{"id":1922,"date":"2012-02-06T10:54:36","date_gmt":"2012-02-06T18:54:36","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1922"},"modified":"2014-06-04T17:21:13","modified_gmt":"2014-06-04T17:21:13","slug":"out-of-the-woods","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/out-of-the-woods\/","title":{"rendered":"Out of the Woods"},"content":{"rendered":"

Three generations of ECA winners headline Topanga Film Festival panel<\/strong><\/p>\n

<\/p>\n

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Courtesy of Topanga Film Festival<\/figcaption><\/figure>\n

From listening to the thoughts and feelings of past ECA winners at the recent Topanga Film Festival, it\u2019s clear \u2013 ECA participants are being taken seriously by their Union brethren and the industry at large. Each budding cinematographer with the courage and stamina to make a short film wins something \u2013 and it isn\u2019t only the recognition of their Local 600 peers. There\u2019s that all-important platform to show agents, producers, and directors, who might have that perfect job just waiting to be filled.<\/p>\n

More importantly, ECA participants secure confidence at that pivotal point when each one reaches beyond the comfort zone to take the next steps in their career.<\/p>\n

It\u2019s what moderator, ICG Magazine Executive Editor David Geffner and former ECA honorees Marco Fargnoli, John Snedden, Rodney Taylor, ASC and Todd A. Dos Reis all made clear when they participated in the Local 600 ECA panel held at the 7th<\/sup> Annual Topanga Film Festival.<\/p>\n

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ECA Panelists and moderator David Geffner (far right)<\/figcaption><\/figure>\n

The setting \u2013 Ribbit\u2019s open-air amphitheater off Old Topanga Canyon Road, in that legendary canyon where, it seems, half of L.A.\u2019s artists reside. While the crowd was modest, the enthusiasm was high; Geffner took each panelist on a journey through their personal experiences, while examining what ECA has done for the Guild as a whole.<\/p>\n

Cinematographer Rodney Taylor ASC, firmly entrenched in the indie world (and now in pre-production on Buttermilk Sky<\/em> and in post with two films Holbrook\/Twain: An American Odyssey <\/em>and Boogie Town<\/em>) says his short film changed many things, not the least of which its director\u2019s mind.<\/p>\n

\"\"
Rodney Taylor, ASC<\/figcaption><\/figure>\n

\u201cHe was happy with what we\u2019d shot, but he wasn\u2019t going to make a print,\u201d Taylor recalled. \u201cIt was 1999, and most everything was still shot on film. So, I convinced him to strike a print \u2013 and not only did the film show at the ECA Awards, it made the rounds of major festivals. That would never have happened, without the ECA.\u201d<\/p>\n

And what did Taylor get out of being one of the first ECA award winners? \u201cI learned that events like this get you on the radar,\u201d he said. \u201cIt lets people in the industry know that you are a serious cinematographer. There are a lot of DPs who see your work \u2013 and they might bring you on as a second unit, which is a great way to get started.\u201d<\/p>\n

Todd A. Dos Reis, a two-time ECA honoree, met Taylor at that ECA event, and recalled his feelings from that encounter. \u201cI was just making that big transition from first AC to camera operator, the hardest jump to make,\u201d he says. \u201cAfter I shot my film, got the award, and went through all the ceremonies, I had more confidence in what I was doing even though I had been shooting music videos and such long before that.\u201d<\/p>\n

\"\"
Todd A. Dos Reis<\/figcaption><\/figure>\n

Dos Reis says his second ECA award for Ugly<\/em>, directed by Moon Zappa in 2000, allowed him to make that next big jump \u2013 from operator to DP. \u201cIt was even scarier because the higher up you go, the less positions there are,\u201d he cautioned. \u201cThe award was telling me that I had to make a decision \u2013 make a lot of money as an operator, or struggle as a new DP and compete against the Rodney Taylors\u2019 of the world.\u201d<\/p>\n

Obviously Dos Reis made the jump and has never regretted it \u2013 the support he got smoothed the way to DP on Entourage<\/em> (where fellow honoree Marco Fargnoli was an operator), an episode of Southland<\/em>, and several second unit feature jobs.<\/p>\n

