Sight, Sound and Story: The Art of Cinematography 2017

EVENTPROGRAM

THE ART OF CINEMATOGRAPHY NYIT AUDITORIUM ON BROADWAY 1871 BROADWAY, NEW YORK CITY WEDNESDAY, DECEMBER 6, 2017 4:00PM – 9:00PM

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Welcome to

SIGHT, SOUND & STORY 2017 THE ART OF CINEMATOGRAPHY

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n 2005, we launched a series of public events with prominent film editors - providing an intimate and casual environment where both students and members of the local film community could gather and explore the art of visual storytelling.

From those events, we began co-producing ACE’s EditFest NY, an all-star lineup of the industry’s most exciting and expressive talent. Over time, EFNY evolved into Sight, Sound and Story and eventually into an evening dedicated to “The Art of Cinematography.”

At this year’s Cinematography event we’ll go behind the lens to better understand the challenges and decisions made by top visual artists in the realm of narrative T.V., documentary and feature films. Our Sight, Sound and Story event series is where we hope many pieces of the creative puzzle fit together - a familiar enclave for the exchange of ideas and a celebration of this unique collaborative process.

—Josh Apter Manhattan Edit Workshop, Owner and Founder

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SCHEDULE n

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*All panelists are schedule permitting.

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4:00pm CHECK-IN ​4:30pm - 5:30pm IN THE MOMENT: The Art of Cinematography in Documentary Filmmaking MODERATOR:

Hugo Perez (Neither Memory Nor Magic, Lights Camera Uganda) PANELISTS:

Joan Churchill, ASC (Shut Up & Sing, Kurt & Courtney, Last Days in Vietnam) Buddy Squires, ASC (The Vietnam War, The Statue of Liberty, The Central Park Five) SCHEDULE continued on page 6

THANKS THE PARTNERING SPONSORS OF SIGHT, SOUND & STORY n

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MASTER STORYTELLER SPONSOR

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TECHNOLOGY SPONSORS

SUPPORTING SPONSORS

ORGANIZATION PARTNERS

MEDIA PARTNERS

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From set to post, ARRI has helped filmmakers bring their artistry to the big screen for the past century.

Here’s to the next 100 years.

Let’s make history together.

www.arri.com

SCHEDULE n

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manhattan edit workshop

*All panelists are schedule permitting. n

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119 W 23rd Street, Ste 700 New York City Tel: 212.414.9570 www.mewshop.com twitter @mewshop @sightsndstory

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5:45pm - 6:45pm THE NEW AGE OF TV: Bringing the Look of Cinema to the Small Screen

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JOSH APTER

Owner & Executive Producer info@mewshop.com

MODERATOR

David Leitner

JASON BANKE

(Director, Producer, and Cinematographer)

President & Executive Producer jason@mewshop.com

PANELISTS

Martin Ahlgren

JANET DALTON

(Daredevil, House of Cards, Blindspot)

Igor Martinović

Director of Education & Producer janet@mewshop.com

(House of Cards, The Night Of)

7:00pm - 8:00pm

DANIEL JAMIESON

BEHIND THE LENS: A Conversation with Cinematographer Julio Macat, ASC

MICHAEL VALINSKY

Editor & Producer daniel@mewshop.com Sponsorship Director & Producer mvalinsky@me.com

MODERATOR:

Josh Apter

SOPHIA ELACQUA

Marketing Manager sophia@mewshop.com

PANELIST

Julio Macat, ASC

RIVA DANZIG

(Wedding Crashers, Home Alone, Pitch Perfect, Ace Ventura: Pet Detective)

Program Guide Designer riva@danzigdesign.com

8:00pm - 9:00pm NETWORKING PARTY & TECH LOUNGE

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Q&A WITH CINEMATOGRAPHER

JOAN CHURCHILL, ASC

by Brian Hallett

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PHOTO BY ALAN BARKER

egendary Documentary Cinematographer Joan Chruchill, ASC, is known for her work on Aileen: Life and Death of a Serial Killer, Shut Up & Sing, and Kurt & Courtney. She has pioneered a path for women through the male-dominated enclaves of cinematography and documentary becoming the first female member of the British film union in the seventies and, more recently, the first documentary cameraperson to be made an ASC in the US.

act with them. Our students in Cuba came up with the term ‘experiential’ for this style of filmmaking. That was years ago. Now we see the word everywhere.

