{"id":12188,"date":"2022-09-22T11:32:33","date_gmt":"2022-09-22T18:32:33","guid":{"rendered":"https:\/\/www.icgmagazine.com\/web\/?p=12188"},"modified":"2022-09-22T11:35:56","modified_gmt":"2022-09-22T18:35:56","slug":"eca-honorees-2022","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/eca-honorees-2022\/","title":{"rendered":"ECA 2022 Honorees"},"content":{"rendered":"

With COVID (hopefully) in the rear-view mirror, the only awards event devoted to new cinematographers returns to an in-person gathering.\u00a0<\/span><\/span><\/p>\n

by Margot Lester \/ Framegrabs Courtesy of Local 600 members\/ECAs<\/span><\/span><\/p>\n

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It\u2019s been a minute since ICG\u2019s annual Emerging Cinematographer<\/strong> Awards<\/strong> (ECAs) have honored Local 600 members who aim to rise to the position of Director of Photography. With the COVID-19 virus (and its variants) wreaking havoc with in-person events, the ECAs were put on hold (for 2020 and 2021) in the interest of member safety. Now, finally, they are back in 2022, with this year\u2019s class illustrating the wealth of talent present in the Guild, and a portfolio as unique as any ever assembled in the event\u2019s 24-year history. Among the short films being honored are two thrillers (Andrew Aiello, Leonard P. Walsh II), a video game trailer (Michael P. Tedford), and a Star Wars<\/em> fan film (Jac Cheairs). Those variations extend to the filmmakers themselves, who hail from nine U.S. states, including Montana (Gregor Tavenner), Texas (Allie Schultz), New Jersey (Jason Chau), and Virginia (Eric Hurt). The ranks also include two divers (Austin Scott Ahlborg and Morgan Gardiner). The average tenure in the Guild among this year\u2019s honorees is eight years, with some having been union members for 13 years, others for just three \u2013 and one for 32! Without further delay, the ECA Class of 2022 welcomes you to its short film showcase.<\/p>\n

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Austin Scott Ahlborg – Lotus<\/em><\/strong><\/span><\/p>\n

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It\u2019s not every day you get to make a film about overcoming a<\/strong> near-death experience. But Austin Scott Ahlborg did just that with Lotus<\/em><\/a>, a project that symbolizes co-creator Angelika Furstler\u2019s transformation by overcoming her fear of water. The film shot on RED Gemini with Cooke Classic Primes, and Blackmagic Design\u2019s Pocket 4K camera with a Nauticam housing, was made in the underwater caves of the Yucatan Peninsula in Mexico.<\/p>\n

Ahlborg, a nine-year Local 600 1st AC, says his goal as a filmmaker was \u201cto give Angelika a space to reveal her authentic experience and weave that into a film. All of the emotions, locations and diving were immersive, and we had to go there ourselves physically and emotionally to pull it off. The film is an invitation to let go of the mind and dive deep within, just as we did in making it.\u201d<\/p>\n

The biggest challenge was the extreme environment.<\/p>\n

\u201cWe needed to tell a story while 60 feet underwater, unable to talk, and at the whim of the elements,\u201d Ahlborg, a Rhode Island native, recalls. \u201cRight away, shot lists, structure, and other conventional filmmaking went out the window, and it became more of a holistic approach where we felt our way through each setup. It was the only way to do it and symbolic of the film itself.\u201d<\/p>\n

One particularly inspiring sequence occurs late in the story. The team wanted to convey a feeling of disorientation within Furstler\u2019s otherworldly journey, so they decided to present everything upside-down, where the surface is below. \u201cI love when simple tricks work out in a way that\u2019s visually impactful while still serving the story,\u201d Ahlborg continues. \u201cWe simply performed the scene upside down and it was the perfect solution to do less while achieving more.\u201d<\/p>\n

