{"id":2623,"date":"2013-03-08T09:45:15","date_gmt":"2013-03-08T17:45:15","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=2623"},"modified":"2013-03-08T09:45:15","modified_gmt":"2013-03-08T17:45:15","slug":"climbing-the-career-mountain","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/climbing-the-career-mountain\/","title":{"rendered":"Climbing the Career Mountain"},"content":{"rendered":"<p>ECA winners mingle with new indie directors at Technicolor event<\/p>\n<p>By Valentina I. Valentini<\/p>\n<p><a href=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_Lead.jpg\"><img decoding=\"async\" class=\"alignnone size-medium wp-image-2624\" title=\"Web Special_March13_Lead\" src=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_Lead-590x393.jpg\" alt=\"\" width=\"590\" height=\"393\" \/><\/a><\/p>\n<p>Building a career as a cinematographer is no easy task. Great visuals are often overlooked if the project is poorly reviewed or little seen. When a film falls flat with festival audiences, or a new TV show doesn\u2019t make it past a few episodes, the DP may not be remembered, no matter how stunning or surprising the look. That leaves some very talented cameramen and women without the exposure to advance their careers.<!--more--><\/p>\n<p>Local 600 is trying to change that. They hold networking and educational events throughout the year, promoting and exposing their members. One such gathering is the Emerging Cinematographers Awards (ECAs) Honorees\/Film Independent (FIND) Directing Lab networking event. Held this past February, it was hosted by ECA sponsor Technicolor (Hollywood), which provided food and drinks, a showcasing location, and even a behind-the-scenes look at their suite of dailies innovations known as FrameLogic, which addresses \u201con-set\u201d or \u201cnear-set\u201d real-time capability for preliminary color-grading.<\/p>\n<p>\u201cOur sponsors don\u2019t just support us fiscally,\u201d Local 600 President Steven Poster said after the event. \u201cThey are involved all year long with the honorees. That&#8217;s the kind of support that is so important to a career that is just beginning. To have access to a major laboratory and post-production facility like Technicolor is invaluable.\u201d<\/p>\n<figure id=\"attachment_2633\" aria-describedby=\"caption-attachment-2633\" style=\"width: 590px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_1.jpg\"><img decoding=\"async\" class=\"size-medium wp-image-2633\" title=\"Web Special_March13_1\" src=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_1-590x393.jpg\" alt=\"\" width=\"590\" height=\"393\" \/><\/a><figcaption id=\"caption-attachment-2633\" class=\"wp-caption-text\">2011 ECA Honoree David Mahlmann (L) chats with FIND Directing Lab filmmaker Morna Ciraki<\/figcaption><\/figure>\n<p><strong>Each ECA honoree screened a reel for directors<\/strong> with projects at FIND and also provided a short work bio. Afterward, the mingling began and before long every single DP was engrossed in conversation with an emerging young director.<\/p>\n<p>\u201cCinematography opportunities come from being at the right place at the right time,\u201d observed Daron Keet, a 1<sup>st<\/sup> AC who took home a 2012 ECA for his short, <em>Ripple Effect<\/em>. \u201cLike getting opportunities to have my work shown to directors at exactly the moment they needed a cinematographer. I really appreciate our Local being at the right place to help us emerging cinematographers at the right time in our careers.\u201d<\/p>\n<p>A general consensus among the attending Guild members was the advantage of being placed in front of a group of handpicked directors, who had all been accepted by the competitive FIND Directing Lab \u2013 a nine-week intensive incubator designed to help directors working in independent film improve their craft and take their current projects to the next level. \u201cThese [directors] are filtered out of the pack and they are focused and driven to make their movies,\u201d said operator Pete Villani, a 2012 ECA honoree for the visually dazzling short, <em>Carjack<\/em>.<\/p>\n<figure id=\"attachment_2634\" aria-describedby=\"caption-attachment-2634\" style=\"width: 590px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_2.jpg\"><img decoding=\"async\" class=\"size-medium wp-image-2634\" title=\"Web Special_March13_2\" src=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_2-590x393.jpg\" alt=\"\" width=\"590\" height=\"393\" \/><\/a><figcaption id=\"caption-attachment-2634\" class=\"wp-caption-text\">2011 ECA Honoree Yueni Zander<\/figcaption><\/figure>\n<p>\u201cThis event is like gold for the ECA honorees,\u201d Poster added. \u201cThey are put in a room with directors who have projects that are ready to go. I would have given anything to have had an opportunity like that when I was just getting started.\u201d<\/p>\n<p>For a few ECA honorees, the event secured actual work. After connecting with directors at FIND, 2<sup>nd<\/sup> Assistant Michael Allen Lloyd (who received an honorable mention at the 2012 ECAs with his short <em>Dawn<\/em>) landed a job shooting a scene for Jacob Hatley\u2019s horror <em>Carolina Highway Killer<\/em>. Part of Hatley\u2019s process in the directors lab is to film a scene from his feature for use in fundraising and exposure efforts.<\/p>\n<p>\u201cEvents like this further our craft in the sense that we&#8217;re having conversations with our contemporaries,\u201d Lloyd pointed out. \u201cOf course, I would love a shot at working with \u00a0Paul Thomas Anderson or Nick Refn, who I consider masters. But this event puts us in front of that next generation of directors. It\u2019s exciting when you meet someone you connect with, like I did with Hatley \u2013 not only because we\u2019re both from the \u2018dirty south,\u2019 but because we share a sensibility that puts story and characters first, yet still relies heavily on bold decisions and design.