BH: Do you have certain criteria for you to move forward on the next film?

BRIAN HALLETT (BH): How do you define experiential filmmaking?

JC: What’s the film about? Who are the people involved? Is there a budget? Will I like myself if I get involved?

JOAN CHURCHILL, ASC (JC): Filmmaking has become much more participatory for me. Audiences are too sophisticated now to accept the ”fly on the wall” kind of filmmaking I started out with. Since the advent of the smaller cameras, I have never looked back. I am left eyed so when using the shoulder mounted cameras, no one could see my face. I was just a big glass eye to people. This new generation of cameras allows me to have a relationship with the people I point my camera at. They can see my face & my reactions to what is happening and understand that I am not a threat to them. I want to be accepted into the circle of interactions, so I am physically very close to people when I shoot. This means they often acknowledge me & I often intern

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BH: If so, what do you look for in a project?

JC: I am a people person, interested in character driven documentaries. I prefer long-term projects where things evolve and change; where there is no hidden agenda. If you are open to following a subject wherever it might take you, you will certainly end up in a very different place from the one you anticipated. I have been working on a film about a psychiatric emergency room in Los Angeles for almost five years now. We’ve been at it for so long the success stories are becoming harder to see & the people who n

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From the Documentary Kurt & Courtney

were in a very bad state initially are doing rather well. Go figure!

BH: How do you manage a work/life balance while continuing to be so prolific?

BH: What is your process? Do you shape a script then shoot or do you shoot first and shape later? Why?

JC: I work with a family of friends. We are partners in life, work well together, and have continuing relations outside of work.

After being on the road, we get to go home & pat the cat... sometimes the son, if he’s around, although he does exactly what we do so often we’re ships passing in the night. It is good to go home again.

JC: My interest is in shooting real life.

That can’t be scripted. The film then gets shaped in the editing.

BH: I saw you worked on a film for ten years. How do you schedule a project that goes on for ten years?

BH: Emotion, how do you capture or find the emotion in your films?

JC: Still working on it! It’s a film about the great activist filmmaker & cinematographer, Haskell Wexler. My partner, Alan Barker, & I were good friends with Haskell & lived quite close to him, so it was easy to hang out with him. We followed him in his life, onto sets, all sorts of protests, but primarily the film consists of conversations with our friends (including DA Pennebaker, Al Maysles, Hubert Sauper, Susan Meiselas) about ethical issues facing filmmakers/ journalists. While working on this film, we also carried on making a living, so there were long periods when we didn’t shoot with Haskell. n

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JC: People who agree to be in documentaries almost always have a message for the world. They are often passionate about an issue. My job is to fit in to their world, be sensitive to what is happening so I can follow their process & recreate it on the screen for others to partake in. This means they have to trust you. That is something you have to earn... sometimes every day.

So your people skills are as important as your technical chops.

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BH: When do you hit record? As in, what needs to be in front of your lens for your heart to sing and you are compelled to shoot in that moment?

open to people.

JC: If you have been following a story, you know what you have already shot & what the various story lines are & what is needed to flesh it out. The best camera people are good listeners. They anticipate what is going to happen & are in a position to capture what is unfolding in front of their camera. There is a lot of sitting around waiting for that moment to roll camera.

You have to be in sync with your sound person, both in tune to what is about to happen. (No thumbing of phones!) There is no need to say, ‘let’s roll,’ you both know.

JC: Pick up a camera & shoot what interests you. If you’ve documented your family, think how valuable that will be 30 years down the line when you’re making your first person narrative film! Or how interesting it will be to look back on how people dressed, what the cars looked like....

BH: What would you tell your nine-year-old self if you could?

Brian Hallett, is the senior promotions producer at the NBC affiliate in Nashville, TN, and an award winning cameraman, editor, and producer. He has shot everything from broadcast television news, promotional image campaigns, music videos, short films, and documentaries. First and foremost, Brian is a cameraman and since 1999 his skills have allowed him to work for Spike TV, NBC, Fox, and CBS. n

BH: What lessons have you learned along the way that you use every day?