The subject matter and locations were fitting for multiple reasons. Firstly, Ahlborg is an avid diver who finds restoration in the water. \u201cI keep my dive mask in my pack when I travel,\u201d he relates. \u201cI love a quick swim for relaxation and stress relief, and I\u2019ll try to find a pool to do breathing holds during an intense project. I\u2019ve been doing this for 12 years, and I\u2019ve hit the highs and lows. But it\u2019s the tough times that have taught me the most. Because of these challenges, I\u2019ve learned how to create balance and operate on a higher level as a filmmaker.\u201d<\/p>\n

Ahlborg also draws inspiration from the outdoors. \u201cMy free time is spent backpacking or freediving into a dark underwater hole,\u201d notes Ahlborg, who splits his time between L.A. and Bali. \u201cI like to tie my experiences in nature from around the world into my process and visual style. I like center framing, symmetry, cyclical movement, balancing light and dark, and incorporating exotic natural locations.\u201d<\/p>\n

More than anything, Lotus <\/em>shows a willingness to innovate and experiment. \u201cWe\u2019re trying some pretty unconventional stuff, so it\u2019s reassuring to know some people like it and to keep doing it,\u201d Ahlborg concludes. \u201cIt means a lot to get recognition from ICG for such experimental work.\u201d<\/p>\n

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Andrew Aiello – Green Cobra<\/em><\/strong><\/span><\/p>\n

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Thirteen-year ICG Camera Operator Andrew Aiello<\/strong> says the genesis for his ECA-honored film, Green Cobra<\/em><\/a>, was that timeless joke set-up line, \u201cA guy walks into a bar\u2026<\/em> .\u201d<\/p>\n

\u201cDirector Sigurd Culhane and I were at a bar one night lamenting the difficulties of getting opportunities to shoot things,\u201d recounts Aiello. \u201cWe wanted to make something while also pushing ourselves creatively, so we came up with challenges for each other. Initially, it was for Culhane to direct a murder scene and for me to shoot with only the widest lens I had. With these parameters in mind, we searched for a script. Once we read Green Cobra<\/em>, the project evolved, the budget increased, and the specific challenges fell by the wayside, but that night in the bar was the foundation.\u201d<\/p>\n

The genre-bending project documents a \u201clife-ending technician\u201d and her rise to the top of a male-dominated industry. As the story unfolds, the Green Cobra relishes torturing her victim more and more until she becomes completely unhinged. Audiences are never sure if they should be laughing or cringing, which is exactly what the creative team wanted. Writers Chris Valdez and Patrick Tamisiea produced a script geared towards a shooting style like that of The Office<\/em>, with multiple handheld cameras. However, Aiello and Culhane were looking for something different, so they set out to explore combining the mockumentary structure with a single-camera narrative style.<\/p>\n

\u201cWe accomplished this by committing to two distinct worlds,\u201d explains Aiello, who shot on a Sony F5 with ARRI Ultra Primes and used Astera Titan tubes and ARRI SkyPanels. Interview sequences would be simple and boring as if they were shot by a small amateur crew. The torture scene, however, would be cinematic and stylized, so they could use the camera to explore the characters and story even more, and build tension. \u201cIn the scene where the Cobra starts to lose it, I wanted the camera to lose it also,\u201d the L.A.-based filmmaker continues. \u201cThe camera was completely loose and improvisational; I wanted to react to what Colleen Foy [the Green Cobra] was doing. It was about exploring her headspace and capturing the energy of the moment. No two takes were the same because we knew that Editor Paul Alderman would jump-cut it.\u201d<\/p>\n

Aiello says he\u2019s most proud of the 97 seconds of the film that follow the title card, which is punctuated by the Green Cobra coming into focus and looking directly into the camera.<\/p>\n

\u201cI just love how we were able to establish the setting and the characters the way we did,\u201d the Syracuse, NY native recalls. Aiello, who \u201ccherishes\u201d the relationships he develops with collaborators, says earning an ECA is especially rewarding. \u201cIt means I\u2019ve earned the respect of my peers, which is a great feeling,\u201d he concludes. \u201cAs artists, we are works in progress and things don\u2019t always fall into place as we hope. Being part of a community, whether that\u2019s your on-set crew or a broader filmmaking community outside of your own projects, is an incredibly rewarding way to evolve and push yourself artistically.\u201d\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/p>\n

