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.
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.
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.
Starting in the late 1970’s, Crudo began his career as an assistant cameraman on such films as Raising Arizona, Ghostbusters II, Field of Dreams and Presumed Innocent. During that time he had the opportunity to work for a litany of historic cinematographers like Michael Chapman, ASC, Laszlo Kovacs, ASC, Gordon Willis, ASC and Vilmos Zsigmond, ASC.
With more than sixty cinematography credits to his name as well as more than four decades surfing the turmoil of union politics, cinematographer Steven Poster, ASC has been instrumental to the industry of filmmaking not only as a world famous DP but also as a key figure in the fight for the rights of cinematographers and imaging professionals.
Shane Hurlbut, ASC is a very focused man. After securing a degree in film and television from Emerson College in 1986, the cinematographer quickly found himself learning grip and electrical work on movies like Phantasm II and Teen Witch. Since then, he has expanded his portfolio to include lead camera on nearly twenty films, including blockbusters like Need For Speed and Terminator: Salvation. The latter he shot with director McG, who just worked with him again on a film called The Babysitter, which is in post production. The film stars Russell Crowe and Jane Fonda. Hurlbut also completed the drama Fathers and Daughters with director Gabrielle Muccino late last year. It will premiere domestically in theaters this July.
Alex Buono hangs out with some pretty fun people. Having just returned from Colombia for a shoot on the second season of the satirical series Documentary Now!, the DP and director has been traveling the world for a new IFC show created by Saturday Night Live alumni Fred Armisen, Bill Hader and Seth Meyers.
Alongside his impeccable resume, Buono is probably most famous for seventeen years of work behind the famous “mock” vignettes poking fun at commercials and pop culture on Saturday Night Live.
Known as one of the world’s preeminent lighting educators for almost three decades now, Bill Holshevnikoff says that one of the things he will warn his many workshop students about right off the bat is that once you start to understand how light works, you will never be able to see it any other way. “It becomes almost a subconscious thing,” he laughs. “It’s like showing the magic behind a trick; once you see how it’s done, you can’t really un-do it.”
As Assistant Chief Lighting Technician (Best Boy), Greg Reeves knows what’s going to happen next on Grey’s Anatomy but he’s not telling. In fact, he’s been privy to the secrets of this award-winning medical drama for more than a decade and has loved every minute of his tenure with the show.
“Any artist would benefit from learning other creative disciplines. We should all explore other arts and technologies, then combine them – what cognitive researchers call ‘unusual associations’. I think that’s a better strategy than just being a purist in one field.” – August Bradley