JC: Everyone has an interesting story.

Everyone (well, almost!) has humanity. Be

From the Documentary Dixie Chicks: Shut Up & Sing

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JAMES MATHERS: 5 Reasons to Recommend a Soft Box with LED Lighting

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EDs are a highly efficient light source, and putting aside any color spectrum issues, (that have generally been improving) they still have limitations for lighting people. The naked illumination coming off of a single emitter, or an array making up a larger fixture, such as a panel, is just not the soft beautiful glow that we seek for human subjects.

Some softening of the light is called for, but adding diffusion can decrease output and make the source harder to control. In fact, earlier generations of LED fixtures lacked the lumen output to afford much diffusion. However, technological advances in LED electronics, and the design of certain light modifiers known as Soft Boxes, now make them an essential combination.

plified via the silver reflective lining that makes up the inner walls of the Soft Box.

3 At the same time, the Soft Box helps control

spill and with the addition of grids, which attach easily to the outside of the diffusion, the light can be channeled to work where it should, and be eliminated from areas where it shouldn’t.

4 Attaching a Soft Box directly to the fixture

reduces clutter on the set by avoiding extra stands that might otherwise be required to hold diffusion frames and various cutters, thus speeding set up and breakdown.

5 If a white rectangular reflection is picked

up in the background, it can more easily be taken for a natural source, like a window, as opposed to seeing the bald spectral points of LEDs flashing camera.

Here are five reasons I like use soft boxes, especially when taking advantage of an LED light source:

James Mathers is a veteran Cinematographer, and the President of the nonprofit educational cooperative, The Digital Cinema Society, a group dedicated to the industry’s informed integration of new technology, as well as a regular contributor to a number of industry trade journals. n

1 A large source is perceived as the most

natural looking light, and a Soft Box generally expands the surface area of the source.

2 The separation between the diffusion material and the source created by the Soft Boxes lessens the light loss by filling a larger surface area with light and also by not wasting stray light. Instead, this otherwise unused light is am-

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SIGHT, SOUND & STORY

VIMEO’S BIGGEST RELEASES IN 2017—

by Derick Rhodes

BUILT JUST FOR CREATORS

Director of Creator Programs at Vimeo

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his was a big year for filmmakers on Vimeo. In 2017, we released 360 video, Vimeo Live, video review tools, and a number of features to improve your post-production workflow — with even more on the way. For us, the focus is on your process as a filmmaker. That means going beyond showcasing your work in the highest quality.

As anyone who works on videos will tell you (and as our own production team knows quite well), the majority of the work is in all the details, from uploading to marketing and beyond.

videos straight to your account in a snap.

And that means post-production is that much simpler.

LIVE, FROM VIMEO

SEAMLESS REVIEW TOOLS Even for a short video, post-production can include weeks of feedback with clients or team members, on every iteration. There’s simply too much to do (and too much at stake) to use a messy review system.

We built video review tools to solve those issues. You can send rough cuts to as many people as you need, whether they’re on Vimeo or not. And feedback is clearer than ever: you can leave time-coded notes anywhere, on any frame of the video, and replies will appear in real time. Just click on a note and you’ll jump right to its assigned point in the video. And since you never really have to leave the Vimeo workflow, it’s saving valuable time, little by little. Which adds up to a ton.

One of our biggest announcements in years just came out, too: Vimeo Live, built for seriously beautiful live streaming. We’re talking full HD 1080p and cloud transcoding, so viewers can enjoy stunning video across devices. You can also turn viewers into fans with email capture in the player, and enable live audience chat to interact during your event.

What else makes it awesome? Extra speedy support, stream reliability, and powerful privacy options for sharing securely.

You can also edit and replace post-event videos with files in up to 4K, get 5TB of storage, and even sell your videos after the big event. Taken together, it makes Vimeo your home for both live and hosted videos.

MANAGEMENT TOOLS & ADOBE INTEGRATIONS

EYES ON THE FUTURE

This year, we also introduced folders to our video management tools. Even though the concept of folders have been around for, well, basically forever, our community is saving a lot of time with this simple, powerful organization tool. And it all happens from the same place that they’re uploading, iterating, and reviewing.