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Jason Chau –\u00a0 Sting<\/em><\/strong><\/span><\/p>\n

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The word most typically associated with the look of crime dramas is \u201cgritty,\u201d<\/strong> and that\u2019s the aesthetic that drove Jason Chau\u2019s choices in Sting<\/em><\/a>, a film about a mourning twin named Connor (Tim McKiernan) searching for the dealers that sold bad drugs to his brother, which killed him \u2013 and unraveled Connor\u2019s view of the sibling he thought he knew.<\/p>\n

\u201cWe used the ALEXA Mini for the filmic textures, especially when we shot everything at 1600 ISO, with these old Russian lenses called Lomo Anamorphics<\/em>,\u201d explains Chau, a New Jersey native, and five-year Guild Camera Assistant. \u201cIt gave a gritty look with low contrast, distorted swirly bokeh, and a lot of cool quirky imperfections we liked. The lights were all battery-powered Astera RGB tube lights that we rigged as practicals and keys when it felt appropriate. We also used my trusty OPENMOON Cinesaddle, which is basically a big pillow wrapped around my stomach. Christopher Doyle used something similar for his amazing handheld work with Wong Kar-wai. It\u2019s the most comfortable handheld support system. I look ridiculous, but it\u2019s a lifesaver.\u201d<\/p>\n

The setup enabled Chau to reproduce the authentic, journalistic look Director Frank Graziano wanted. Most of the film is shot handheld, except for a restaurant scene done on a tripod and zooms. \u201cFor a moment, it felt like a gritty New York 1970s crime drama,\u201d Chau remembers. \u201cWe slowly zoomed out from a close-up of Connor\u2019s face to his hand while passing drugs and then to the recipient\u2019s face. While they talked, we held on their performances. Sometimes it\u2019s fun to play around and not stay on a standard criss-cross coverage. For lighting, we used all available practicals from the location, which were mainly ugly fluorescent lights from above. Luckily, they didn\u2019t flicker, so we blacked-out half the space for negative fill and shaped the lights to suit the space and talent for a far-side key in a volumetric kind of way.\u201d<\/p>\n

Like so many filmmakers, Chau got his start on the family\u2019s consumer gear. \u201cThere wasn\u2019t much to do in the New Jersey suburbs,\u201d laughs Chau, who\u2019s now based across the river in Brooklyn. \u201cBefore the Internet, you could only go to the mall or play basketball. At some point, out of boredom, I borrowed my mom\u2019s camcorder and made very bad Steven Spielberg knock-off movies, like Jurassic Bark<\/em>, where we replaced the dinosaurs with stuffed dog toys. That was it; I was hooked.\u201d<\/p>\n

Chau says those early experiences are a part of why he welcomes the democratization of filmmaking. \u201cIt feels similar to that time I borrowed my mom\u2019s camcorder and filmed anything on a whim,\u201d he laughs. \u201cNow it\u2019s not that hard to have access and experiment. You have a chance to let your imagination run wild again! The ECAs are a step forward, and it means a sense of momentum for young aspiring cinematographers. It\u2019s validation that I\u2019m going towards something \u2013 whatever that is. Hopefully, I can continue to grow and learn from my peers and esteemed mentors.\u201d<\/p>\n

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Jac Cheairs – KENOBI \u2013 A Star Wars Fan Film<\/em><\/strong><\/span><\/p>\n

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Thirteen-year Guild Operator Jac Cheairs says making his ECA-winning <\/strong>KENOBI: A Star Wars Fan Film<\/em><\/a> was a dream come true. \u201cI never knew fan films existed, and when this fell into my lap; well, who wouldn\u2019t jump at the chance to shoot a Star Wars<\/em> film?!\u201d he says, adding that \u201cmaking a fan film with borrowed IP that has no chance of being distributed is an exercise in the joys of filmmaking for filmmaking\u2019s sake.\u201d<\/p>\n

