As an esteemed member of the Australian Cinematographers Society since 2012 and soon thereafter the American Society of Cinematographers in 2014, cinematographer and master lensman Greig Fraser, ASC, ACS, began his remarkable pedigree in filmmaking with documentary and short film work. But it was an American Film Institute win for Best Cinematography on director Tony Krawitz’ feature Jewboy, only five years into his career as DoP, that quickly led to several high profile feature films shot in his native Australia.
Peter Holland, ACS–His journey from humble beginnings to award winning cinematographer.
Growing up outside of London in a working class family, Peter Holland had no exposure to the film industry or theatre arts. As a student at the East London Comprehensive School, Holland felt that his choices after graduation were either working in the London rubber factory or the dole. “ I saw no point in continuing at school,” he recalls, so he quit at the age of 15 and went to work at what he deemed “ reasonable menial jobs.” Three years later he worked his way through the Mediterranean, returned to London for a few years and then decided to travel the Kangaroo route, which runs from Sydney west to London. “ I was looking for inspiration,” Holland says explaining that at the time, “ I was a little bit rudderless. Nothing I was doing was really fulfilling or exciting and I didn’t see much of a future in it—especially in England.”
Released this last December, the Lionsgate musical La La Land has gone on to gross more than $340 million, eleven times its original budget of $30 million. Securing not only seven Golden Globe wins, one for every single nomination that the film received, La La Land is also currently tied with Titanic for most Academy Award nominations ever, including a nod for Best Cinematography for DoP Linus Sandgren, FSF, as well as Best Actress and Best Actor for stars Emma Stone and Ryan Gosling.
“There’s no room for grumpy,” says cinematographer Kris Kachikis in regards to the current state of filmmaking. “There’s no room for jaded.” Though he’s completely abashed at his own success, Kachikis also knows exactly what he is doing, and he works hard, which has helped to cement his reputation in the industry as a DoP capable of reliable coverage and quick rigging with a quick crew. Following up work on the feature-length film Mascots for master director and comedian Christopher Guest, now streaming on Netflix, Kachikis was already working on his follow-up as lead camera on the upcoming Christmas comedy, Why Him?, starring James Franco and Bryan Cranston, before Mascots had even debuted at the TIFF festival in Toronto this last September.
With a body of work for top names in the industry like J.J. Abrams, McG, Atom Egoyan and David Cronenberg, David Moxness A.S.C., C.S.C, has a technical history in media that goes as far back as gaffer for the very first interactive television show, Captain Power, as well as camera for Gene Rodenberry’s EARTH: FINAL CONFLICT, the first episodic to use 24 fps HD video. Known for, Moxness is currently filming a return to the popular and very successful miniseries, The Kennedys, with a sequel, The Kennedys After Camelot. He also shot several episodes on this last season of Lethal Weapon for 20th Century Fox.
Based out of Australia, but finding himself working worldwide, conceptual artist Colin Anderson will often build a final still image from hundreds of other images and graphic elements. The commercial photographer finds himself in demand with clients looking to build deeply symbolic narratives that must be told through only a single still image. With a talent for fantasy, computer work and studio lighting, Anderson has plenty of advice on cobbling together the needed components for composite work and conceptual commercial photography. Recently, he was given Chimera equipment to try for the first time; see how Chimera improved his workflows!
You’ve felt the chill. You’ve heard the call. You’ve seen the need. Now, you’ve stepped up to keep tens of thousands of New Yorkers in need warm this winter. For that, we can’t thank you enough. The Coat Drive runs through December 31st and the earlier we get coats the better, so make sure to start collecting today.
Content creation has been redefined over the past several years, merging still and motion. Whether your specialty is beauty, fashion, food, products or documenting the world around us, being able to work in both still and motion continues to be critical to a creative’s survival in today’s market. We talk to top creatives and industry experts about how image making has changed and where it’s headed.
New York City based Photographer and Videographer Claudia Paul talks about the challenges of shooting on location in Tanzania, Africa for the charity organization Artists for World Peace.
“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.