We also rolled out the Vimeo panel for Adobe Premiere Pro, so you can upload n

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We’re committed to helping all creators, whether you’re building your portfolio, or pioneering new forms of storytelling with live and 360 video. Your input serves as our North Star as we keep building, so we hope you try our tools, see what’s working, and let us know your feedback. To be the first to hear about upcoming launches, lessons, and video inspiration, visit our blog: vimeo.com/blog. n n

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SIGHT, SOUND & STORY

ZamBaRLoukos, BsC, gsC on Murder on the Orient Express To shoot Murder on the Orient Express, VER assembled dual LED screens 40’ high by 90’ long with 40’ by 30’ end caps — the largest and highest resolution Enhanced Environment ever deployed for a motion picture.

‘

Nothing really compares to the Enhanced Environment—the control, the fact that you can go and handpick your locations and your environment. It gives me the opportunity to go shoot those environments prior to production start, rather than relying on 2nd unit after we have begun. I come back with the plates and we pick what we're going to use and we create our interior lighting to suit the environments we already have.

Watch the interview at ver.com/Haris

more information: enhancedenvironments@ver.com

ver.com

CamERa | LighTing | LED | ViDEo | auDio | BRoaDCasT | Rigging | aV

ART OF THE SHOT WITH CINEMATOGRAPHER

MARTIN AHLGREN

by Brian Hallett

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inematographer Martin Ahlgren is known for his work on independent features and television shows, such as House of Cards and Daredevil, and an upcoming new show for Netflix based on the cyberpunk novel Altered Carbon.

that that’s the best starting off point. And then they may have references or specific things in mind that they refer to, which is when you bring in ideas and possibilities for how to approach it.

BRIAN HALLETT (BH): How do you prep for your projects?

(BH): On House of Cards and Daredevil, in which you shot the second season, how do you add your personal cinematographer style to a show that’s already started?

MARTIN AHLGREN (MA): Well, you know it depends. I think the main thing is to take your cues from the director. One of the main things that I feel is my job when I get on a new project is to get in the head of the director and figure out what he or she wants to accomplish, what the project means to them, and what they see as what the story is about. I think to a large extent

(MA): In both those cases I was a fan of what had been done before. When you’re doing television, in a way, you’re doing a very long movie that is several seasons.

There needs to be a consistency, I feel, to what that world looks and feels like. That said, I think each cinematographer is going to approach how they go about things in their own way. On House of Cards for

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instance where I did Season Three, the first season had its approach in terms of execution in the second season. The cinematographer changed up the tools that we use and how it was approached on a technical level. Even though the tone of the series was still very much the same, the approach was slightly different. It had become tailored to the way that cinematographer liked to work. When I came in, the equipment was all up for renegotiation and there were also a lot of new sets. I had the luxury of choosing which lighting tools to use and how to build that into the new sets. So that meant that I could approach it in a fashion that was suitable for the way that I like to work. Even if the same cinematographer was shooting over multiple seasons, there is still a scope to evolve on the look as well. For instance in Season Three of House of Cards, with Frances becoming president, a whole world sort of opened up to him. I saw some opportunities to broaden the scope of that world and I felt like that could partly be done through cinematography. I think we started moving the camera a little bit more.

We also opened up a bit more the spaces that we’re shooting in. I think we went with a little more color than what the first two Seasons had been in terms of saturation.

Actor Charlie Cox from Netflix’s Daredevil

signer or any other kind of software to help visualize what is selling the show runners, like the show you are shooting now Altered Carbon?

(MA): No, mostly I will grab stills from other movies or show references from photography, maybe even a painting or something like that. This show had a lot of action sequences that I would bring in ideas from other action sequences that I liked. Sometimes it’s about bringing in existing material that I like and using that as a starting off point for a discussion to see if they like the same things and which parts we want to emulate and build on.

(BH): How did you break into this business?

(MA): I went to film school. I mean, I’ve been making short films since I was a teenager. I went to film school in Sweden, which is where I grew up, and then I came to New York to go to School of Visual Arts. I had always seen myself as the director and when I came to SVA, I made a conscious effort to switch over and focus specifically on cinematography. When you’re in film school where everyone wants to be a director, I got the opportunity to

(BH): Do you use anything like Cine Den

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shoot just about every other student’s films.