The story takes place when, after years in hiding, Obi-Wan Kenobi struggles to reconnect with the Force and protect Luke Skywalker from Imperial forces. Cheairs says he was committed to matching the franchise\u2019s signature look. \u201cThe closest comparable glass I found to match was the vintage Cineovision High-Speed Anamorphic set from Old Fast Glass,” he explains. “The ALEXA Mini 4:3 from Standard Camera was a no-brainer when it came to capturing the true tone, having plenty of latitude to play with in the color grade, which was done at The Mill by Colorist Adam Scott.\u201d<\/p>\n

The film was shot mainly at Trona Pinnacles National Natural Landmark in San Bernardino County. The final sequence, a fight scene, brought Cheairs up against the light. \u201cBecause it was all exterior lit by the sun, we were fighting the shooting schedule until the end of the day,\u201d he recounts. \u201cI quickly pivoted our location for the final Saber-360-Steadicam shot right outside of the bowl. The shot was magical, but the behind-the-scenes of it all happening on the day was another story all together.\u201d<\/p>\n

After only one tech scout at the location, \u201ctrying to capture all of the stunts and action sequences needed for that final fight scene was a ballet dance,\u201d Cheairs remembers. \u201cPositioning the Techno-Jib without having to move it again based on our shooting schedule was a challenge. At one point the entire crew was literally running in circles trying to avoid being in the shot.\u201d<\/p>\n

Cheairs, who grew up in Wheaton, IL, started in various production departments searching for his filmmaking passion. \u201cI was on a feature watching all the parts happening when it struck me: the DP was the ultimate marriage between all my experiences and natural\u00a0affinities,\u201d he explains. \u201cFrom being that guy who had been trotting around a bulky old film camera since\u00a0I was 10 years old to spending summers working for my contractor dad doing wiring and electrical work,\u00a0I had the obsession with visuals and the\u00a0meticulous\u00a0and precise experience with the science and technology that together are the hallmarks for a great DP.\u201d He says he was surprised by the ECA nod, not because he didn\u2019t think the film was worthy, but because he forgot he submitted it.<\/p>\n

\u201cOne day I got a call from an unknown number. I figured it was a spam call,\u201d Cheairs laughs. \u201cHaving colleagues, producers, directors, and filmmakers see my work is breathtaking. This award is a constant reminder to keep striving for nothing less than the very best.\u201d<\/p>\n

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Morgan Gardiner – Molly Robber<\/em><\/strong><\/span><\/p>\n

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Producing an award-winning film early in <\/strong>one\u2019s career <\/strong>is the stuff we dream about. It\u2019s a reality for Morgan Gardiner. Molly Robber<\/em><\/a>, which she shot at age 22, was the final film-school production directed by Zach Visvikis and Austin Hall, and it tells the tale of a sister learning to love her stepbrother no matter the odds. \u201cIt\u2019s pure collaboration and camaraderie, perhaps the two most important ingredients of any successful film,\u201d Gardiner notes. \u201cWe put in endless hard work with good attitudes while working for free. It took some blood, sweat, and tears, so I want to acknowledge my amazing young camera, grip and electric crew, without whom I never could have accomplished this project.\u201d<\/p>\n

The co-directors had a look in mind \u2013 a snappy, quick, quirky style accomplished with continual movement, jump cuts, whip pans, speaking to camera, and lots of color. The finale, a stand-off in a dark parking lot, was especially challenging. \u201cWe shot it over two nights, and the first night it poured,\u201d Gardiner recalls. \u201cWe dealt with the added challenges and learned a lot, covering the car with a 12-by-12 soft frost and shooting all the car interior work until the rain stopped.\u201d The exterior work was shot handheld, with Gardiner starting on a wheelchair dolly and then leaving it to follow the action. \u201cThe dolly had been in our garage for years,\u201d she laughs. \u201cNone of us on the film had ever worked with a real production dolly, so it was a fun experiment. It was a somewhat daunting sequence to plan for, but I think we\u2019re all ultimately proud of what we got.\u201d<\/p>\n

