Tagged As: director of photography

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True Colors: Parke Gregg

Directors and cinematographers focus on how to tell their story, but it’s people like Parke Gregg who ensure that the visual details of a film work in tandem with the director’s vision. Gregg, a self-taught colorist who’s now co-founder of the video post-production studio

In Focus: Bonnie Blake

Female camera operators are still the exception in film and TV, but that never deterred Bonnie Blake, who’s carved out an impressive career. She’s always in demand, and her credits read like a list of TV’s biggest hits, from Malcolm in the Middle to Monk to CSI: NY.

Eye-opener: Mike Simpson

Mike Simpson set out to study philosophy, but when he added a major in film and started working on student projects while studying at the University of Texas, Austin, he became fascinated with how light can radically change the visual artistry in a film.

Catch Me If You Can: David Freid

Last year, millions of viewers switched their televisions to MTV to tune into the weekly docudrama Catfish. The show, which is currently in its second season, follows the online relationships of an unsuspecting victim who has fallen in love with a “catfish,” a person who creates a false identity online and pretends to be someone they are not.

Lock it Up: Jeffrey Hart

If you ask Jeffrey Hart about his background as a camera operator and editor, he’ll tell you that he’s been doing it for as long as he can remember. “I’ve enjoyed bringing ideas to life and telling stories since I was about five years old. I’ve always had a passion for playing with cameras and lights,” he says.

Freeze Frame: Peter Simonite

You may not have heard of Peter Simonite, but you know his work. Taking on nearly every job in the photography, cinematography, and camera operation departments for film, television, and commercials, Simonite’s enormous body of work ranges from Star Trek: Generations to Friday Night Lights the television series to music videos for Spoon and Explosions in the Sky.

Set Dresser

No matter how impressive the set or visual effects, the scene does not feel organic without set dressings; these include tables, chairs, utensils, and anything else that occupies a scene (but the actor doesn’t touch) that makes a space feel lived in and realistic. To assist in bringing the set to life, set dressers are tasked with implementing the set decorator’s design.

Post-Production Coordinator

As in principal photography, post-production of a film or television show combines the efforts of numerous artistic and technical departments. While it is the director’s role to oversee the creative completion of the project, the post-production coordinator acts as a logistical watchdog, ensuring each facet is operating efficiently toward completion.

Second Unit Director

The second unit of a film is a crew that is responsible for shooting supplementary footage; this includes establishing shots, stunts, inserts, and cutaways. This crew is separate from the first unit, which is the team that films scenes with the leading cast. When a series of shots are deemed too expensive, dangerous, or time-consuming for the first unit to accomplish, the second unit director leads his or her team to capture the necessary scenes.

Marvel

The Marvel universe is comprised of more than 8,000 comic book characters, including some of the most iconic figures in popular culture. In 2009, The Walt Disney Company acquired the house that Stan Lee built.