You get a lot of experience quickly. That experience combined with the material of those shorts allowed me to cut together a reel and start finding work. Also a few of the other students I went to school with got their first directing opportunities, and I was able to come aboard and shoot some of their first projects. I didn’t go the traditional route of working my way up by being an assistant and then an operator; instead it was more like working on smaller projects and then each project leading to the next project.

affects the post workflow or exactly which light is what. Then again, if you do have an interest in acquiring the technical knowledge, then it might mean that you also can make decisions that are informed, knowing what’s possible from a technical standpoint. So there is an advantage to doing that as well. Ultimately it’s a combination of tenacity, working hard, and maintaining good relationships with the people that you work with.

(BH): What kind of person succeeds as a cinematographer?

(BH): What kind of helpful advice did you get along the way?

(MA): There are a few different things. It’s a job that combines creativity with technical ability. Depending on which kind of cinematographer you are, the technical side of it may be a much bigger part of how you approach cinematography, or it could be a very small one. Maybe you’re more into thinking like a painter, and the technical aspects are something where you take advantage of the people that you have to assist you on the production.

So it’s not necessary to know the intricate details of how the camera works, how it

(MA): In the beginning when you’re just starting out, there’s actually not that much an agent can do for you. Ultimately an agent will be more helpful when you have an established career. They can help you manage that career and help you make good decisions to negotiate conditions on a project. So paradoxically it’s sort of like when you feel that you need an agent the most, it’s really when they’re probably the least of help to you in a way. n

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Actors Joseph Sikora and Omari Hardwick from Starz’s hit series Power.

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SIGHT, SOUND & STORY

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ARRI AT 100: PROUD OF THE PAST AND CONFIDENT IN THE FUTURE

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017 marks 100 years since August Arnold and Robert Richter rented a small former shoemaker’s store in Munich and set up shop as a film technology firm. The two young friends started with just one product: a copying machine they built on a lathe Richter had received as a Christmas present from his parents. Taking the first two letters of their surnames, they christened their new enterprise ARRI. Today, the company is still a family-owned enterprise and headquartered at the same address on Türkenstrasse. The premises have expanded to the size of an entire city block and is just one of numerous facilities around the world. Truly a global player and active in every international market, ARRI has major branches in Europe, the Americas and Asia.

Despite its grand age, ARRI is a company that places great value in youthful exuberance and passionate dedication. Dr. Jörg Pohlman, one of two Executive Board members at ARRI AG, notes, “I still find it amazing that this company was founded by two teenagers; they were so young that their parents had to sign incorporation documents. First and foremost they were film enthusiasts, driven by a love for visual storytelling and technology. If you walk around ARRI today you’ll see that same enthusiasm and passion – it defines who we are and what we do.”

Arnold and Richter were camera operators, film producers and an equipment rental outfit before they ever manufactured an ARRI camera. From the very beginning they worked directly with filmmakers and the insight they gained helped them to develop equipment that met real on-set needs. In today’s industry, with technology driven at breakneck speed by marketing hype, this philosophy of listening to what filmmakers want – rather than telling them – is more important than ever.

Executive Board member Franz Kraus comments, “ARRI prides itself on being a n

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ARRI Founders August Arnold, right, and Robert Richter started ARRI in 1917.

long-term professional partner to the global film industry. We have never walked away, instead facing difficult times by redoubling our efforts and increasing investment in R&D. The fact that we offer such varied products and services, covering all sides of the industry, gives us a unique perspective and allows each division to benefit from the expertise of all the others. For example it was our work in digital postproduction that helped us make such a successful transition from film to digital cameras.”

The quality and reliability for which ARRI is renowned remain vitally relevant traits. At every level of the industry there still exists the need for durable tools that are fit for purpose and deliver long-term returns.

These days that means more than just build quality and durability, it means flexible system architecture for cameras and lights that are essentially computers. It means software updates that respond to evolving needs and continually transform the functionality of the hardware.

The long history of ARRI sits predominantly in the celluloid age and it is a wonderful legacy to look back on. But now, in the digital era, the company is bigger than it ever has been, with more employees, more products and more international market share than ever before. At 100 years old, the future has never looked so exciting.