Working mostly full-time since Molly Robber <\/em>wrapped, Gardiner has made sure to carve out time for activities and passions outside the industry. \u201cDuring film school, I felt the pressure of others who only focused on shooting, and I\u2019ve always put a lot of pressure on myself,\u201d the L.A. native explains. \u201cI had to remind myself why it\u2019s good to do things outside of work and to not feel guilty for that. Having varied life experiences is an important factor in being able to bring novel and intriguing ideas to one\u2019s work.\u201d<\/p>\n

Though she grew up going to set to visit her dad, longtime ICG Director of Photography Greg Gardiner, she didn\u2019t gravitate to the camera until reaching film school at NYU. \u201cI jumped in and worked to catch up to all the film boys at school who\u2019d been obsessed with camera forever, and I\u2019ve never looked back,\u201d she describes. \u201cBecause I didn\u2019t become interested in camera or shooting until I started college, I\u2019ve always felt behind my peers with a bit of imposter syndrome. I don\u2019t think I\u2019m alone in that feeling, and I try to combat it by focusing on my journey. Being recognized by the ICG membership, alongside the other honorees, is a reassurance that there\u2019s no reason to doubt my belonging here and that my work has tremendous potential.\u201d<\/p>\n

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Eric Hurt – Singularity<\/em><\/strong><\/span><\/p>\n

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\u201cThe most important thing to me about\u00a0Singularity<\/em>\u00a0is its simplicity,\u201d<\/strong> asserts Eric Hurt, who wrote, directed, and lensed the film about processing the death of a loved one. \u201cThe deep yet simple story, the straightforward lighting, the choice of uncluttered locations, and the innocence of the subjects. I find that simplicity in film often relays truth and emotion more effectively.\u201d<\/p>\n

Hurt, a seven-year Guild member whose work has often been showcased at Sundance, says his desire for simplicity keeps his equipment streamlined. \u201cI don\u2019t consider myself a gear head,\u201d he allows. \u201cThat being said, I like having my light meter handy, and a director\u2019s finder is helpful to scout with a director, especially to choose the separation of the foreground and background elements ahead of time.\u201d<\/p>\n

Perhaps because of the simplicity, the Charlottesville, VA native says, \u201cThis is one of those rare projects that went smoothly. We were dealing with a child and a dog, but we were able to let them just be them and gave them minimal direction.\u201d<\/p>\n

The style was influenced by Director Terrence Malick and Oscar-winning Director of Photography Emmanuel \u201cChivo\u201d Lubezki, ASC, AMC, with natural and flowing camera movement, wide lenses close to the subject, and mostly natural lighting. \u201cMy biggest source of inspiration is usually from locations,\u201d says Hurt, who\u2019s shot everything from comedy to horror. \u201cThe colors, the shapes, the corners, how the light falls, how nature is represented \u2013 or not \u2013 all of that can inspire my choices. I enjoy envisioning how a story unfolds in a certain location.\u201d<\/p>\n

Hurt decided to get behind the camera after starting to direct almost 20 years ago.<\/p>\n

\u201cI found that cinematography was equally as important to the story as the direction, so I wanted to create that aspect of the films I made as well,\u201d he recalls. \u201cThis led to shooting films for other people, something I\u2019ve enjoyed immensely.\u201d He\u2019s currently in postproduction on a film starring McKinley Belcher called Runaway<\/em>, which he shot, wrote and directed. It\u2019s a period film with a Western feel set just before the U.S. Civil War with the logline \u201cJacob, a young white man who\u2019s out of his league as a slave catcher, is taking Barbour, an educated escaped slave from Pennsylvania, back to South Carolina. Barbour has no intention of going back.\u201d<\/p>\n

Over his two decades in the industry, Hurt has had a front-row seat to innovation and evolution. \u201cI\u2019m very excited to see how film and video games will continue to merge,\u201d notes the Virginia-based filmmaker. \u201cI think and hope there will always be a place for them individually, but the interactive worlds that could be created through merging could be amazing. The biggest change I\u2019ve seen has been the democratization of film from digital acquisition and digital distribution. It\u2019s allowed access to voices we wouldn\u2019t have heard from 20 years ago.\u201d<\/p>\n