In fact, Fargnoli\u2019s road followed a similar path. \u201cThe ECA is an amazing opportunity,\u201d he said. \u201cIt gave me a little validation. The event brings Indie work out of the closet.\u201d The attention paved the way to work on Entourage<\/em> and Big Love<\/em>, second unit director of photography for Dinner for Schmucks<\/em>, work on Six Feet Under<\/em> and Carnivale<\/em>.<\/p>\n

\u201cIt\u2019s an exciting time for shooters,\u201d Fargnoli added. \u201cThere are so many new opportunities for those who come to the attention of the industry. For example, I\u2019m shooting two very different HD projects at the moment for Adult Swim, which takes over the Cartoon Network airwaves 10 p.m. until 4 a.m. They are perfect little nuggets for late-night college crowd audience called Childrens Hospital<\/em> and NTSF:SD:SUV<\/em>.\u201d<\/p>\n

\"\"
John Snedden (L), David Geffner<\/figcaption><\/figure>\n

John Sedden, one of the most recent ECA honorees came to the attention of the industry with his entry Bright Eyes<\/em>, a stunning dialog-less short about a black and white world, and the mob who attacks a young woman with color in her eyes. Ironically, this project was shot on film, a rarity today. In fact, he credits a film jam that was deliberately kept in the project as one of the stunning images that caught panelists\u2019 attention.<\/p>\n

\u201cI\u2019ve only been in L.A. about a year but the reaction to Bright Eyes<\/em> has allowed me to get out there and meet people, and day play on Indie projects and documentaries,\u201d Snedden said. \u201cIt helped me realize I do have an exciting future in this industry.\u201d<\/p>\n

Past ECA honorees are often attending the yearly event and the activities that surround it. They described it as a \u201cspecial club\u201d that fosters creativity and support. It\u2019s also where they encounter others who have really taken off after the ECAs. One of the stunning examples they all recall is neophyte shooter Julie Kirkwood \u2013 whose work on a stunning Western panorama, in 2009, left many people speechless. Kirkwood\u2019s star rose exponentially after the ECA win and she\u2019s now on her third feature as DP.<\/p>\n

\"\"
Marco Fargnoli<\/figcaption><\/figure>\n

Of course, each panelist at the festival came from a creatively different mindset, a plus in the industry today. \u201cThere are so many choices and formats where shooters can work,\u201d Fargnoli said. \u201cThere used to be three networks and HBO. Now there are cable channels, reality TV, and so many more ways to work as a DP. So many more chances for new cinematographers to work.\u201d<\/p>\n

Dos Reis agrees that it is an exciting time for new cinematographers. \u201cWhen you are in the union, you are often working non-stop and can lose sight of why you are there. You get caught up in the mortgage or the kids\u2019 school. And you have to figure out: do I want to be a camera assistant or an operator? Do I want to be a cinematographer? You have to focus on getting back to what you got into this business for.\u201d<\/p>\n

\"\"
Marco Fargnoli (L), Rodney Taylor, ASC<\/figcaption><\/figure>\n

The panelists\u2019 advice to shooters looking to take that next step in their careers was to find a way to make films. Take up a Canon 7D and Final Cut Pro, and don\u2019t be afraid to experiment. Make a movie, any movie, and fill it with your passion. And submit it to events like Local 600\u2019s Emerging Cinematographers Awards. It\u2019s become one of the most important launching pads for young DPs today, supported by the Union that represents the best camera teams in the world, bar none, and seen by an artistic audience bent on helping develop the creative talent pool. \u201cThere\u2019s no way a shooter eager enough to make a move can\u2019t gain by these awards,\u201d Taylor concluded. \u201cAll of us certainly did.\u201d<\/p>\n

By Pauline Rogers<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Three generations of ECA winners headline Topanga Film Festival panel<\/p>\n","protected":false},"author":1,"featured_media":3945,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1922","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nOut of the Woods - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/out-of-the-woods\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Out of the Woods - 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