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SIGHT, SOUND & STORY

The Pro Video Marketplace

877.629.4122 ı ProductionHUB.com

TM

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Martin Ahlgren has been making movies since he was a teenager in Sweden with a Hi8 video camera and friends willing to be splattered in ketchup. After studying cinematography at School of Visual Arts in New York, he got his start shooting commercials and music videos around the world for artists like Kanye West, Rolling Stones and Beyoncé. Lately he has returned to longer form storytelling with independent features and television shows, such as House of Cards and Daredevil, and an upcoming new show for Netflix based on the cyberpunk novel Altered Carbon.

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mentary Adama that aired on PBS World.

Perez’s film Seed was part of the ITVS/PBS groundbreaking original online science fiction series FutureStates. He is the recipient of the Estela Award for Documentary Filmmaking presented by NALIP as well as the Rockefeller Foundation/Tribeca Film Institute Emerging Artist Fellowship.

He is currently working on Lights Camera Uganda a documentary chronicling two years in the life of Wakaliwood.

Filmmaker and cinematographer Joan Churchill, ASC began her career shooting on a series of music films, including Gimme Shelter, No Nukes, Hail, Hail Rock and Roll, and Jimi Plays Berkeley, which she directed.

Her credits include An American Family, the definitive vérité study of dysfunctional family life, Punishment Park and Pumping Iron, in which the world met Arnold Schwarzenegger.

Churchill is a long-term collaborator with Nick Broomfield. The duo have worked on such acclaimed films as Aileen: Life & Death of a Serial Killer, Kurt & Courtney, Biggie & Tupac and Soldier Girls. She has collaborated with her partner, Alan Barker, on two TV vérité series, producing and shooting Emmy winning American High and The Residents.

Their recent credits include the Academy nominated Last Days in Vietnam (American Experience/PBS), This is Everything: Gigi Gorgeous (YouTube Red), American Psychosis (working title Independent Lens/PBS) and Beyond Psychiatry (work in progress).

David Leitner is a director, producer, and Emmy-nominated DP (Chuck Close: Portrait in Progress), with over eighty credits in feature-length dramas and documentaries, including eight Sundance Film Festival premieres.

These include his own Vienna is Different: 50 Years After the Anchluss, Alan Berliner’s Nobody’s Business, Sandi Dubowski’s Trembling Before G-d, the Oscar-nominated documentary For All Mankind, for which he spent nine months at NASA’s Johnson Space Center restoring original 16mm lunar footage, and Memories of Overdevelopment, a Cuban follow-up to 1968’s film classic, Memories of Underdevelopment. For over 25 years, as DP, he has photographed hour-long documentaries on iconic writers, artists, and architects for New York’s Checkerboard Film Foundation. Leitner is also an author, columnist, motion picture technologist and industry consultant. From 1977-1985 he was Director of New Technology at DuArt Film & Video in New York, where he created innovations in optical printing, cine lens testing, film-to-tape transfer, and played a key role introducing Super 16 to the U.S. He is a Fellow of the Society of Motion Picture and Television Engineers.

Hugo Perez is a filmmaker and writer whose work often focuses on his Cuban heritage. Perez is Producer and Director of the feature documentary Neither Memory Nor Magic narrated by Patricia Clarkson and Viggo Mortensen, as well as Summer Sun Winter Moon that had a national PBS broadcast.

Perez recently served as Executive Producer of Rodrigo Reyes feature documentary Purgatorio that was broadcast on the PBS series America ReFramed, and David Felix Sutcliffe’s docu-

The first film shot by Julio Macat, ASC, was the huge box-office hit Home Alone. He then went on to photograph Home Alone II, Ace Ventura: Pet Detective, The Nutty Professor, The Wedding Planner, Cats and Dogs, Bringing Down The House, and Wedding Crashers, all of which opened to the #1 box office position in the US. The total domestic box office receipts of the films he has photographed is over $1.7 Billion.