He says earning an ECA has been gratifying. \u201cThere are so many talented folks\u00a0in the ICG \u2013 great operators, great DP\u2019s, great AC’s, and on down the line,\u201d Hurt concludes. \u201cIt\u2019s filled with top creative and technical people, so it\u2019s humbling \u2013 and a huge honor \u2013 to receive this award from an organization that represents so much talent.\u201d<\/p>\n

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Allie Schultz – Your Monster<\/em><\/strong><\/span><\/p>\n

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\u201cA lot of DP\u2019s have a similar story of making little movies with<\/strong> their friends \u2013 I was one of those kids playing with my family camcorder,\u201d notes Allie Schultz, who grew up in College Station, TX. She went on to take video production classes in high school and decided to go to film school at the Savannah College of Art and Design in Georgia. \u201cIn my first cinematography class, we got to shoot on 16-millimeter and 35-millimeter, and that just sealed the deal,\u201d Schultz relates. \u201cI fell in love with filmmaking, and I never really strayed.\u201d<\/p>\n

Schultz, a three-year ICG loader, has worked as a utility on several productions, which, she says, grounded her work as a director of photography. \u201cNow I know exactly what I\u2019m asking of my crew because I\u2019ve been in their shoes,\u201d she describes. \u201cI\u2019ve run the cable for hundreds of feet or yards and worked through all these different positions in the camera department. I feel like it\u2019s so important as a DP to understand what you\u2019re asking your crew to do. Working as a utility gave me some humility and respect.\u201d She says her visual style is marked by subtlety and a lighter touch.<\/p>\n

\u201cI try to be invisible, so the camera and lighting serve the story,\u201d Schultz continues. \u201cI don\u2019t want anyone to notice, like, \u2018The cinematographer was doing some heavy lifting here.\u2019\u201d<\/p>\n

Those ideas are all on display in Your Monster<\/em><\/a>, which tells the story of a young girl discovering there really is a monster living in her closet. The film, shot on ALEXA Mini with Kowa anamorphic lenses and Astera Titan tubes, was sponsored by Women in Film as part of its grant program. \u201cWe wanted the anamorphic to create a pretty strong look,\u201d Schultz explains. \u201cSo much of what\u2019s going on in the story \u2013 you\u2019re not sure if it\u2019s inside the main character\u2019s head or in real life. The anamorphic helps create some of that uncertainty.\u201d<\/p>\n

In one of Schultz\u2019s favorite sequences, the lead hears a noise upstairs one night and goes to investigate. \u201cIt was challenging because it\u2019s an interior, and it\u2019s supposed to be dark with no lights on,\u201d she remembers. \u201cWe came up with motivations for the light that felt natural while keeping things pretty dark.\u201d That was especially important to illuminate the monster the girl finds when she opens the closet door. \u201cYour Monster<\/em> was one of the first projects where I used the Astera Titan tubes. We had this tiny little space, and we could hide the tube lights.\u201d<\/p>\n

Schultz takes a lean approach to gear. \u201cI always have felt that all the tools we have are just tools,\u201d says the L.A.-based filmmaker. \u201cYou can make a good film with all the best tools and all the things you need. You can also make a good film with nothing. So, I usually am focused on picking the tools that are right for the job and the story.\u201d<\/p>\n

Winning an ECA is validation. \u201cTo be honored by established DP\u2019s means the world,\u201d Schultz concludes. \u201cIt feels so good to be recognized for something when you\u2019re still kind of starting out.\u201d<\/p>\n

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Michael P. Tedford II – Elder Scrolls: Legends \u2013 E3 Trailer<\/em><\/strong><\/span><\/p>\n

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In film, as in real estate, location is everything. <\/strong>And finding the right location for the trailer for the Elder Scrolls: Legends<\/a><\/em> was a problem for Michael P. Tedford, who lensed the project. \u201cWe searched high and low across the U.S., and we couldn\u2019t find any suitable medieval buildings,\u201d the 11-year Guild camera operator laments. \u201cOnce we broadened our view, we decided to shoot in Prague, at the Kacina Palace chapel just outside the city. The location was incredible and allowed us to create different layers with the lighting. It was an incredible experience getting to work in a different country and with talented people from all over Europe.\u201d<\/p>\n

