think that with so much action work, Billeter would lean heavily towards fast edits and music-video-style choppiness, but instead, almost shockingly, he points out that he is heavily influenced by the more ethereal, dreamlike work of master directors like Wong Kar Wai, David Fincher, Stanley Kubrick and Federico Fellini.

Fall Tradeshow Schedule

Chimera Lighting is jet-setting our way to trade shows in Amsterdam, Munich, Cologne, Toronto and New York this August through October.
Come by and and say hello! Sign up for an appointment below or let us know what you like to see next from the Chimera Team! See you all soon!

Olympic Gold: Drew Gardner on lighting VR, Video and Stills of the Women’s 8 Row Team for Sports Illustrated

On a recent Sports Illustrated project documenting the three-time Gold-winning Women’s 8 Olympic Rowing Team as they trained for the Rio games, still photographer and multimedia artist Drew Gardner was facing not only a difficult still photography setup in the middle of a lake, but also a three-day shoot that would ultimately include video interviews as well as virtual reality content destined to accompany a long-form article on the SI.com website. Relying almost entirely on Kino Flos and Chimera medium lightbanks coupled with Profoto B1 high-powered flashes, the goal for Gardner and his team would be to capture several editorial stills to be coupled with clickable content that would unlock easter-egg video interviews with the women athletes about their responsibilities as a team member and Olympian.

Cinematographer Dejan Georgevich ASC on his favorite Chimera accessories for working productions worldwide

With talents that extend far beyond those of a typical cinematographer, including four spoken languages, jet-setting DP Dejan Georgevich ASC has been working worldwide for more than two decades. As cinematographer as well as director, he has put together hundreds of award-winning commercials and industrials for a stellar list of clients, like AT&T, HBO, Toyota and Nissan. Almost as well known for his network of industry friends as his talents behind the camera, Georgevich also does his best to contribute to the filmmaking and production community. He’s a mentor to many of the students that have passed through his classes, not only in the classroom at the School of Visual Arts in New York, where he runs Advanced Production as well as Advanced Lighting and Cinematography, but also in many of the union workshops that he has led throughout the years as Co-Chair for the Eastern Region Education and Training Committee and National Executive Board Member at the ICG.

Michael Grecco on Lighting Dramatic Portraits and Developing a Signature Style

For a lot of people, photography is a life-long journey that starts at a young age. For Michael Grecco, it was a dreamy affair with the darkroom that started way back in summer camp. Fast-forward to the formidable years and he knew what he wanted to do when he went onto college: photojournalism.

Invest in quality or go cheap? Best Soft boxes for Photo and Video production?

How much should you spend on your gear, and what do you get for your money? Is a high-dollar item better than a less expensive item with similar features? Like every photographer in today’s market, I ask myself that very question when putting down cash for equipment.

A big question I get about the gear I use is, “Is that worth the money?” And for most of the gear I own, the answer is yes. Photography and video are the way I pay the bills, so the gear I use must work every single time I pull it out of the case.

Jeff Lewis; The Knack for Taking Big Risks at The Right Times

Many times in a creative’s life, there will be a period when you look back on what you’ve been doing and make a choice to pivot into a new chapter. For Jeff Lewis, there has been a few over the years – some very notable ones to say the least. Lewis grew up eating, sleeping & breathing football, although his creative side shown through in his oil paintings. However, it wasn’t until he was in college on the football field that his true calling occurred to him.

DP Nancy Schreiber, ASC On Women In Film And Lighting Without A Budget

Currently preparing for a labor-of-love shoot in Trinidad, Nancy Schreiber, ASC is bubbling with enthusiasm for the project, Moving Parts, a fictional narrative that centers on the international sex trade. “I was just drawn to the subject matter,” she says. Ever vocal for the rights of women, Schreiber says that she will work on several PSAs over the course of a year in between other work, but for this feature length, she has dedicated herself to seeing the project through despite a very small budget.