His extensive credits also include the fea-

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SIGHT, SOUND & STORY

tures: So I Married an Axe Murderer, My Fellow Americans, the remake of Miracle on 34th Street, Because I Said So and Smother, both with actress Diane Keaton, and the action picture Ballistic: Ecks vs. Sever. In moving away from comedy to more dramatic work, Macat was asked by first-time director Antonio Banderas to photograph his directorial debut Crazy in Alabama with Melanie Griffith, and Adam Shankman to film his coming of age drama A Walk to Remember, as well as The Wedding Planner, and Bringing Down the House. Macat has photographed the dramatic films Moonlight and Valentino, Only the Lonely, and the Morgan Freeman heist drama The Code, directed by Mimi Leder. In comedy, he has also shot Blended, starring Drew Barrymore and Adam Sandler, Daddy’s Home with Mark Wahlberg and Will Ferrell, The Boss and Life of the Party both starring Melissa McCarthy, as well as Middle School and the upcoming Daddy’s Home 2.

A native of Argentina and of Italian descent, Macat began his career at age 19, working his way up the ranks under such distinguished veterans as Mario Tosi, ASC, John Alcott, BSC, and Chris Menges, BSC, the latter two being Academy Award-winning cinematographers.

After studying filmmaking at UCLA at the age of 26, Macat became a camera operator collaborating exclusively with Russian director Andrei Konchalovsky on four films, including Runaway Train, Shy People and Tango and Cash.

As a cinematographer, Macat’s early work included numerous music videos and concerts for performers such as Peter Gabriel, Melissa Etheridge, Phil Collins, Hall & Oates, Van Halen and Alanis Morrisette. As a visual consultant for Disney studios he collaborated on the animated features Wreck it Ralph and Winnie The Pooh, and more recently for Paramount studios Sherlock Gnomes.

wood directed by Errol Morris.

Igor was nominated for Emmy Awards for his work on the Netflix/David Fincher TV series House of Cards and for the documentary What Happened, Miss Simone? directed by Liz Garbus.

Other work of note includes the Sundance Grand Jury Prize winner Sangre De Mi Sangre; Red Riding: 1980 also with director James Marsh; Sunlight, Jr. directed by Laurie Collyer starring Naomi Watts and Matt Dillon; Wallander starring Kenneth Branagh; and two Heart Of Sarajevo winners - Fraulein and Buick Rivera. Igor recently won the American Society of Cinematographers Award for his work on the HBO/Steven Zaillian mini-series The Night Of. Buddy Squires, ASC, is an Oscar-nominated filmmaker and Emmy-winning director of photography, and a founding member of Florentine Films.

His cinematography credits include six Oscar-nominated films, one Academy Award winner, twenty-two Emmy-nominated productions and ten Emmy Award winners. He has ten personal Emmy nominations and one Emmy Award. In 2007 Squires was honored with the International Documentary Association’s Outstanding Documentary Cinematography Award (career achievement). His work is regularly featured at the Sundance, Telluride and Tribeca Film Festivals.

Buddy Squires is best known for his work on numerous documentary features and television specials including: The National Parks, The War, Masterclass, Into the Deep, Soundtrack for a Revolution, Stonewall Uprising, Jazz, The Civil War, New York, Nanking, Mark Twain, Crime & Punishment, Smashed, Baseball, Lewis & Clark: The Journey of the Corps of Discovery, The Donner Party, Reporting America at War, Ansel Adams, Ram Dass: Fierce Grace, One Survivor Remembers, Amato, Frank Lloyd Wright, Soldiers Of Peace: A Children’s Crusade, Heart of a Child, Compassion in Exile: The 14th Dalai Lama, Chimps: So Like Us, The West, Scottsboro: An American Tragedy and Out of the Past.

His producing credits include: Statue of Liberty (Oscar nomination with Ken Burns) and Coney Island (Sundance Film Festival). He is the director of Listening to Children (Emmy nomination) and the co-director of Fast Eddie, Seeking Justice, People’s Poetry, and War Files. n

Igor Martinović is a New York based cinematographer of feature and documentary films, as well as TV series and commercials. He photographed the Academy Award winning documentary Man on Wire, directed by James Marsh, which also won a BAFTA for Best British Film, the Sundance Grand Jury Prize and Audience Award, and the Independent Spirit Award for Best Documentary. His other docs include Keith Richards: Under the Influence directed by Morgan Neville and Wormn

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SIGHT, SOUND & STORY

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