The trailer, written by Hammer Creative for game developer Bethesda, brings the latest title in the franchise to life to energize fans ahead of the game\u2019s release. The project features a young man who is whimsically transported into the world of the Elder Scrolls.<\/p>\n

\u201cI loved the challenge of creating two different worlds, but the tavern sequence is by far my favorite,\u201d Tedford recalls. \u201cI love all of the layers we were able to create. There were so many nooks where lights could be hidden to create separation and textures.\u201d<\/p>\n

Tedford came to the camera by way of writing and directing. \u201cI quickly found that cinematography was the perfect blend of those two disciplines and was instantly addicted to telling stories visually,\u201d the Eugene, OR native shares. Tedford says he\u2019s comfortable with creative agencies because he works primarily as a commercial cinematographer, giving him extensive experience in a variety of styles and genres. \u201cI would describe my style as dramatic<\/em> and<\/em> cinematic<\/em>,\u201d he says. \u201cI love the chiaroscuro aesthetic and using light to help tell a story.\u201d The technique is visible in the trailer\u2019s tavern scenes. \u201cFor inspiration, I immerse myself. Whether it is art, movies, music, documentaries or books, I want to understand the project from every angle possible.\u201d<\/p>\n

While he\u2019s excited by the freedom afforded by faster cameras and lenses and by smaller, more powerful lights, the development Tedford\u2019s most pleased with is an internal one: empathy.\u00a0\u201cWhen I was younger I didn\u2019t have the greatest attitude and I had a lot to learn,\u201d Tedford admits. \u201cI was lucky enough to be around people who helped me on that journey, not only professionally, but personally. As I\u2019ve gotten older and become more empathetic, it\u2019s helped me become a better artist, collaborator, and human being.\u201d<\/p>\n

When he first joined the Guild over a decade ago, Tedford set a goal of earning an ECA.\u00a0\u201cOur union is filled with talented DP\u2019s in all classifications,\u201d he concludes. \u201cGetting a chance to stand out among them and stand with my fellow honorees is a priviledge, and a humbling experience.\u201d<\/p>\n

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Leonard P. Walsh II – Kingsnake<\/em><\/strong><\/span><\/p>\n

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\u201cI don<\/strong>\u2019t think I could live without wireless video and focus,\u201d <\/strong>admits Leonard P. Walsh II. \u201cI remember the days when I started as a first AC, I had to use a manual follow focus and walk with the operator on handheld shots while the second AC wrangled long runs of BNC cable. I don\u2019t miss those days. Now with all the wireless technology, I can freely move the camera however I want or need without worrying about two AC\u2019s following me around.\u201d<\/p>\n

That freedom fuels Walsh\u2019s approach to cinematography, which he characterizes as \u201cletting the action play out in front of the camera. I don\u2019t like shooting tons of coverage unless necessary,\u201d he adds. \u201cLetting the scene and emotions play out in a long take lets the audience experience and be in the moment with the characters.\u201d<\/p>\n

That approach is found in Kingsnake<\/em><\/a>, a film about the dark side of a small town nestled in the Blue Ridge Mountains. Walsh, who now calls L.A. home, grew up in Richmond, VA, just a few hours from the iconic Blue Ridge Parkway. \u201cI have always loved movies since I was a kid,\u201d he states. \u201cIn high school, I was really into photography. When I found out I could combine both of those passions, that\u2019s when I knew I wanted to be a DP.\u201d Walsh draws inspiration from many things, including films from all eras, paintings, art in museums, and moments in his everyday life. \u201cYou never know when and how inspiration will hit you,\u201d he notes.<\/p>\n

The most challenging aspect of Kingsnake<\/em>, shot on RED HELIUM with RED Pro Primes, was that it takes place at night. \u201cWe had a small lighting package,\u201d Walsh recounts. \u201cOur biggest light was a Mole Richardson 2K Fresnel, and I used some small ARRI Junior 150s in the background of the car-breakdown scene so we weren\u2019t looking into a black void. Luckily we found some great locations, like the diner and abandoned trailer, and were able to make some beautiful images with what we had.\u201d<\/p>\n