\u201d<\/p>\n<figure id=\"attachment_2635\" aria-describedby=\"caption-attachment-2635\" style=\"width: 590px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_3.jpg\"><img decoding=\"async\" class=\"size-medium wp-image-2635\" title=\"Web Special_March13_3\" src=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_3-590x393.jpg\" alt=\"\" width=\"590\" height=\"393\" \/><\/a><figcaption id=\"caption-attachment-2635\" class=\"wp-caption-text\">L to R: FIND Filmmaker Advisor Kelly Thomas, FIND Directing Lab filmmakers Amber Sealey and Morna Ciraki <\/figcaption><\/figure>\n<p><strong>Over the last decade, Local 600 has put efforts into opening<\/strong> up doors for its members, and this event, like the others let\u2019s the independent film community know that these qualified and talented camera crews are available.<\/p>\n<p>\u201cThere\u2019s a stigma in the indie film community,\u201d shares David Mahlmann, SOC, 2011 recipient of an ECA for <em>Numb<\/em>, \u201cthat fosters the rumor of, \u2018You can\u2019t afford union camera crews.\u2019 By supporting events with FIND filmmakers, we\u2019re letting the indie community know that we <em>are<\/em> approachable and that they can afford working with us [with the new signatory ultra-low-budget contracts].\u201d<\/p>\n<p>Although the evening could have been branded as a \u201cfirst date,\u201d like romantic relationships, ECA shooters understand the need for nurturing communication and creativity to develop a successful partnership. They also understand that evenings like this aren\u2019t the be-all-end-all when it comes to finding the next job.<\/p>\n<figure id=\"attachment_2636\" aria-describedby=\"caption-attachment-2636\" style=\"width: 590px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_march13_4.jpg\"><img decoding=\"async\" class=\"size-medium wp-image-2636\" title=\"Web Special_march13_4\" src=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_march13_4-590x393.jpg\" alt=\"\" width=\"590\" height=\"393\" \/><\/a><figcaption id=\"caption-attachment-2636\" class=\"wp-caption-text\">Dan Lion, Vice President of Technicolor Creative Bridge, demonstrating FrameLogic system<\/figcaption><\/figure>\n<p>Cameron Duncan, who has won two ECA awards, in 2007 (<em>Year of the Dog<\/em>) and 2010 (<em>Mr. Marceau<\/em>), recalled taking advice \u2013 or rather a dare \u2013 from cinematographer Dana Gonzales, to spend at least 10 minutes per day working to get the next job.<\/p>\n<p>\u201cThat&#8217;s what <em>he<\/em> did,\u201d recalls Duncan, \u201cso I figured I would take him up on it. Whether it was re-editing my reel, reconnecting with contacts or branding my name in some way, I stuck to it. There are many more avenues available today with social media, but bugging my agent is pretty fun too!\u201d<\/p>\n<figure id=\"attachment_2637\" aria-describedby=\"caption-attachment-2637\" style=\"width: 266px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_5.jpg\"><img decoding=\"async\" class=\"size-medium wp-image-2637\" title=\"Web Special_March13_5\" src=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_5-266x400.jpg\" alt=\"\" width=\"266\" height=\"400\" \/><\/a><figcaption id=\"caption-attachment-2637\" class=\"wp-caption-text\">2010 ECA Honoree Cameron Duncan<\/figcaption><\/figure>\n<p>One of those calls paid off big. Just before the 2010 ECAs, when Duncan was getting more opportunities, like shooting web commercials and an indie feature that had the ambitions of a blockbuster, he called Jimmy Muro who was prepping to shoot<em> Southland<\/em>.<\/p>\n<p>\u201cI told him that I had reclassified to operator,\u201d Duncan recalls, \u201csince he\u2019d known me as an assistant. He also knew I was a shooter and he took a chance and brought me onto the show. I\u2019m now operating my third season and have gotten to DP an episode. He\u2019s also brought me onto the pilot for <em>Longmire<\/em>, which got picked up and I was offered the alternating DP position along with Muro.\u201d<\/p>\n<figure id=\"attachment_2638\" aria-describedby=\"caption-attachment-2638\" style=\"width: 590px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_6.jpg\"><img decoding=\"async\" class=\"size-medium wp-image-2638\" title=\"Web Special_March13_6\" src=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2013\/03\/Web-Special_March13_6-590x393.jpg\" alt=\"\" width=\"590\" height=\"393\" \/><\/a><figcaption id=\"caption-attachment-2638\" class=\"wp-caption-text\">FIND Directing Lab filmmaker Amber Sealey<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>ECA winners mingle with new indie directors at Technicolor event By Valentina I. Valentini Building a career as a cinematographer is no easy task. Great visuals are often overlooked if the project is poorly reviewed or little seen. When a film falls flat with festival audiences, or a new TV show doesn\u2019t make it past a few episodes, the DP may not be remembered, no matter how stunning or surprising the look. That leaves some very talented cameramen and women [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"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":[9],"tags":[],"class_list":["post-2623","post","type-post","status-publish","format-standard","hentry","category-specials"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Climbing the Career Mountain - 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\/climbing-the-career-mountain\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Climbing the Career Mountain - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"ECA winners mingle with new indie directors at Technicolor event By Valentina I. Valentini Building a career as a cinematographer is no easy task. Great visuals are often overlooked if the project is poorly reviewed or little seen. When a film falls flat with festival audiences, or a new TV show doesn\u2019t make it past a few episodes, the DP may not be remembered, no matter how stunning or surprising the look. 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Valentini Building a career as a cinematographer is no easy task. Great visuals are often overlooked if the project is poorly reviewed or little seen. When a film falls flat with festival audiences, or a new TV show doesn\u2019t make it past a few episodes, the DP may not be remembered, no matter how stunning or surprising the look. 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