Film Short: Introducing More Honorees from the 2010 Emerging Cinematographer Awards
The list of Honorees for the 2010 Emerging Cinematographers Awards continues on this week’s Film Short…
Patrick Meade Jones – “Android Love”: Starting out by shooting home videos with an Hi8 camera in the suburbs of Chicago, Patrick went on to study filmmaking at Loyola Marymount University in Los Angeles. After interning with James Whitaker on Crossing Over, he became a Guild member as a camera loader on ‘Deadline” in 2009. Last year a short film he shot called “Idiot Box” earned an ECA.
Writer-Director Lee Citron wanted the organic look that Super 16 could provide for “Android Love”, which is the story of a down-on-his-luck character becoming romantically involved with a sex bot, so Patrick used (Kodak Vision 3 500T 7219) film and covered his shots from two directions with wide angle lenses.
Cameron Duncan – “Mr. Marceau”: In 2007 Duncan earned an ICG Emerging Cinematographer Award for “Year of the Dog”. Born and raised in Los Angeles, his interest in photography began with his father’s home movies along with the images he saw in National Geographic magazine. Cameron attended California State University in Northbridge, where he studied film production and shot more than a dozen student projects. He worked at Panavision for four years after graduation learning optics from Dan Sasaki while prepping camera packages for cinematographers. He joined the Guild as a loader in the mid-1990’s and had the opportunity to work with Dion Beebe, ASC, ACS (Memoirs of a Geisha), Seamus McGarvey, ASC, BSC (Attonement) and Bill Pope, ASC (The Matrix trilogy).
“Mr. Marceau”, which was directed by Jared Allen, tells the story about an elderly recluse named Tom Fitzpatrick, who collects clocks. Produced in three days using the director’s apartment as a set, the 20-minute film was shot with a RED camera belonging to a friend.
Brian Udoff – “Les Mouches”: The 1st AC who states that he spent a great deal of his youth in Baltimore, MD and Milwaukee, WI, Brian enrolled in Johns Hopkins University with plans to become a doctor. He switched majors after receiving a grant to produce a short film and later earned an MFA at the London Film School. Udoff also worked there for free at a local camera rental house.
Directed by Leon Yan, a London classmate of Brian’s, “Les Mouches” is set in France and London and was shot in 35mm. It tells the story of a man who is estranged from his family for 10 years and suddenly disappears. Desiring to give London an ugly look, Brian used varying intensities of blue-gray filters on the lens giving daytime exteriors a washed-out feeling. He also used the Arri Varicon system for in-camera flashing combining it with bleach bypass ‘pull 1 processing for night scenes.
The two Honorable Mentions this year went to:
Tim Bellen – “State of Grace”: Born in Hawaii and raised in Santa Rosa, CA, Tim studied drawing and filmmaking at the California College of the Arts in Oakland. He became interested in cinematography after working on a TV series in 1987 with director of photography Jim Robertson, who the SOC admits was a huge influence on him.
A 22-minute drama about the changes in an 11-year-old blind girl’s relationships with her mother and school friends, “State of Grace” was produced, directed and shot by Bellen using a Super 16 file format.
Aaron Medick – “Weequahic”: This operator grew up in upstate New York in a small town called Accord. At the age of six Aaron’s parents gave him his first still camera and in high school he learned to frame, expose and print 35mm black-and-white stills. After studying cinematography at New York University’s Tisch School of the Arts, in 2000 Medick began working his way up through the ranks of the camera crew system. He won a Daytime Emmy as A-camera and Steadicam operator on “The Electric Company” in 2009 and a nomination as a camera operator on “Sesame Street”. In 2008 Aaron received an ECA for “Para-Normal”.
“Weequahic” was directed by Medick’s NYU classmate Jamie Ruddy and is set in 1952. It follows the failure of four gangsters in their attempt to shake down the owner of their favorite diner. The look for the film was inspired by the cinematography of Robert Richard, ASC in “Snow Falling on Cedars”. It was produced in two days and all gear including a RED camera package was donated.
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