Walsh\u2019s favorite sequence was when Ford, the lead, is kicked out of a bar. \u201cHe drives away giving the bartender the finger,\u201d he chuckles. \u201cIt makes me laugh every time.\u201d<\/p>\n

Looking ahead, Walsh has concerns about streaming services. \u201cThey allow much easier access to content, but I fear that the streaming companies\u2019 need to always be pushing content has begun to lower the quality of films and television,\u201d he says. \u201cI\u2019m also worried that the movie theater experience may not have much life left. It\u2019s been hanging on, but I don\u2019t know how much longer it will last. I hope I\u2019m wrong.\u201d<\/p>\n

Earning an ECA is gratifying. \u201cBeing chosen for the Emerging Cinematographer Awards is a great honor,\u201d Walsh concludes. \u201cIt is going to be a memory I will hold on to for a long time.\u201d<\/p>\n

 <\/p>\n

Gregor Tavenner –\u00a0 Pleasant Canyon<\/em><\/strong><\/span><\/p>\n

\"\"<\/p>\n

 <\/p>\n

Pleasant Canyon<\/em><\/strong><\/a> is Gregor Tavenner\u2019s first short feature as a<\/strong> director of photography. The New York-based filmmaker was born into a Western ranching family; Tavenner\u2019s first job was as a projectionist at his local movie theater in Deer Lodge, MT. The 32-year Guild member began his career as a 1st AC, working with such Oscar-winning and -nominated directors of photography as Robert Richardson, ASC; Robert Elswit, ASC; Emmanuel Lubezki, ASC, AMC; and Chris Menges, ASC, BSC. After some quarter-century pulling focus, Tavenner began operating, now currently on his third season as A-camera\/Steadicam operator for the Emmy-winning HBO series Succession<\/em>.<\/p>\n

When director Ryan Jaeger expressed interest in shooting on 16 mm, Tavenner suggested bumping up to 35-mm, 2-perf format. Pleasant Canyon<\/em> was shot on location in the California desert with Kodak film, Panavision cameras, and vintage lenses made in the 1950s and 1960s.<\/p>\n

\u201cRyan’s preparation with the actors and his knowledge of the filmmaking process greatly aided this 20-minute short, shot in the desert with minimal\u00a0crew,\u201d Tavenner explains. \u201cOnce you have a foundation vision, the shooting process can ebb and flow with the difficulties of weather and location. The exteriors are core to the genre, and I have often heard DP\u2019s I have worked with say they loathe dealing with the vagaries of shooting outdoors.\u201d<\/p>\n

Tavenner says he and Jaeger share a love for westerns and relished the chance to shoot on film in locations made famous in films past. \u201cThere is a language and style that one can draw from, and yet still, perhaps, it can be entertaining and exciting,\u201d Tavenner continues. \u201cI had worked as an AC in the California desert on movies, so the\u00a0chance to revisit these locales was very rewarding. But with minimal tools and crew, I was reminded of the Italians, who made movies in southern Spain on shoestring budgets. They developed a spartan language that I found incredibly visual and efficient, raw and engaging. Both Ryan and I hoped to tap into that spirit with Pleasant Canyon<\/em>.\u201d\u00a0<\/em><\/p>\n

Having worked many years as an AC, and then as an operator, Tavenner says he found the use of handheld camera to be of a particular immediacy and \u201ccompletely enjoyed\u00a0the chance to participate in that language for this show.\u201d<\/p>\n

In terms of his ECA recognition, Tavenner says the honor helps to \u201creemphasize the value and beauty of\u00a0the film image and how paying tribute to the processes and language that have\u00a0been a part of film culture for years is not only still relevant, but even more beautiful,\u201d he concludes. \u201cIt\u2019s particularly important at this moment in time, as our entire industry discards film negative in pursuit of higher profit margins and a more convenient process.\u201d<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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